Lilies Of The Field Quotes

Mae, he made me go out for a run," Jamie called out. "Tell him I don't run!" "Jamie and I are lilies of the field. We toil not, neither do we jog," Mae informed Nick.

Do not worry about your life, what you will eat or drink; or about your body, what you will wear. Is not life more important than food, and the body more important than clothes? Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? Who of you by worrying can add a single hour to his life? And why do you worry about clothes? See how the lilies of the field grow. They do not labour or spin. Yet I tell you that not even Solomon in all his splendor was dressed like one of these. If that is how God clothes the grass of the field, which is here today and tomorrow is thrown into the fire, will he not much more clothe you, O you of little faith? So do not worry, saying, ``What shall we eat?'' or ``What shall we drink?'' or ``What shall we wear?'' For the pagans run after all these things, and your heavenly Father knows that you need them. But seek first his kingdom and his righteousness, and all these things will be given to you as well. Therefore do not worry about tomorrow, for tomorrow will worry about itself. Each day has enough trouble of its own. - Matthew 6:25-34

Sometimes, Gansey forgot how much he liked school and how good he was at it. But he couldn't forget it on mornings like this one—fall fog rising out of the fields and lifting in front of the mountains, the Pig running cool and loud, Ronan climbing out of the passenger seat and knocking knuckles on the roof with teeth flashing, dewy grass misting the black toes of his shoes, bag slung over his blazer, narrow-eyed Adam bumping fists as they met on the sidewalk, boys around them laughing and calling to one another, making space for the three of them because this had been a thing for so long: Gansey-Lynch-Parrish.

In a field, I am the absence of field. In a crowd, I am the absence of crowd. In a dream, I am the absence of dream. But I don't want to live as an absence. I move to keep things whole. Because sometimes I feel drunk on positivity. Sometimes I feel amazement at the tangle of words and lives, and I want to be a part of that tangle. "Game over," you say, and I don't know which I take more exception to- the fact that you say that it's over, or the fact that you say it's a game. It's only over when one of us keeps the notebook for good. It's only a game if there is an absence of meaning. And we've already gone too far for that.

The people who influence us most are not those who buttonhole us and talk to us, but those who live their lives like the stars in heaven and the lilies in the field, perfectly simply and unaffectedly. Those are the lives that mould

People encounter God under shady oak trees, on riverbanks, at the tops of mountains, and in long stretches of barren wilderness. God shows up in whirlwinds, starry skies, burning bushes, and perfect strangers. When people want to know more about God, the son of God tells them to pay attention to the lilies of the field and the birds of the air, to women kneading bread and workers lining up for their pay. Whoever wrote this stuff believed that people could learn as much about the ways of God from paying attention to the world as they could from paying attention to scripture. What is true is what happens, even if what happens is not always right. People can learn as much about the ways of God from business deals gone bad or sparrows falling to the ground as they can from reciting the books of the Bible in order. They can learn as much from a love affair or a wildflower as they can from knowing the Ten Commandments by heart.

Put your mouthful of words away and come with me to watch the lilies open in such a field, growing there like yachts, slowly steering their petals without nurses or clocks.

To shut your eyes is to guess nothing of blindness. Beneath your world of skies and faces and buildings exists a rawer and older world, a place where surface planes disintegrate and sounds ribbon in shoals through the air. Marie-Laure can sit in an attic high above the street and hear lilies rustling in marshes two miles away. She hears Americans scurry across farm fields, directing their huge cannons at the smoke of Saint-Malo; she hears families sniffling around hurricane lamps in cellars, crows hopping from pile to pile, flies landing on corpses in ditches; she hears the tamarinds shiver and the jays shriek and the dune grass burn; she feels the great granite fist, sunk deep into the earth’s crust, on which Saint-Malo sits, and the ocean teething at it from all four sides, and the outer islands holding steady against the swirling tides; she hears cows drink from stone troughs and dolphins rise through the green water of the Channel; she hears the bones of dead whales stir five leagues below, their marrow offering a century of food for cities of creatures who will live their whole lives and never once see a photon sent from the sun. She hears her snails in the grotto drag their bodies over the rocks.

Consider the lilies of the field. Look at the fuzz on a baby's ear. Read in the backyard with the sun on your face. Learn to be happy. And think of life as a terminal illness because if you do you will live it with joy and passion, as it ought to be lived.

Time is that which God uses to separate the idle from the industrious. For time is a mountain and upon seeing its steep incline, the idle will lie down among the lilies of the field and hope that someone passes by with a pitcher of lemonade. What the worthy endeavor requires is planning, effort, attentiveness, and the willingness to clean up.

That’s what I like about sports. No matter if everyone playing the game speaks completely different languages, on the field, or the court, wherever they are playing, the language of moves and passes and scores is all the same. Universal.

In a field, I am the absence of field. In a crowd, I am the absence of crowd. In a dream, I am the absence of dream. But I don't want to live as an absence. I move to keep things whole. Because sometimes I feel drunk on positivity. Sometimes I feel amazement at the tangle of words and lives, and I want to be a part of that tangle.

Is there a relative value of beauty? Is evanescence - fleetingness - a necessary element of the thing that most moves us? A shooting star dazzles more than the sun. A child captivates like an elf, but grows into grossness, an ogre, a harpy. A flower splays itself into color - the lilies of the field! - more treasured than any painting of a flower. But of all these things, women's grace, shooting stars, flowers, and paintings, only a painting endures.

Silver flow the streams from Celos to Erui In the green fields of Lebennin! Tall grows the grass there. In the wind from the Sea The white lilies sway, And the golden bells are shaken of mallos and alfirin In the green fields of Lebennin, In the wind from the Sea!

The person whose joy is dependant upon certain conditions is not himself joyful; his joy, after all, is that of the conditions and is conditional upon them.

The first place that I can well remember, was a large pleasant meadow with a pond of clear water in it. Some shady trees leaned over it, and rushes and water-lilies grew at the deep end. Over the hedge on one side we looked into a plowed field, and on the other we looked over a gate at our master's house, which stood by the roadside;

Worry is a sin, even I know that, yet I am more than just a lily of the field. I’m a lily that’s been plucked from the ground and laid at your feet. When it comes to you, I’m rootless and helpless and at your mercy for sunshine and water. And I’m not even supposed to be yours. How can I not worry?

Sometimes, Lord, one is tempted to say that if you wanted us to behave like the lilies of the field you might have given us an organization more like theirs. But that, I suppose, is just your...grand enterprise. To make an organism which is also a spirit; to make that terrible oxymoron, a ‘spiritual animal.’ To take a poor primate, a beast with nerve-endings all over it, a creature with a stomach that wants to be filled, a breeding animal that wants its mate, and say, ‘Now get on with it. Become a god.

If loving you is a sin, then let hell be my paradise.

Worry! What a waste of time. All the holy books were right. Clearly ‘worry’ was the mark of a primitive and spiritually unevolved person. What was that line from Yeats, about the bemused Chinese sages? All things fall and are built again. Ancient glittering eyes. This was wisdom. People had been raging and weeping and destroying things for centuries and wailing about their puny individual lives, when—what was the point? All this useless sorrow? Consider the lilies of the field. Why did anyone ever worry about anything? Weren’t we, as sentient beings, put upon the earth to be happy, in the brief time allotted to us?

As I walked out one evening, Walking down Bristol Street, The crowds upon the pavement Were fields of harvest wheat. And down by the brimming river I heard a lover sing Under an arch of the railway: "Love has no ending. "I'll love you, dear, I'll love you Till China and Africa meet, And the river jumps over the mountain And the salmon sing in the street, "I'll love till the ocean Is folded and hung up to dry And the seven stars go squawking Like geese about the sky. "The years shall run like rabbits, For in my arms I hold The Flower of the Ages, And the first love of the world." But all the clocks in the city Began to whirr and chime: "O let not Time deceive you, You cannot conquer Time. "In the burrows of the Nightmare Where Justice naked is, Time watches from the shadow And coughs when you would kiss. "In headaches and in worry Vaguely life leaks away, And Time will have his fancy Tomorrow or today. "Into many a green valley Drifts the appalling snow; Time breaks the threaded dances And the diver's brilliant bow. "O plunge your hands in water, Plunge them in up to the wrist; Stare, stare in the basin And wonder what you've missed. "The glacier knocks in the cupboard, The desert sighs in the bed, And the crack in the teacup opens A lane to the land of the dead. "Where the beggars raffle the banknotes And the Giant is enchanting to Jack, And the Lily-white Boy is a Roarer, And Jill goes down on her back. "O look, look in the mirror, O look in your distress; Life remains a blessing Although you cannot bless. "O stand, stand at the window As the tears scald and start; You shall love your crooked neighbor With all your crooked heart." It was late, late in the evening, The lovers they were gone; The clocks had ceased their chiming, And the deep river ran on.

Consider the lilies of the field, how they grow; they toil not, neither do they spin

He had thought that to pray was to talk; he learned that to pray is not only to keep silent, but to listen. And that is how it is: to pray is not to listen to oneself speak, but is to come to keep silent, and to continue keeping silent, to wait, until the person who prays hears God.

The calcium of bones, the keratin of eyelashes, the exhalations of our bodies - all these are reconstituted as carbon atoms, used to make the world anew: the earth, the lilies of the field, the ink of this book. What is can never cease to be. Kenelm found comfort in these alchemists' precepts, touching them again and again like rosary beads. We are all stars, and to the stars we return.

My heart is a field of lilies blooming under a pane of glass, pitter-pattering to life like a rush of raindrops.

I don't think it is enough appreciated how much an outdoor book the Bible is. It is a "hypaethral book," such as Thoreau talked about - a book open to the sky. It is best read and understood outdoors, and the farther outdoors the better. Or that has been my experience of it. Passages that within walls seem improbable or incredible, outdoors seem merely natural. This is because outdoors we are confronted everywhere with wonders; we see that the miraculous is not extraordinary but the common mode of existence. It is our daily bread. Whoever really has considered the lilies of the field or the birds of the air and pondered the improbability of their existence in this warm world within the cold and empty stellar distances will hardly balk at the turning of water into wine - which was, after all, a very small miracle. We forget the greater and still continuing miracle by which water (with soil and sunlight) is turned into grapes.

Precisely because a human being has the ability to speak, for this very reason the ability to keep silent is an art; and precisely because this advantage of his tempts him so easily, the ability to keep silent is a great art.

She practised losing with style and good grace and not ruining today by mourning yesterday's losses or fearing tomorrow's potential losses, to be like the lilies of the field and the birds of the heaven, which are present in the now, silent and obedient, to gather moments of joy with which she could warm herself if times get tough, she had a feeling that times might get tough.

I saw that every flower He has created has a beauty of its own, that the splendor of the rose and the lily’s whiteness do not deprive the violet of its scent nor make less ravishing the daisy’s charm. I saw that if every little flower wished to be a rose, Nature would lose her spring adornments, and the fields would be no longer enameled with their varied flowers.

In a field, I am the absence of field. In a crowd, I am the absence of crowd. In a dream, I am the absence of dream. But I don't want to live as an absence. I move to keep things whole.

The bird keeps silent and suffers. However much heartache it has, it keeps silent. It does not complain; it accuses no one; it sighs only to fall silent again. The bird is not free from suffering, but the silent bird frees itself from what makes the suffering more burdensome: from the misunderstood sympathy of others; frees itself from what makes the suffering last longer: from all the talk of suffering; frees itself from what makes the suffering into something worse than suffering: from the sin of impatience and sadness.

It's a pity we don't whistle at one another, like birds. Words are misleading. I am always trying to forget words. That is why I contemplate the lilies of the field, but in particular the glacier. If one looks at the glacier for long enough, words cease to have any meaning on God's earth.

Working toward something that seems impossible makes it more of an accomplishment.

Come gather the pieces all scattered and lost The lie in what's holy, the light in what's not The story's been written the letter's been sealed You gave me a lily but now it's a field

The bird keeps silent and waits: it knows, or rather it fully and firmly believes, that everything takes place at its appointed time. Therefore the bird waits, but it knows that it is not granted to it to know the hour or the day; therefore it keeps silent. Then, when the moment comes, the silent bird understands that this is the moment; it makes use of it and is never put to shame.

Lilies of the field did not threaten to uproot themselves if they didn't like where they were planted. On the slopes of the mountains, saplings struggled to grow in the shallowest puddles of soil that collected on bald rocks. Along the side of the valley's single road, chicory and yellow trefoil had learned to thrive in waste spaces, where passing cars blew exhaust against them all day long. Like Olivia, they had no say over where their seeds took hold: When they could not change their surroundings, they themselves had to change.

From the Garden” Come, my beloved, consider the lilies. We are of little faith. We talk too much. Put your mouthful of words away and come with me to watch the lilies open in such a field, growing there like yachts, slowly steering their petals without nurses or clocks. Let us consider the view: a house where white clouds decorate the muddy halls. Oh, put away your good words and your bad words. Spit out your words like stones! Come here! Come here! Come eat my pleasant fruits.

he said we should concern ourselves only with today, because the lilies in the field toil not, neither do they spin, but arrayed in glory. ...

Grief, I began to see, is gratitude turned inside out.

Good people can do bad things, and bad people can do good things, so maybe it depends on the choices we make.

He sensed my fear, and wishing to break its spell, he said, “Consider the lilies of the field. They are not anxious, yet God takes care of them. How much more will he take care of you?

So yes, the making of strawberry preserves is time-consuming, old-fashioned, and unnecessary. Then why, you might ask, do I bother to do it? • • • I do it because it’s time-consuming. Whoever said that something worthwhile shouldn’t take time? It took months for the Pilgrims to sail to Plymouth Rock. It took years for George Washington to win the Revolutionary War. And it took decades for the pioneers to conquer the West. Time is that which God uses to separate the idle from the industrious. For time is a mountain and upon seeing its steep incline, the idle will lie down among the lilies of the field and hope that someone passes by with a pitcher of lemonade. What the worthy endeavor requires is planning, effort, attentiveness, and the willingness to clean up.

Jesus illustrated the principle of wu-wei beautifully in his Nature Sermon. The wild birds neither sow nor reap nor gather into barns, yet they are fed; the lilies of the field neither toil nor spin, yet they are clothed. Wu-wei is not about being lazy and doing nothing. Rather, it is about following the way of nature and not wasting energy. It is about the beauty of "letting it be"!

Faith according to our Lord’s teaching in this paragraph is primarily thinking; and the whole trouble with a man of little faith is that he does not think. He allows circumstances to bludgeon him. . . . We must spend more time in studying our Lord’s lessons in observation and deduction. The Bible is full of logic, and we must never think of faith as something purely mystical. We do not just sit down in an armchair and expect marvelous things to happen to us. That is not Christian faith. Christian faith is essentially thinking. Look at the birds, think about them, and draw your deductions. Look at the grass, look at the lilies of the field, consider them. . . . Faith, if you like, can be defined like this: It is a man insisting upon thinking when everything seems determined to bludgeon and knock him down in an intellectual sense. The trouble with the person of little faith is that, instead of controlling his own thought, his thought is being controlled by something else [circumstances, for example], and, as we put it, he goes round and round in circles. That is the essence of worry. . . . That is not thought; that is the absence of thought, a failure to think.2 We’re

Even the most fundamental of the fundamentalists plug their ears when Jesus starts talking about birds of the air and lilies of the field. They know damn well he's just yarning, just making pretty speeches.

There passed a child of four, a small girl on a footpath over the fields, going home in the evening to Erl. They looked at each other with round eyes. "Hullo," said the child. "Hullo, child of men," said the troll. . . . "What are you?" said the child. "A troll of Elfland," answered the troll. "So I thought," said the child. "Where are you going, child of men?" the troll asked. "To the houses," the child replied. "We don't want to go there," said the troll. "N-no," said the child. "Come to Elfland," the troll said. The child thought for a while. Other children had gone, and the elves always sent a changeling in their place, so that nobody quite missed them and nobody really knew. She thought awhile of the wonder and wildness of Elfland, and then of her own house. "N-no," said the child. "Why not?" said the troll. "Mother made a jam roll this morning," said the child. And she walked on gravely home. Had it not been for that chance jam roll she had gone to Elfland. "Jam!" said the troll contemptuously and thought of the tarns of Elfland, the great lily-leaves lying flat upon their solemn waters, the huge blue lilies towering into the elf-light above the green deep tarns: for jam this child had forsaken them!

It seems like being “passionate for something big” is something positive, but I keep running into Jesus telling us to be like children. And children are small. Maybe you’ve noticed that too. They do little things, and they’re okay with it. Jesus seems passionate about other little things too. Mustard seeds. Sparrows. Lilies of the field. Single days, like today, instead of The Big Future. Little acts of our will.

All at once the hard, cold earth seemed to explode. The brown surface of the world dissolved and in its place was an impossible, an inconceivable, an unbelievable profusion of color: green grass and purple and red flowers; sprays of lily; white baby's breath that covered the hills; nodding fields of bright yellow daffodils; rich purple moss. The trees burst forth with new leaves. The weeping willow tree was a mass of tiny pale green leaves, thousands of them, which whispered and sighed together as the wind moved through its branches. There were fat heads of lettuce in the fields, and cucumbers lying like jewels among them, and enormous red tomatoes surrounded by thick, knotted vines. And for the first time in 1,728 days, the clouds broke apart and there was dazzling blue sky, and light beyond what anyone could remember. The sun had come out at last.

The birds on the branches, the lilies in the field, the deer in the forest, the fishes in the sea, countless hosts of happy men, exultantly proclaim: God is love. But underneath all these sopranos, supporting them as it were, as the bass part does, is audible the de profundis which issues from the sacrificed one: God is love.

How sweet I roam'd from field to field, And tasted all the summer's pride, 'Till I the prince of love beheld, Who in the sunny beams did glide! He shew'd me lilies for my hair, And blushing roses for my brow; He led me through his gardens fair, Where all his golden pleasures grow. With sweet May dews my wings were wet, And Phoebus fir'd my vocal rage; He caught me in his silken net, And shut me in his golden cage. He loves to sit and hear me sing, Then, laughing, sports and plays with me; Then stretches out my golden wing, And mocks my loss of liberty.

He pushed me through the gate at the back of the park and then through the field. I tried again to scream for help, but against his palm, I hardly made a sound. He whispered “Lily” over and over while he dragged me toward a white van.

It's moments like this, when you need someone the most, that your world seems smallest. I'm told there's no going back. So I’m choosing forward The exhaustion of living was just too much for me to talk any longer It still might be a shock. To realize you are just one story walking among millions Why is it so much easier to talk to a stranger? Why do we feel we need that disconnect in order to connect? I had done it. I had embraced danger. The experience might have been an epic disaster, but it was still…an experience We are reading the story of our lives/ as though we were in it, /as though we had written it Like dogs and lions, small children can sense fear. The slightest flinch, the slightest disinclination, and they will jump atop you and devour you I might have liked to share a dance with you. If I may be so bold to say In a field, I am the absence of field. In a crowd, I am the absence of crowd. In a dream, I am the absence of dream. But I don’t want to live as an absence. I move to keep things whole. Because sometimes I feel drunk on positivity. Sometimes I feel amazement at the tangle of words and lives, and I want to be a part of that tangle…It’s only a game if there is an absence of meaning. And we’ve already gone too far for that You restore my faith in humanity Do you want to go get coffee or something tomorrow and discuss and analyze the situation at length? Let’s just wander and see what happens It was rather awkward, insofar as we were both teetering between the possibility of something and the possibility of nothing. Fate has a strange way of making plans I love a man who doesn’t let go of the leash, even when it leads him to ruin

This morning the water lilies are no less lovely, I think, than the lilies of Monet. And I do not want anymore to be useful, to be docile, to lead children out of the fields into the text of civility, to teach them that they are (they are not) better than the grass.

He ran his fingers over the moist ends of her hair and across her face. Her eyes were wet. Jesus Christ. How many nights had he heard Lily crying. As some parents sleep through fire, thunderstorms, and voices at the back door only to wake at a child’s whisper, so Everett heard Lily crying at night. Her muffled sobs seemed to have broken his dreams for years. He had heard her even at Fort Lewis, even in Georgia, finally at Bliss. That was Lily crying in the wings whenever the priest came to tear up his mother’s grave. Lily cried in the twilight field where he picked wild poppies with Martha; Lily’s was the cry he heard those nights the kiln burned, the levee broke, the ranch went to nothing.

I am talking of a place in India, at least a third of the country, a fertile place, full of rice fields and wheat fields and ponds in the middle of those fields choked with lotuses and water lilies, and water buffaloes wading through the ponds and chewing on the lotuses and lilies. Those who live in this place call it the Darkness. Please understand, Your Excellency, that India is two countries in one: an India of Light, and an India of Darkness. The ocean brings light to my country. Every place on the map of India near the ocean is well off. But the river brings darkness to India—the black river.

Finding her voice at last, she asked, “What dreams are you having, sir?” “I dreamt I was in a spring field and a woman stands in the shadows just at the edge of the nearby forest. I haven’t yet seen her face, only her long beautiful hair. I always wake too soon.” He reached up to touch the hawk touchstone around his throat as he described his dream, rubbing it absently between his fingers. Lily lowered her lashes to hide her astonishment. “When you see someone in a dream but cannot see their face, it means you haven’t met them yet,” she explained. “Then perhaps I’ll dream of her again tonight and this time I’ll see her face.” He smiled, reaching across the table to take her left hand and lift it to his lips. “My name is Ian Kelly, and it would give me the greatest pleasure to know yours.” “Lily Evans. Around here I go by Raven.” She raised a shoulder, indicating the gypsy tent. “Lily--indeed, a most beautiful name. Now tell me,” he stared pointedly at her hand, “I see no ring that another has claimed you as his, so my confidence is strengthened. Look at your cards again, milady, and tell me if you see me in your future…

There must always remain, however, from the standpoint of normal waking consciousness, a certain baffling inconsistency between the wisdom brought forth from the deep, and the prudence usually found to be effective in the light world. Hence the common divorce of opportunism from virtue and the resultant degeneration of human existence. Martyrdom is for saints, but the common people have their institutions, and these cannot be left to grow like lilies of the field; Peter keeps drawing his sword, as in the garden, to defend the creator and sustainer of the world. The boon brought from the transcendent deep becomes quickly rationalized into nonentity, and the need becomes great for another hero to refresh the word. How teach again, however, what has been taught correctly and incorrectly learned a thousand thousand times, throughout the millenniums of mankind’s prudent folly? That is the hero’s ultimate difficult task. How render back into light-world language the speech-defying pronouncements of the dark? How represent on a two-dimensional surface a three-dimensional form, or in a three-dimensional image a multi-dimensional meaning? How translate into terms of “yes” and “no” revelations that shatter into meaninglessness every attempt to define the pairs of opposites? How communicate to people who insist on the exclusive evidence of their senses the message of the all-generating void?

Words are lost, time passes, people are forgotten. All that remains is a ripple in time.

Once upon a time, in a land  of verdant fields and stone castles, an evil queen and a lovely maiden… You know what? Never mind the introduction, let’s just skip to the action!   “Mirror,

The first time Asher brought Lily to our house, I was with the bees. I saw him crossing the field with her, holding her hand as if he thought she might fly away—a balloon untethered, a dandelion puff.

The bleak fields are asleep, My heart alone wakes; The evening in the harbour Down his red sails takes. Night, guardian of dreams, Now wanders through the land; The moon, a lily white, Blossoms within her hand.

Maybe in this nation of the flesh, Distance will hold us together, as I try to remember her bent low to the bleeding heart’s small petals, and around us, buds of wild lilies where once there was a shallow gorge that dipped into the clearing and horses claimed the fields; and that one night she couldn’t sleep, she walked into the same field to behold the stars she once named for me. Maybe now I will understand what secrets she wanted to share that night while I pretended to sleep. Years later, we returned to that place only to discover that the rains had flooded the field into a lake, as if all memory was fiction, as if memory had turned things around.

Boehme makes such leaps, such contradictions, such confusions of thought. It is as though he wishes to vault directly into heaven upon the strength of his logic, but his logic is deeply impaired." She reached across the table for a book and flung it open. "In this chapter here, for instance, he is trying to find keys to God's secrets hidden inside the plants of the Bible- but what are we to make of it, when his information is simply incorrect? He spends a full chapter interpreting 'the lilies of the field' as mentioned in the book of Matthew, dissecting every letter of the word 'lilies,' looking for revelation within the syllables... but Ambrose, 'the lilies of the field' itself is a mistranslation. It would not have 'been' lilies that Christ discussed in his Sermon on the Mount. There are only two varieties of lily native to Palestine, and both are exceedingly rare. They would not have flowered in such abundance as to have ever filled a meadow. They would not have been familiar enough to the common man. Christ, tailoring his lesson to the widest possible audience, would more likely have referred to a ubiquitous flower, in order that his listeners would comprehend his metaphor. For that reason, it is exceedingly probable that Christ was talking about the anemones of the field- probably 'Anemone coronaria'- though we cannot be certain...

I have been thinking about living like the lilies that blow in the fields. They rise and fall in the wedge of the wind, and have no shelter from the tongues of the cattle, and have no closets or cupboards, and have no legs. Still I would like to be as wonderful as that old idea. But if I were a lily I think I would wait all day for the green face of the hummingbird to touch me. What I mean is, could I forget myself even in those feathery fields?

But his marital education had since made strides, and he now knew that a disregard for money may imply not the willingness to get on without it but merely a blind confidence that it will somehow be provided. If Undine, like the lilies of the field, took no care, it was not because her wants were as few but because she assumed that care would be taken for her by those whose privilege it was to enable her to unite floral insouciance with Sheban elegance.

The field was carpeted with the most lustrous show of wildflowers she had ever seen—flowers by the hundreds, the thousands, the millions. Purple irises. White lilies. Pink daisies. Yellow buttercups and red columbines and many others she knew no names for. A breeze had arisen; the sun had broken through the clouds. She shrugged off her pack and walked slowly forward. It was as if she were wading into a sea of pure color. The tips of her fingers brushed the petals of the flowers as she passed. They seemed to bow their heads in salutation, welcoming her into their embrace. In a trance of beauty, Amy moved among them. Corridors of golden sunshine fell over the field; far away, across the sea, a new age had begun. Here she would make her garden. She would make her garden, and wait.

And why take ye thought for raiment? Consider the lilies of the field, how they grow; they toil not, neither do they spin: And yet I say unto you, That even Solomon in all his glory was not arrayed like one of these. Wherefore, if God so clothe the grass of the field, which to day is, and to morrow is cast into the oven, shall he not much more clothe you, O ye of little faith? Therefore take no thought, saying, What shall we eat? or, What shall we drink? or, Wherewithal shall we be clothed? For your heavenly Father knoweth that ye have need of all these things. But seek ye first the kingdom of God, and his righteousness; and all these things shall be added unto you (Matthew 6:28-6:33). What does all that mean? Orient yourself properly. Then—and only then—concentrate on the day. Set your sights at the Good, the Beautiful, and the True, and then focus pointedly and carefully on the concerns of each moment. Aim continually at Heaven while you work diligently on Earth. Attend fully to the future, in that manner, while attending fully to the present. Then you have the best chance of perfecting both.

Who of you by worrying and being anxious can add one unit of measure (cubit) to his stature or to the span of his life? And why should you be anxious about clothes? Consider the lilies of the field and learn thoroughly how they grow; they neither toil nor spin. Yet I tell you, even Solomon in all his magnificence (excellence, dignity, and grace) was not arrayed like one of these. But if God so clothes the grass of the field, which today is alive and green and tomorrow is tossed into the furnace, will He not much more surely clothe you, O you of little faith? —MATTHEW 6:27–30

Sometimes, Lord, one is tempted to say that if you wanted us to behave like the lilies of the field you might have given us an organization more like theirs. But that, I suppose, is just your grand experiment. Or no; not an experiment, for you have no need to find things out. Rather your grand enterprise. To make an organism which is also a spirit; to make that terrible oxymoron, a 'spiritual animal.' To take a poor primate, a beast with nerve-endings all over it, a creature with a stomach that wants to be filled, a breeding animal that wants its mate, and say, 'Now get on with it. Become a god.

I have to work or else we don’t eat? That doesn’t go over too well: he thinks it’s a criticism of him because he doesn’t have a job, and then he sulks. He prefers to believe that she’s like a lily of the field; that she neither toils nor spins; that bacon and coffee are simply produced by her, like leaves from a tree.

She didn’t understand why electric energy sizzled in the air. She expected to see sparks popping off Mikhail and Dmitri at any moment. “I apologize,” offered Mikhail, standing before her with his hands at his back. “You need do nothing, Miss Snow, except stand very, very still. Please make no sudden movements. But I must inform you that we must ask permission to get close to your person.” “How close?” she asked, her throat gone dry from their nearness already. She sensed danger like the mouse in the field who feels the hawk watching her but cannot see him. “Quite close,” said Mikhail, his unworldly eyes filling with more black of his pupil.

Consider the lilies of the field, how they grow: they neither toil nor spin, 29yet I tell you,  jeven Solomon in all his glory was not arrayed like one of these. 30But if God so clothes the grass of the field, which today is alive and tomorrow is thrown into the oven, will he not much more clothe you,  kO you of little faith? 31Therefore do not be anxious, saying, ‘What shall we eat?’ or ‘What shall we drink?’ or ‘What shall we wear?’ 32For  lthe Gentiles seek after all these things, and  myour heavenly Father knows that you need them all. 33But  nseek first  othe kingdom of God and his righteousness,  pand all these things will be added to you.

I understood how all the flowers He has created are beautiful, how the splendor of the rose and the whiteness of the Lily do not take away from the perfume of the little violet or the simplicity of the daisy. I understood that if all flowers wanted to be roses, nature would lose her springtime beauty, and the fields would no longer be decked out with little wild flowers. And so it is in the world of souls, Jesus’ garden. He willed to create great souls comparable to Lilies and roses, but He has created smaller ones and these must be content to be daisies or violets destined to give joy to God’s glances when He looks down at His feet. Perfection consists in doing His will, in being what He wills us to be” (S,

{From Luther Burbank's funeral. He was loved until he revealed he was an atheist, then he began to receive death threats. He tried to amiably answer them all, leading to his death} It is impossible to estimate the wealth he has created. It has been generously given to the world. Unlike inventors, in other fields, no patent rights were given him, nor did he seek a monopoly in what he created. Had that been the case, Luther Burbank would have been perhaps the world's richest man. But the world is richer because of him. In this he found joy that no amount of money could give. And so we meet him here today, not in death, but in the only immortal life we positively know--his good deeds, his kindly, simple, life of constructive work and loving service to the whole wide world. These things cannot die. They are cumulative, and the work he has done shall be as nothing to its continuation in the only immortality this brave, unselfish man ever sought, or asked to know. As great as were his contributions to the material wealth of this planet, the ages yet to come, that shall better understand him, will give first place in judging the importance of his work to what he has done for the betterment of human plants and the strength they shall gain, through his courage, to conquer the tares, the thistles and the weeds. Then no more shall we have a mythical God that smells of brimstone and fire; that confuses hate with love; a God that binds up the minds of little children, as other heathen bind up their feet--little children equally helpless to defend their precious right to think and choose and not be chained from the dawn of childhood to the dogmas of the dead. Luther Burbank will rank with the great leaders who have driven heathenish gods back into darkness, forever from this earth. In the orthodox threat of eternal punishment for sin--which he knew was often synonymous with yielding up all liberty and freedom--and in its promise of an immortality, often held out for the sacrifice of all that was dear to life, the right to think, the right to one's mind, the right to choose, he saw nothing but cowardice. He shrank from such ways of thought as a flower from the icy blasts of death. As shown by his work in life, contributing billions of wealth to humanity, with no more return than the maintenance of his own breadline, he was too humble, too unselfish, to be cajoled with dogmatic promises of rewards as a sort of heavenly bribe for righteous conduct here. He knew that the man who fearlessly stands for the right, regardless of the threat of punishment or the promise of reward, was the real man. Rather was he willing to accept eternal sleep, in returning to the elements from whence he came, for in his lexicon change was life. Here he was content to mingle as a part of the whole, as the raindrop from the sea performs its sacred service in watering the land to which it is assigned, that two blades may grow instead of one, and then, its mission ended, goes back to the ocean from whence it came. With such service, with such a life as gardener to the lilies of the field, in his return to the bosoms of infinity, he has not lost himself. There he has found himself, is a part of the cosmic sea of eternal force, eternal energy. And thus he lived and always will live. Thomas Edison, who believes very much as Burbank, once discussed with me immortality. He pointed to the electric light, his invention, saying: 'There lives Tom Edison.' So Luther Burbank lives. He lives forever in the myriad fields of strengthened grain, in the new forms of fruits and flowers, plants, vines, and trees, and above all, the newly watered gardens of the human mind, from whence shall spring human freedom that shall drive out false and brutal gods. The gods are toppling from their thrones. They go before the laughter and the joy of the new childhood of the race, unshackled and unafraid.

For years I had thought of the Sermon on the Mount as a blueprint for human behavior that no one could possibly follow. Reading it again, I found that Jesus gave these words not to cumber us, but to tell us what God is like. The character of God is the urtext of the Sermon on the Mount. Why should we love our enemies? Because our clement Father causes his sun to rise on the evil and the good. Why be perfect? Because God is perfect. Why store up treasures in heaven? Because the Father lives there and will lavishly reward us. Why live without fear and worry? Because the same God who clothes the lilies and the grass of the field has promised to take care of us. Why pray? If an earthly father gives his son bread or fish, how much more will the Father in heaven give good gifts to those who ask him.

once upon a time, i met a flower. she was so innocent, yet so wise. she was glitter and wildness. softness and sweet fragrance. she was a flock of fireflies that danced through the forest and swam naked in moonlight. she was the first soul i bared myself to, only one i was completely honest with about the things that shamed me...we wandered through the world in a bubble of our own making, floating free, full of pastels so colorful, full of fairy dust, sunbeams, and feathers. we drew people towards us like sirens in the water, wanting what we had. but we fluttered away like butterflies hopping from lily pad to lily pad, giggling all the while. we told each other the real hard truth, and listened, and laughed and cried out our hearts. when i was going through a tough time, she once told me to pick a place, anywhere in the world, and she’d be there with me, even if she couldn't be...she was my flower. she taught me about generosity, about giving with deep trust that it would return somehow somewhere. and it always does. she taught me to love people for who they are, and to just let them be, in their own flower field. i met a flower. she taught me to live in love. to bloom, and listen. now i am alive, in love

Consider the lilies of the field; they toil not, neither do they spin; yet Solomon in all of his glory was not arrayed as one of these.' I know that God is prospering me in all ways. I am now leading the abundant life, because I believe in a God of abundance. I am supplied with everything that contributes to my beauty, well-being, progress and peace. I am daily experiencing the fruits of the spirit of God within me; I accept my good now; I walk in the light that all good is mine. I am peaceful, poised, serene and calm. I am one with the source of life; all my needs are met at every moment of time and every point of space. I now bring `all the empty vessels' to the Father within. The fullness of God is made manifest in all the departments of my life. `All that the Father hath is mine.' I rejoice that this is so." CHAPTER

There is no set of rules that dictates what you owe someone you love. What parts of your past should be disclosed? Should you confess you are trans? Alcoholic? That you had a same-sex relationship? An abortion? That you were abused by the person you trusted most in the world? When, if ever, is the right time for that conversation: before your first date, before your first kiss, before you sleep together? Where is the line between keeping something private, and being dishonest? What if the worst happens? What if honesty is the thing that breaks you apart? “What’s her name?” Asher asks, drawing me out of my reverie. I cover the new hive. I’ve been thinking of Billie Eilish, but maybe not every queen needs to be a pop diva. “Lily?” I suggest. I sit down next to him in the field, as stragglers from the crate fly to the entrance of the hive. We watch the sun go down,

She was swamped by a feeling of utter hopelessness as she waited for him to destroy her with a few caustic words. But he continued to watch her silently, his face unreadable. It seemed almost as if he were waiting for some cue from her. The dilemma lasted for several seconds, until Sara solved it by bursting into tears. She jerked her hands up to her face, blotting her streaming eyes. "I'm so sorry," she gasped. Suddenly he was next to her, touching her shoulders and arms lightly and then jerking his hands back as if burned. "No, don't. Don't. You're all right now." Gingerly he reached out to pat her back. "Don'y cry. Everything's fine. Bloody hell. Don't do that." As she continued to weep, Derek hovered over her in baffled dismay. He excelled at seducing women, charming and deceiving them, breaking down their defenses... everything but comforting them. No one had ever required it of him. "There, now," he muttered, as he had heard Lily Raiford say a thousand times to her crying children. "There, now." Suddenly she was leaning on him, her small head testing at the center of his chest. The long skeins of her hair draped everywhere, entangling him in a fine russet web. Alarmed, he lifted his hands to ease her away. Instead his arms slid around her until she was pressed against him length to length. "Miss Fielding," he said with great effort. "Sara..." She nestled deeper against him, muffling her gulping sobs in his shirtfront. Derek swore and furtively pressed his lips to the top of her head. He concentrated on the chilly night air, but his loins began to throb with an all-too-familiar pain. It was impossible to stay indifferent to the feel of her body molded to his. He was a bloody charlatan... no gentleman, no chivalrous comforter of women, only a scoundrel filled with raw desire. He smoothed his hand over her hair and urged her head into his shoulder until she was in danger of being smothered. "It's all right," he said gruffly. "Everything's fine now. Don't cry anymore.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin.” “As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed, long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Seeing the God statement Suppose the statement Blessed Are the pure in heart, for they shall see God were placed like a wreath of violets, Lilies, laurel, and olive, blossoms strung together Like words in a sentence, a garland Launched, set out on a flowing creek Imagine that wreath carried Down the frothy rapids, tossed, floating Slipping over water-smooth, moss-colored Boulders, in and out of slow, dark pools, Through poplar and willow shadows. It dips, Sinks momentarily, emerges, travels, maitains Its ring, its declaration and syntax. At times it widens in a broad, deep Current, makes sense as a gift. The pure becomes inclusive, spatial, Generous. God and heart are two Spread wings of one open reading. And at times it narrows, restricts. Violets and heart entangle With God. The blessed braces, Overlaps lilies and laurel. Still, at any point you might reach down yourself, catch that ring of blossoms, lift it up, wear its beauty and blooming distinction across your forehead. Look into a mirror. See what you can see.

It’s not too late. Our heads haloed with gnats & summer too early to leave any marks. Your hand under my shirt as static intensifies on the radio. Your other hand pointing your daddy’s revolver to the sky. Stars falling one by one in the cross hairs. This means I won’t be afraid if we’re already here. Already more than skin can hold. That a body beside a body must make a field full of ticking. That your name is only the sound of clocks being set back another hour & morning finds our clothes on your mother’s front porch, shed like week-old lilies.

Hothouse Flowers" I hate the flower of wood or common field. I cannot love the primrose nor regret The death of any shrinking violet, Nor even the cultured garden's banal yield. The silver lips of lilies virginal, The full deep bosom of the enchanted rose Please less than flowers glass-hid from frost and snows For whom an alien heat makes festival. I love those flowers reared by man's careful art, Of heady scents and colors: strong of heart Or weak that die beneath the touch of knife, Some rich as sin and some as virtue pale, And some as subtly infamous and frail As she whose love still eats my soul and life.

The Wish to be Generous" ALL that I serve will die, all my delights, the flesh kindled from my flesh, garden and field, the silent lilies standing in the woods, the woods, the hill, the whole earth, all will burn in man's evil, or dwindle in its own age. Let the world bring on me the sleep of darkness without stars, so I may know my little light taken from me into the seed of the beginning and the end, so I may bow to mystery, and take my stand on the earth like a tree in a field, passing without haste or regret toward what will be, my life a patient willing descent into the grass. —Wendell Berry, New Collected Poems (Counterpoint, 2012)

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin. As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed,long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Do Not Be Anxious 25 e “Therefore I tell you,  f do not be anxious about your life, what you will eat or what you will drink, nor about your body, what you will put on. Is not life more than food, and the body more than clothing? 26 g Look at the birds of the air: they neither sow nor reap nor gather into barns, and yet your heavenly Father feeds them.  h Are you not of more value than they? 27And which of you by being anxious can add a single hour to his  i span of life? [7] 28And why are you anxious about clothing? Consider the lilies of the field, how they grow: they neither toil nor spin, 29yet I tell you,  j even Solomon in all his glory was not arrayed like one of these. 30But if God so clothes the grass of the field, which today is alive and tomorrow is thrown into the oven, will he not much more clothe you,  k O you of little faith? 31Therefore do not be anxious, saying, ‘What shall we eat?’ or ‘What shall we drink?’ or ‘What shall we wear?’ 32For  l the Gentiles seek after all these things, and  m your heavenly Father knows that you need them all. 33But  n seek first  o the kingdom of God and his righteousness,  p and all these things will be added to you. 34 q “Therefore do not be anxious about tomorrow, for tomorrow will be anxious for itself. Sufficient for the day is its own trouble.

Sometimes, Gansey forgot how much he liked school and how good he was at it. But he couldn't forget it on mornings like this one--fall fog rising out of the fields and lifting in front of the mountains, the Pig running cool and loud, Ronan climbing out of the passenger seat and knocking knuckles on the roof with teeth flashing, dewy grass misting the black toes of his shoes, bag slung over his blazer, narrow-eyed Adam bumping fists as they met on the sidewalk, boys around them laughing and calling to one another, making space for the three of them because this had been a thing for so long: Gansey-Lynch-Parrish. Mornings like this one were made for memories.

On April 14 in Boston, Elston’s name went down in Yankee history. He got into his first game when Irv Noren was ejected over a call at home plate. According to the Black Associated Press, Elston made his Yankee debut at 4:32 p.m. “Howard’s appearance at-bat signaled the fall of a dynasty that had been assailed on all sides as being anti-Negro. The fans gave Howard a well-deserved round of applause, making his debut on the heretofore lily-white Bronx Bombers.” Elston played three innings that day. He singled and drove in a run in an 8–4 loss to the Red Sox. Finally, the Yankees had become the thirteenth club in the major leagues to field a black player. The only holdouts were the Philadelphia Phillies, Detroit Tigers, and Boston Red Sox.

That girl has been listening,” she said. The culprit snatched up her brush, and scrambled to her feet. She caught at the coal box and simply scuttled out of the room like a frightened rabbit. Sara felt rather hot-tempered. “I knew she was listening,” she said. “Why shouldn’t she?” Lavinia tossed her head with great elegance. “Well,” she remarked, “I do not know whether your mamma would like you to tell stories to servant girls, but I know my manna wouldn’t like me to do it.” “My mamma!” said Sara, looking odd. “I don’t believe she would mind in the least. She knows that stories belong to everybody.” “I thought,” retorted Lavinia, in severe recollection, “that your mamma was dead. How can she know things?” “Do you think she doesn’t know things?” said Sara, in her stern little voice. Sometimes she had a rather stern little voice. “Sara’s mamma knows everything,” piped in Lottie. “So does my mamma--’cept Sara is my mamma at Miss Minchin’s--my other one knows everything. The streets are shining, and there are fields and fields of lilies, and everybody gathers them. Sara tells me when she puts me to bed.” “You wicked thing,” said Lavinia, turning on Sara; “making fairy stories about heaven.” “There are much more splendid stories in Revelation,” returned Sara. “Just look and see! How do you know mine are fairy stories? But I can tell you”--with a fine bit of unheavenly temper--“you will never find out whether they are or not if you’re not kinder to people than you are now. Come along, Lottie.

Sara and I are both leaving within the hour. In my carriage." "Together?" Lily looked startled, and then shook her head. "You can't. Don't you realize what people would say when they discovered that both of you were gone?" "Nothing they haven't said already." He slid a proprietary arm around Sara's shoulders. Lily drew her slight frame up as tall as possible, adopting the brisk tone of a chaperone defending her charge. "Where are you planning to go?" Derek smiled slowly. "None of your damn business, gypsy." Ignoring Lily's sputtering protests, he stared down at his fiancée and raised his brows mockingly. As she met his glinting green eyes, Sara realized he intended to take her to London and keep her with him for the night. Her nerves jangled with alarm. "I'm not certain it's advisable-" she began diplomatically, but he cut her off. "Go pack your things." Oh, the arrogance. But it was part of why she loved him, his single-minded determination to get what he wanted. Only blind, bullying stubbornness had enabled him to climb from the gutter. Now that the prospect of marrying her was within his reach, he planned to ensure it by well and truly compromising her. After tonight there would be no turning back. Sara stared at the broad expanse of his chest, conscious of the weight of his arm across her shoulders, the gentle stroke of his thumb and forefinger against her neck. Well... reprehensible as it was, she wanted the same thing. "Derek," Lily said in a steely voice, "I won't allow you to force this poor child into something she's not prepared for-" "She's not a child." His fingers tightened on the back of Sara's neck. "Tell her what you want, Sara." Helplessly Sara raised her head and looked at Lily, her face turning a deep shade of crimson. "I... I'm leaving with Mr. Craven." She didn't have to look at Derek to know that he was smiling in satisfaction.

He [Jesus] opened the book of nature before me, and I saw that every flower He has created has a beauty of its own, that the splendor of the rose and the lily's whiteness do not deprive the violet of it's scent nor make less ravishing the daisy's charm. I saw that if every little flower wished to be a rose, Nature would lose her spring adornments , and the fields would be no longer enameled with their varied flowers. So it is in the world of souls, the living garden of the Lord. It please Him to create great Saints, who may be compared with the lilies or the rose, but He has also created little ones, who must be content to be daisies or violets, nestling at His feet to delight His eyes when He should choose to look at them... What delights Him is the simplicity of these flowers of the field, and by stooping so low to them, He shows how infinitely great He is. Just as the sun shines equally on the cedar and the little flower, so the Divine Sun shines equally on everyone, great and small.

Trumpets blared. ’Denham’s Dentifrice.’ Shut up, thought Montag. Consider the lilies of the field. ’Denham’s Dentifrice.’ They toil not — ’Denham’s —’ He tore the book open and flicked the pages and felt them as if he were blind, he picked at the shape of the individual letters, not blinking. ’Denham’s. Spelled: D-E-N —’ They toil not, neither do they … A fierce whisper of hot sand through empty sieve. ’Denham’s does it!’ Consider the lilies, the lilies, the lilies … ’Denham’s dental detergent.’ ‘Shut up, shut up, shut up!’ It was a plea, a cry so terrible that Montag found himself on his feet, the shocked inhabitants of the loud car staring, moving back from this man with the insane, gorged face, the gibbering, dry mouth, the flapping book in his fist. The people who have been sitting a moment before, tapping their feet to the rhythm of Denham’s Dentifrice, Denham’s Dandy Dental Detergent, Denham’s Dentifrice Dentifrice Dentifrice, one two, one two three, one two, one two three. The people whose mouths had been faintly twitching the words Dentifrice Dentifrice Dentifrice. The train radio vomited upon Montag, in retaliation, a great ton-load of music made of tin, copper, silver, chromium, and brass. The people were pounded into submission; they did not run; there was no place to run; the great air-train fell down its shafts in the earth. ’Lilies of the field.’ ’Denham’s.’ ’Lilies, I said!’ The people stared. ’Call the guard.’ ’The man’s off —’ ’Knoll View!’ The train hissed to its stop. ’Knoll View!’ A cry. ’Denham’s.’ A whisper. Montag’s mouth barely moved. ‘Lilies …’ The train door whistled open. Montag stood. The door gasped, started shut. Only then did he leap past the other passengers, screaming his mind, plunge through the slicing door only in time. He rain on the white tiles up through the tunnels, ignoring the escalators, because he wanted to feel his feet move, arms swing, lungs clench, unclench, feel his throat go raw with air. A voice drifted after him, ‘Denham’s Denham’s Denham’s,’ the train hissed like a snake. The train vanished in its hole.

Take the fig tree as a parable,” he says; “as soon as its twigs grow supple and its leaves come out, you know that summer is near. So with you when you see all these things: know that [the Son of Man] is near, right at the gates. In truth I tell you, before this generation has passed away, all these things will have taken place” (Matthew 24:32-35). It’s interesting to note Jesus’ style here. He doesn’t quote Scripture; that’s why his authority is not like the authority of the scribes and the Pharisees (see Matthew 7:29). He doesn’t quote “papal encyclicals.” He most often uses nature as an authority. He points to clouds, sunsets, sparrows, lilies, corn in the field, leaves unfolding, several kinds of seeds, oxen in a ditch! Nature instructs us everywhere. Look and learn how to see. Look and see the rhythm, the seasons, the life and death of things. That’s your teaching, that’s creation’s plan in front of you. The new world is constantly coming into being as the old world passes. Nothing lives in nature unless something else dies, and it often happens slowly and is unseen—unless you learn how to see. Christians

Eeh, but whah’s the use, the fuckin’ use?” Dixon resting his head briefly tho’ audibly upon the Table. “It’s over . . . ? Nought left to us but Paper-work . . . ?” Their task has shifted, from Direct Traverse upon the Line to Pen-and-Paper Representation of it, in the sober Day-Light of Philadelphia, strain’d thro’ twelve-by-twelve Sash-work, as in the spectreless Light of the Candles in their Rooms, suffering but the fretful Shadows of Dixon at the Drafting Table, and Mason, seconding now, reading from Entries in the Field-Book, as Dixon once minded the Clock for him. Finally, one day, Dixon announces, “Well,— won’t thee at least have a look . . . ?” Mason eagerly rushes to inspect the Map of the Boundaries, almost instantly boggling, for there bold as a Pirate’s Flag is an eight-pointed Star, surmounted by a Fleur-de-Lis. “What’s this thing here? pointing North? Wasn’t the l’Grand flying one of these? Doth it not signify, England’s most inveterately hated Rival? France?” “All respect, Mason,— among Brother and Sister Needle-folk in ev’ry Land, ’tis known universally, as the ‘Flower-de-Luce.’ A Magnetickal Term.” “ ‘Flower of Light’? Light, hey? Sounds Encyclopedistick to me, perhaps even Masonick,” says Mason. A Surveyor’s North-Point, Dixon explains, by long Tradition, is his own, which he may draw, and embellish, in any way he pleases, so it point where North be. It becomes his Hall-Mark, personal as a Silver-Smith’s, representative of his Honesty and Good Name. Further, as with many Glyphs, ’tis important ever to keep Faith with it,— for an often enormous Investment of Faith, and Will, lies condens’d within, giving it a Potency in the World that the Agents of Reason care little for. “ ’Tis an ancient Shape, said to go back to the earliest Italian Wind-Roses,” says Dixon, “— originally, at the North, they put the Letter T, for Tramontane, the Wind that blew down from the Alps . . . ? Over the years, as ever befalls such frail Bric-a-Brack as Letters of the Alphabet, it was beaten into a kind of Spear-head,— tho’ the kinder-hearted will aver it a Lily, and clash thy Face, do tha deny it.” “Yet some, finding it upon a new Map, might also take it as a reassertion of French claims to Ohio,” Mason pretends to remind him. “Aye, tha’ve found me out, I confess,— ’tis a secret Message to all who conspire in the Dark! Eeh! The old Jesuit Canard again!

It's a lovely mask," Sara said, toying with the narrow black silk ribbons before tying it in place. Monique had artfully fashioned it out of black silk and lace, and glinting blue sapphires that matched her gown. "I'm not nervous at all." It was true. She felt as if some reckless stranger had replaced her usual cautious self. The midnight-blue gown molded to her figure, cut so low that her breasts seemed ready to spill from the meager bodice. A broad satin sash fastened with a gold buckle emphasized her small waist. The mask covered the upper half of her face but revealed her lips, which Monique and Lily had insisted on darkening with the faintest hint of rouge. Laboriously they had arranged her hair in a cluster of curls on top of her head, allowing a few ringlets to dangle teasingly against her cheeks and neck. A perfume that reminded Sara of roses blended with some deeper foresty scent had been applied sparingly to her bosom and throat. "A triumph," Monique had declared, gloating over the transformation. "Beautiful, worldly, but still fresh and young... ah, chérie, you will make many conquests tonight!" "Stunning," Lily had said, beaming with delight. "What a stir she'll cause.

In the landscape of my native land, a stranger in my own fields, --I had a homeland where the Duero flows between gray cliffs and the ghosts of ancient oaks, there in Castile, mystic and warlike, graceful Castile, humble and boastful, Castile of arrogance and power, in the fields of Andalusia where I was born, I long to sing! My childhood memories are here, images of palm trees and sun against a golden brilliance, distant bell towers with storks, city streets without women under an indigo sky, deserted swuares where blazing orange trees ripen with round vermillon fruit, and in a shady garden, the dusty branches of a lemon tree, pale yellow lemons reflected in the clear water of the fountains. The scent of lilies and carnations, pungent odor of basil and mint. images of gloomy olive groves under a torrid sun that blinds and dazes, winding blue mountain ranges under the red glow of an immense afternoon; but if the thread that links memory to the heart is missing, the anchor to the shore, these memories are soulless. In their ragged dress, they are remnants of memory, castoffs the mind drags along. One day, anointed with light from below, our virginal bodies will return to their ancient shore.

It had been years since he'd seen a woman handle a crowd of admirers so deftly- not since Lily in her gambling days. Fascinated, he wondered where the hell she had come from. He knew about all the new arrivals in London, and he'd never seen her before. She must be some diplomat's wife, or some exclusive courtesan. Her lips were red and pouting, her pale white shoulders enticingly bare above the blue velvet of her gown. She laughed frequently, tossing her head back in a way that caused her chestnut curls to dance. Like the other men present, Derek was captivated by her figure, the luscious round breasts, the tiny waist, all revealed by a well-fitted gown that was unlike the shapeless Grecian styles of the other women. "A toast to the loveliest bosom in London!" Lord Bromley, a rakish ne'er-do-well, exclaimed. Titillated and excited, the crowd raised their glasses with a cheer. Waiters rushed to bring more liquor. "Miss," one of them begged, "I entreat you to cast my dice for me." "Whatever good luck I have is yours," she assured him, and shook the dice in the box so vigorously that her breasts quivered beneath their shallow covering. The temperature in the room escalated rapidly as a host of admiring sighs greeted the display. Derek decided to intervene before the crowd's mood became too highly charged. Either the vixen didn't realize the lust she was inciting, or she was doing it deliberately. Either way, he wanted to meet her.

I still cherish my childhood memories of the sun opening the dusky eyelids of the west and the misty mornings against the backdrop of of Kgalatlou Mountain. The green prime of summer, twingling leaves of acacia yrees of Manthakge Plains, pure clear sky, the smooth plough fields and lush green meadows. In winter, that green carpet will be replaced by drearily looking land like a dim picture of the drowned past, all signs of life and feeling gone out of it, with the plough fields scorched and naked, the streams of Manyane silent, and the grass of the meadows looking like burned powder.  I still remember and cherish the touch of autumn nights and the ruddy moon leaning over Madibong. When I think about this, a sorrowful silent tear always roll down my cheek, I become sad and gripped by grief because of what has now become of the land of my forefathers. I have known and cherished its distinguished  rocks, fauna, and flora since I could stand and walk. I know its mountain slopes, plains, its rocks, and bushes like the veins and knuckles at the back of my hand. The ever changing beauty of Leolo Mountains, from the aloes of Segodi Boulders to the lilies of Legaletlweng; the imposing Letheleding Boulders towering over Manyane Dale. The interesting contrast of granite ingenious sedimentary rocks of Leolo Mountains and the red sand rock of Seolwane Mountain, the red sandy soil of Leruleng, the dark clay soil of Marakane and the red fertile loom soil of Sehalbeng Plains. The Magnetite rocks Ga - Sethadi and the shale rocks of Malatjane.

PARABLE Worries come to a man and a woman. Small ones, light in the hand. The man decides to swallow his worries, hiding them deep within himself. The woman throws hers as far as she can from their porch. They touch each other, relieved. They make coffee, and make plans for the seaside in May. All the while, the worries of the man take his insides as their oyster, coating themselves in juice—first gastric, then nacreous—growing layer upon layer. And in the fields beyond the wash-line, the worries of the woman take root, stretching tendrils through the rich soil. The parable tells us Consider the ravens, but the ravens caw useless from the gutters of this house. The parable tells us Consider the lilies, but they shiver in the side-yard, silent. What the parable does not tell you is that this woman collects porcelain cats. Some big, some small, some gilded, some plain. One stops doors. One cups cream and another, sugar. This man knows they are tacky. Still, when the one that had belonged to her great-aunt fell and broke, he held her as she wept, held her even after her breath had lengthened to sleep. The parable does not care about such things. Worry has come to the house of a man and a woman. Their garden yields greens gone bitter, corn cowering in its husk. He asks himself, What will we eat? They sit at the table and open the mail: a bill, a bill, a bill, an invitation. She turns a saltshaker cat between her palms and asks, What will we wear? He rubs her wrist with his thumb. He wonders how to offer the string of pearls writhing in his belly.

The pink?" she suggested, holding the shimmering rose-colored satin in front of Sara's half-clad figure. Sara held her breath in awe. She had never worn such a sumptuous creation. Silk roses adorned the sleeves and hem of the gown. The short-waisted bodice was finished with a stomacher of silver filigree and a row of satin bows. Lily shook her head thoughtfully. "Charming, but too innocent." Sara suppressed a disappointed sigh. She couldn't imagine anything more beautiful than the pink satin. Busily Monique discarded the gown and sorted through the others. "The peach. No man will be able to keep his eyes from her in that. Here, let us try it, chérie." Raising her arms, Sara let the dressmaker and her assistant Cora pull the gauzy peach-hued gown over her head. "I think it will have to be altered a great deal," Sara commented, her voice muffled beneath the delicate layers of fabric. The gowns had been fitted for Lily's lithe, compact lines. Sara was more amply endowed, with a generous bosom and curving hips, and a tiny, scoped-in waist... a figure style that had been fashionable thirty years ago. The current high-waisted Grecian mode was not particularly flattering to her. Monique settled the gown around Sara's feet and then began to yank the back of it together. "Oui, Lady Raiford has the form that fashion loves." Energetically, she hooked the tight bodice together. "But you, chérie, have the kind that men love. Draw in your breath, s'il vous plaît." Sara winced as her breasts were pushed upward until they nearly overflowed from the low-cut bodice. The hem of the unusually full skirt was bordered with three rows of graduated tulip-leaves. Sara could hardly believe the woman in the mirror was herself. The peach gown, with its transparent layers of silk and shockingly low neckline, had been designed to attract a man's attention. It was too loose at the waist, but her breasts rose from the shallow bodice in creamy splendor pushed together to form an enticing cleavage.