Mausoleum Quotes

...I give you the mausoleum of all hope and desire...I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all of your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.

When the shadow of the sash appeared on the curtains it was between seven and eight o' clock and then I was in time again, hearing the watch. It was Grandfather's and when Father gave it to me he said I give you the mausoleum of all hope and desire; it's rather excruciating-ly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father's. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.

Επιθυμίες Σαν σώματα ωραία νεκρών που δεν εγέρασαν και τάκλεισαν, με δάκρυα, σε μαυσωλείο λαμπρό, με ρόδα στο κεφάλι και στα πόδια γιασεμιά -- έτσ' η επιθυμίες μοιάζουν που επέρασαν χωρίς να εκπληρωθούν· χωρίς ν' αξιωθεί καμιά της ηδονής μια νύχτα, ή ένα πρωϊ της φεγγερό." Desires "Like beautiful bodies of the dead who had not grown old and they shut them, with tears, in a brilliant mausoleum, with roses at the head and jasmine at the feet -- this is what desires resemble that have passed without fulfillment; without any of them having achieved a night of sensual delight, or a morning of brightness.

Dixon was alive again. Consciousness was upon him before he could get out of the way; not for him the slow, gracious wandering from the halls of sleep, but a summary, forcible ejection. He lay sprawled, too wicked to move, spewed up like a broken spider-crab on the tarry shingle of morning. The light did him harm, but not as much as looking at things did; he resolved, having done it once, never to move his eyeballs again. A dusty thudding in his head made the scene before him beat like a pulse. His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum. During the night, too, he'd somehow been on a cross-country run and then been expertly beaten up by secret police. He felt bad.

I carved out little spaces within my heart; little, lovely mausoleums where I could lock each and every one of them inside, keep the memories safe and close to me forever.

You're not waiting for her resurrection; you've made yourself her mausoleum.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

My old pastor liked to say that church is a hospital for the sick, not a mausoleum for the saints.

The computer beeped as the upload completed. A moment later, Ian Kabra appeared on the screen. Dan was surprised. "Hey, Ian, isn't it, like, two in the morning back there?" "It's called jet lag," Ian informed him. "I'm still on London time. I don't suppose you savages have any tea in this mausoleum." "There's a diet Snapple in the fridge." Ian shuddered. "I thought not.

As you wish, of course." Lucius lowered the volume on an old record player, which spun a warped vinyl disk that wailed unfamiliar music, scratchy and whiny, like cats fighting. Or a coffin with rusty hinges opening and closing over and over again in a deserted mausoleum. "Do you like Croatian folk?" heasked, seeing my interest. "It reminds me of home." "I prefer normal music." "Ah, yes, your MTV with all the bumping and grinding. Like a shot of raging adolescent hormones administered via television. I'm not averse.

Against my protests a mausoleum was built on the Red Square, a monument unbecoming and offensive to the revolutionary consciousness.

...I give you the mausoleum of all hope and desire...I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all of your breath trying to conquer it.

Libraries should be the beating heart of the school, not mausoleums for dusty books.

This whole thing happened because you wouldn't face up to Gideon dying.' he said, which was a stab as precise as any Nonius had managed. 'I don't blame you. But where would you be, right now, if you'd said: She is dead? You're keeping her things like a lover keeping old notes, but with her death, the stuff that made her Gideon was destroyed. That's how Lyctorhood works, isn't it? She died. She can't come back, even if you keep her stuffed away in a drawer you can't look at. You're not waiting for her resurrection; you've made yourself her mausoleum.

Fuck You!' [Oskar said] 'Exuse me!' [His mom said] 'Sorry. I mean, screw you.' 'You need a time-out!' 'I need a mausoleum!

She crossed the cave, which was trapped, and passed the central moat of black water—which was deep, and trapped—and then climbed the island (trapped) to the frozen mausoleum (ridiculously trapped),

Before I came to New York I lived here, in this mausoleum. I was nothing. I was dead. When I came to New York it was like a veil lifting. For the first time I felt I was alive, breathing.

A book is a beautiful, paper mausoleum, or tomb, in which to store ideas...to keep the bones of your thoughts in one place, for all time. I just want to say..."Hello. We can hear you. The words survived.

Fertility says, "Can you relax and just let things happen?" I ask, does she mean, like disasters, like pain, like misery? Can I just let all that happen? "And Joy," she says, "and Serenity, and Happiness, and Contentment." She says all the wings of the Columbia Memorial Mausoleum. "You don't have to control everything," she says. "You can't control everything." But you can be ready for disaster. A sign goes by saying, Buckle Up. "If you worry about disaster all of the time, that's what you are going to get," Fertility says.

It was Grandfather's watch and when Father gave it to me he said I give you the mausoleum of all hope and desire; it's rather excruciating-ly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father's. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.

A dusty thudding in his head made the scene before him beat like a pulse. His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum. During the night, too, he'd somehow been on a cross-country run and then been expertly beaten up by secret police. He felt bad.

There are noble mausoleums rooted for centuries in retired glades of parks among the growing timber and the fern, which perhaps hold fewer noble secrets than walk abroad among men, shut up in the breast of Mr. Tulkinghorn.

A curse. Been in our family for generations. The Lees have always been perverts. I shall never forget the unspeakable horror that froze the lymph in my glands when the baneful word seared my reeling brain—I was a homosexual. I thought of the painted simpering female impersonators I'd seen in a Baltimore nightclub. Could it be possible I was one of those subhuman things? I walked the streets in a daze like a man with a light concussion. I would've destroyed myself. And a wise old queen—Bobo, we called her—taught me that I had a duty to live and bear my burden proudly for all to see. Poor Bobo came to a sticky end - he was riding in the Duke Devanche's Hispano Suissa when his falling hemorrhoids blew out of the car and wrapped around the rear wheel. He was completely gutted leaving an empty shell sitting there on the giraffe skin upholstry. Even the eyes and the brain went with a horrible "shlupping" sound. The Duke says he would carry that ghastly "shlup" with him to his mausoleum.

Permanence has been swept aside by the rapidity of empty images. The pantheon, we discover to our astonishment, is the doghouse of the burning asylum... We think our brain is a marble mausoleum, when in fact it's a house made of cardboard boxes, a shack stranded between an empty field and an endless dusk.

Shit now is the color white folks are afraid of. Shit is the presence of death, not some abstract-arty character with a scythe but the stiff and rotting corpse inside the whiteman’s warm and private own asshole, which is getting pretty intimate. That’s what the toilet is for. You see many brown toilets? Nope, toilet’s the color of gravestones, classical columns of mausoleums, that white emblems the very emblem of Odorless and Official death.

All public projects are mausoleums, not always in shape, but always in cost.

And it was this: raze to the ground the mausoleum you have just started building for the bones of your ancestors and your descendants and those who come in-between. Make that land a holy shrine for pilgrims from everywhere.

Desires Like the beautiful bodies of those who died young, tearfully interred in a grand mausoleum with roses by their heads and jasmine at their feet – so seem those desires that have passed without fulfilment; without a single night of pleasure, or one of its radiant mornings.

She is his living mausoleum.

a silent concave of puppet buffoons neither eagles nor jaguars buzzard lawyers locuses wings of ink sawing mindibles ventriloquist coyotes peddlers of shadows beneficent satraps the cacomistle thief of hens the monument to the Rattle and its snake the altar to the mauser and the machete the mausoleum of the epauletted cayman rhetoric sculpted in phrases of cement

I Have a self to recover, a queen. Is she dead, is she sleeping? Where has she been, With her lion-red body, her wings of glass? Now she is flying More terrible than she ever was, red Scar in the sky, red comet Over the engine that killed her— The mausoleum, the wax house. --from "Stings", written 6 October 1962

Nothing is more interesting than repressed emotion. The appearance of sardonic coldness and stoicism which has deceived you is but a hollow mockery; beneath it I secrete a maelstrom of impassioned feeling and a mausoleum of blighted hopes.

I'm not able to rid myself of my self.

They have a grand mausoleum in Florence, which they built to bury our Lord and Saviour and the Medici family in.

Sanitized, cleaned, my house was a mausoleum and the ghost it housed was me.

along with the rest of our helpless world; and, O, if you could, you would, where lovers walked, sell off trees and not give a flying fuck for the muted mausoleums of the bees.

Thankfully the rain had softened to a light drizzle, but the murky gray of the sky painted a dreary mausoleum atmosphere.

The Rival If the moon smiled, she would resemble you. You leave the same impression Of something beautiful, but annihilating. Both of you are great light borrowers. Her O-mouth grieves at the world; yours is unaffected, And your first gift is making stone out of everything. I wake to a mausoleum; you are here, Ticking your fingers on the marble table, looking for cigarettes, Spiteful as a woman, but not so nervous, And dying to say something unanswerable. The moon, too, abuses her subjects, But in the daytime she is ridiculous. Your dissatisfactions, on the other hand, Arrive through the mailslot with loving regularity, White and blank, expansive as carbon monoxide. No day is safe from news of you, Walking about in Africa maybe, but thinking of me.

... if hanging with other vamps means I have to go the whole movie cliché route, then forget it. Cemeteries? Acolytes? Partying in chilly mausoleums? Yuck-o. Also, nobody wears a tux this time of year unless they're going to a wedding. You look like an escapee from the set of Dracula Does Doris.

Memories Memories are real life experiences distilled over time into a palatable elixir that one can selectively choose to indulge. Heartbreak and misfortune are most often entombed in cerebral mausoleums. Due to their caustic essence they are prohibitive to access and are accompanied by a lingering bitter aftertaste. Pleasant recollections may be retrieved at will as if tethered to the end of a string on a reel. They are often seasoned to taste and bursting with flavor and pungent aromas.

Now that I'm thinking about it," I told Gerald, "they could make an incredibly long limousine that had it's back seat at your mom's VJ and it's front seat at your mausoleum, and it would be as long as your life.

Reading Myself" Like thousands I took just pride and more than just, struck matches that brought my blood to a boil; I memorized the tricks to set the river on fire-- somehow never wrote something to go back to. Can I suppose I am finished with wax flowers and have earned my grass on the minor slopes of Parnassus... No honeycomb is built without a bee adding circle to circle, cell to cell, the wax and honey of a mausoleum-- this round dome proves its maker is alive; the corpse of the insect lives embalmed in honey, prays that its perishable work live long enough for the sweet tooth bear to desecrate-- this open book..my open coffin

But by the way, who is the murderer? The one who does not know my relatives, or myself, as I erect my new life like a fragile mausoleum where their shadowy figure is integrated, like a corpse, at the source of my wandering?

The imagination is always more horrible than the truth.

He leaned closer. “That’s what I’m trying to do. Your face is absolutely adorable when you blush.” My ears burned. Oh great, am I the color of a tomato now? “Yeah, well, I can make you blush,” I retorted. “By telling you how hot you are, and that when that little piece of black hair falls into your eyes, it’s so sexy it makes me forget my words, and...” I stopped, suddenly aware of how warm the mausoleum was. “Go on,” Caspian prodded, shaking his head so that his hair covered one green eye. I blushed again, and glanced around me, slowly backing away from him. I just needed some... space to clear my head. He followed me, stalking my every move. My blood felt like pure oxygen racing through my veins, fizzy and bubbling and making me want to float away. A hard wall at my back stopped me, but Caspian kept coming. I thought desperately of some way to change the subject. “I got you Moby-Dick,” I blurted out. He gave me a sly smile. “Mmmm, did you? How... interesting.” “And Treasure Island, and The Count of Monte Cristo.” I babbled on. “I thought you might like some boy books.” He stopped an inch away from me. I felt like I was his prisoner. “Let’s go back to the sexy and hot thing,” Caspian said. “Could we add a gorgeous or mysterious in there, too?” I gulped. “Like you don’t already know you’re all of those things. You probably had girls falling all over you before.” Caspian cocked his head to one side. “True. But I always thought it was because I was the quiet new guy. And besides, there’s only one person I was ever really interested in.” “Was?” I squeaked. Then I cleared my throat and tried again. “I mean—” “Am,” Caspian corrected himself. “Technically, I guess it’s both. I was interested the first day I saw her, and I still am interested in her.” His eyes glowed in the soft candlelight around us, and every last ounce of coherent thought left me. “It’s... um... really. It’s...” My head felt like it was thickening and my body was overheating, every word dragged from somewhere in the depths of my fuzzy brain. I waved a hand in front of my face to fan myself, and finally spit out what I was trying to say. “It’s hot in here. Don’t you think? It’s really warm.” “I only feel warmth when I’m standing next to you,” Caspian said. He stepped half an inch closer. “Like right now.

They thought death was worth it, but I Have a self to recover, a queen. Is she dead, is she sleeping ? Where has she been, With her lion-red body, her wings of glass ? Now she is flying More terrible than she ever was, red Scar in the sky, red comet Over the engine that killed her——— The mausoleum, the wax house. 6

Can you just relax and let things happen?" I ask, does she mean, like disasters, like pain, like misery? Can I just let all that happen? "And Joy," shes says, "and Serenity, and Happiness and Contentment." She says all the names of the Columbia Memorial Mausoleum. "You don't have to control everything," she says, "You can't control everything.

Somewhat melancholy happiness of offering an object one likes, and that one had bought for oneself!

What I got in exchange for my false prosperity was only a fearful destruction, a cold mask, and a pitch-dark castle like a mausoleum that the Phantom made.

I give you the mausoleum of all hope and desire; it's rather excruciating-ly apt that you will use it to gain the reducto absurdum of all human experience.

Ghosts with periscope eyes, each a mausoleum of violet lilac sent to earth in another form.

I have no wish to stay here,” he said, “in this wretched mausoleum of a country. Let us go to New York. I will make my future there. There is no future here, for a boy like me.

Better a cheap coffin and a plain funeral after a useful, unselfish life, than a grand mausoleum after a loveless, selfish life.

As filthy as any night was, a New York City morning is always clean. The eyes get washed. Flowers in white deli buckets are replenished. The population bathes, in marble mausoleums of Upper East Side showers, or in Greenwich Village tubs, or in the sink of a Chinatown one-bedroom crammed with fifteen people. Some bar opens and the first song on the jukebox is Johnny Thunders, while bums pick up cigarette butts to see what’s left to smoke. The smell of espresso and hot croissants. The weather vane squeaks in the sun. Pigeons are reborn out of the mouths of blue windows.

If I were your mother, I would also warn you to beware of buildings that claim to be the houses of God. If heard it said once, jokingly, that on their days off, when they are not actively intervening in human affairs or shoring up the sweetness of the earth, the orishas get together in a little apartment in a poor section of Havana around a very big screen television and laugh themselves silly a the unceasing soap opera that is our lives, all the while puffing on good Cuban cigars and swigging cheap rum. And, darling, whether you imagine one big white distant god or many more particular brown ones who like their little pleasures, I would tell you to get off your butt and out of the house if you want to make contact. If you go to a mausoleum, you'll find dead bodies. Living gods inhabit a living world.

A book is a beautiful, paper mausoleum, or tomb, in which to store ideas... to keep the bones of your thoughts in one place, for all time I just want to say - "Hello. We can hear you. The words survived.

I stared down at my hands and saw the blood coat them, how warm and real something felt when it wasn’t just ink and stains. This was life and I was holding it in my hands. I drew my eyes back up and beneath the flickering streetlight and the throng of drunken cattle, I saw nothing else but the dead girl. Somebody out there had taken her life, her heart, and there I was with her warm, sticky blood. Feeling the most alive I’d felt in years. I had to find him. I just had to.

There’s no container for the thing he was now that he’s gone. It’s an irrational number. Infinity divided by zero. That’s probably why we put people in containers when they die: coffins, urns, mausoleums—to give a physical shape to the absence

But the cost of that haste was terrible, and not only in terms of cost overruns. Larsen was so appalled by the completed building that he wrote a whole book to clear his reputation and explain the confused structure, which he called a “mausoleum.” Haste makes waste.

The Bolshevik leaders perched atop the Mausoleum were no easier to tell apart than chess pawns. But Florence too was certain that she could recognise the twinkling eyes of Joseph Stalin, which looked down at her each workday from the oil painting above Timofeyev’s desk

She saw for the first time the way we fill our homes with macabre altars to the live things we've murdered__ the floral print of the twin mattress in her childhood bedroom, stripped of its sheets when she soiled them; ferns on throw pillows coated in formaldehyde; poppies on petrochemical dinner plates; boxes and bags of bulk pulpstuffs emblazoned with plant imagery the way milk cartons are emblazoned with children. A rock on a window ledge, cut flowers stabbed in vases, a wreath of sprigs nailed to the front door-- every house a mausoleum, every house a wax museum.

Something I don’t understand about this place,” Jared said, after a long awkward pause, “is why the stone around here, including the stone in the big stupid mausoleum I have to live in, is the color of pee.” “It’s Cotswold stone!” Kami exclaimed. “And it is the color of honey. It’s very famous.

They thought death was worth it, but I Have a self to recover, a queen. Is she dead, is she sleeping? Where has she been, With her lion-red body, her wings of glass? Now she is flying More terrible than she ever was, red Scar in the sky, red comet Over the engine that killed her- The mausoleum, the wax house.

Desires" Like beautiful bodies of the dead who had not grown old and they shut them, with tears, in a magnificent mausoleum, with roses at the head and jasmine at the feet — that is how desires look that have passed without fulfillment; without one of them having achieved a night of sensual delight, or a moonlit morn.

Desiree the child bride, and her sister Miranda, had gone grave-robbing for a wedding gown. In the north end of the cemetery, among the palatial mausoleums with their broken windows of stained glass where the ivy crept in, was the resting place of a young woman who’d been murdered at the altar while reciting her marital vows. The decaying tombstone, among the cemetery’s most envied, was a limestone bride in despair, shoulders as slumped as a mule’s, a bouquet of lilies strewn at her feet. Though her murder, by her groom’s jealous mother, had been long in the past, everyone knew that her father had had her buried in her gown of lace and silk.

Gamache loved to see inside the homes of people involved in a case. To look at the choices they made for their most intimate space. The colors, the decorations. The aromas. Were there books? What sort? How did it feel? He'd been in shacks in the middle of nowhere, carpets worn, upholstery torn, wallpaper peeling off. But stepping in he'd also noticed the smell of fresh coffee and bread. Walls were taken up with immense smiling graduation photos and on rusty pocked TV trays stood modest chipped vases with cheery daffodils or pussy willows or some tiny wild flower picked by worn hands for eyes that would adore it. And he'd been in mansions that felt like mausoleums.

And now because you are converged, you rise. Through the eye of the narrowest tangle of root, shoot, and branch, past the tallest emerald treetops, up and up, gathering strength. A curlicue of mystery, a calligram of power, you wrap yourself around yourself and tornado to the Saigol mansion, quaking that mausoleum of a hatchery in your wake.

There, standing before the mausoleum, Michael’s anxiety skyrocketed. His heart raced. His head spun. His stomach turned. For a few moments, he really thought he was going to have to run to the bushes and puke. He’d never heard of a ghost being able to actually curse someone, but he didn’t want to risk it by vomiting on Bluidy Mackenzie’s front lawn.

Welcome,” Bell said, not rising from a large wooden chair that had been placed in the center of the room like it was a throne. Would that make him the king of sewer rats?

A library is a mausoleum: books of the dead. And so many. And so many secrets lost to him forever. Hadn't time for it all and if he couldn't do it all then there was no point in doing any of it. For such an effort would be like drawing a single breath in the knowledge that you would not draw another. You were fated to suffocate, to die. You were fated to become extinct.

In the fall he picked up his phone one afternoon to hear Grandma Lynn. 'Jack,' my grandmother announced, 'I am thinking of coming to stay.' My father was silent, but the line was riddled with his hesitation. 'I would like to make myself available to you and the children. I've been knocking around in this mausoleum long enough.' 'Lynn, we're just beginning to start over again,' he stammered. Still, he couldn't depend on Nate's mother to watch Buckley forever. Four months after my mother left, her temporary absence was beginning to take on the feel of permanence. My grandmother insisted. I watched her resist the remaining slug of vodka in her glass. 'I will contain my drinking until'- she thought hard here- 'after five o'clock, and,' she said,' what the hell, I'll stop altogether if you should find it necessary.' 'Do you know what you're saying?' My grandmother felt a clarity from her phone hand down to her pump-encased feet. 'Yes, I do. I think' It was only after he got off the phone that he let himself wonder, Where will we PUT her? It was obvious to everyone. ~pgs 213-214; Grandma Lynn and Jack;

147 The Rival If the moon smiled, she would resemble you. You leave the same impression Of something beautiful, but annihilating. Both of you are great light borrowers. Her O-mouth grieves at the world; yours is unaffected, And your first gift is making stone out of everything. I wake to a mausoleum; you are here, Ticking your fingers on the marble table, looking for cigarettes, Spiteful as a woman, but not so nervous, And dying to say something unanswerable. The moon, too, abases her subjects, But in the daytime she is ridiculous. Your dissatisfactions, on the other hand, Arrive through the mailslot with loving regularity, White and blank, expansive as carbon monoxide. No day is safe from news of you, Walking about in Africa maybe, but thinking of me.

When I heard about the ease with which the Four had been removed, I felt a wave of sadness. How could such a small group of second-rate tyrants ravage 900 million people for so long? But my main feeling was joy. The last tyrants of the Cultural Revolution were finally gone. My rapture was widely shared. Like many of my countrymen, I went out to buy the best liquors for a celebration with my family and friends, only to find the shops out of stock there was so much spontaneous rejoicing. There were official celebrations as well exactly the same kinds of rallies as during the Cultural Revolution, which infuriated me. I was particularly angered by the fact that in my department, the political supervisors and the student officials were now arranging the whole show, with unperturbed self-righteousness. The new leadership was headed by Mao's chosen successor, Hua Guofeng, whose only qualification, I believed, was his mediocrity. One of his first acts was to announce the construction of a huge mausoleum for Mao on Tiananmen Square. I was outraged: hundreds of thousands of people were still homeless after the earthquake in Tangshan, living in temporary shacks on the pavements. With her experience, my mother had immediately seen that a new era was beginning. On the day after Mao's death she had reported for work at her depas'uuent. She had been at home for five years, and now she wanted to put her energy to use again. She was given a job as the number seven deputy director in her department, of which she had been the director before the Cultural Revolution. But she did not mind. To me in my impatient mood, things seemed to go on as before. In January 1977, my university course came to an end. We were given neither examinations nor degrees. Although Mao and the Gang of Four were gone, Mao's rule that we had to return to where we had come from still applied. For me, this meant the machinery factory. The idea that a university education should make a difference to one's job had been condemned by Mao as 'training spiritual aristocrats.

IN WRITING THIS BOOK, I returned again and again to what people call my homeland, where my parents were born, as was I. But for the Vietnamese, the homeland is not simply the country of origin. It is the village where one’s father was born and where one’s father was buried. My father’s father died where he was supposed to, as my father will not and as I will not, in the province of his birth, his mausoleum thirty minutes from Ho Chi Minh’s birthplace.

It shall be engraved upon bronze tablets and attached to those columns that mark the entrance to my mausoleum. Upon those columns there will be sufficient space for six of these tablets, and each of the tablets may contain fifty lines of about sixty characters each. Thus the statement of my acts must be limited to about eighteen thousand characters. It seems to me wholly appropriate that I should have been forced to write of myself under these conditions, arbitrary as they might be; for just as my words must be accomodated to such a public necessity, so has my life been. And just as the acts of my life have done, so these words must conceal at least as much truth as they display; the truth will lie somewhere beneath these graven words, in the dense stone which they will encircle. And this too is appropriate; for much of my life has been lived in such secrecy. It has never been politic for me to let another know my heart.

When Leonardo was painting The Last Supper (fig. 74), spectators would visit and sit quietly just so they could watch him work. The creation of art, like the discussion of science, had become at times a public event. According to the account of a priest, Leonardo would “come here in the early hours of the morning and mount the scaffolding,” and then “remain there brush in hand from sunrise to sunset, forgetting to eat or drink, painting continually.” On other days, however, nothing would be painted. “He would remain in front of it for one or two hours and contemplate it in solitude, examining and criticizing to himself the figures he had created.” Then there were dramatic days that combined his obsessiveness and his penchant for procrastination. As if caught by whim or passion, he would arrive suddenly in the middle of the day, “climb the scaffolding, seize a brush, apply a brush stroke or two to one of the figures, and suddenly depart.”1 Leonardo’s quirky work habits may have fascinated the public, but they eventually began to worry Ludovico Sforza. Upon the death of his nephew, he had become the official Duke of Milan in early 1494, and he set about enhancing his stature in a time-honored way, through art patronage and public commissions. He also wanted to create a holy mausoleum for himself and his family, choosing a small but elegant church and monastery in the heart of Milan, Santa Maria delle Grazie, which he had Leonardo’s friend Donato Bramante reconstruct. For the north wall of the new dining hall, or refectory, he had commissioned Leonardo to paint a Last Supper, one of the most popular scenes in religious art. At first Leonardo’s procrastination led to amusing tales, such as the time the church prior became frustrated and complained to Ludovico. “He wanted him never to lay down his brush, as if he were a laborer hoeing the Prior’s garden,” Vasari wrote. When Leonardo was summoned by the duke, they ended up having a discussion of how creativity occurs. Sometimes it requires going slowly, pausing, even procrastinating. That allows ideas to marinate, Leonardo explained. Intuition needs nurturing. “Men of lofty genius sometimes accomplish the most when they work least,” he told the duke, “for their minds are occupied with their ideas and the perfection of their conceptions, to which they afterwards give form.

Why not?” I asked, letting my tears spill over. It was easy to cry. All I had to do was look at Alex’s limp body, and the tears came effortlessly. “You were happy enough to do it to me.” There was a beat. Then John said cautiously, “What do you mean?” “The consequences, John?” I let out a bitter laugh. “Persephone wasn’t doomed to stay in the Underworld because she ate a pomegranate. She was doomed to stay there because she did with Hades what we did last night. That’s what the pomegranate symbolizes, right?” John stared, speechless. But I could tell I was right by the color that slowly started to suffuse his cheeks…and the fact that he didn’t try to contradict me. And of course the fact that the whole thing was spelled out right in front of me by the statue Hope was sitting on. I didn’t get why the Rectors were so obsessed by the myth of Persephone that they’d put a statue of it in their mausoleum, but it was clear enough they were involved in an underworld of one kind or another. “Don’t worry,” I said, lowering my voice because I didn’t want Frank to overhear. “I don’t blame you. You asked me if I was sure, despite the consequences. I said I was. But I thought by consequences you meant a baby, and I already knew that could never happen. I guess Mr. Smith must have told you last night that he found out the pomegranate symbolized something completely different than babies or death-“ “Pierce.” John grasped my hand. His fingers were like ice, but his voice and his gaze had an urgency that was anything but cold. “That isn’t why I did it. I love you. I’ve always loved you, because you’re good…you’re so good, you make me want to be good, too. But that’s the problem, Pierce. I’m not good. And I’ve always been afraid that when you find out the truth about me, you’d run away again-“ I sucked in my breath to tell him for the millionth time that this wasn’t true, but he cut me off, not allowing me to speak until he’d had his say. “Then you almost died yesterday,” he went on, “and it was my fault. I wanted to show you how much I loved you, and things…things went further than I expected. But you didn’t stop me”-his silver eyes blazed, as if daring me to deny what he was saying-“even though I told you we could slow down if you wanted to.” “I know,” I said softly, dropping my gaze to look down at our joined fingers. We’d each kept a hand on Alex. “I know you did.” “I don’t want to lose you again,” he said fiercely. “I lost you once and I couldn’t bear it. I won’t go through that again. I…I know I did the wrong thing. But it didn’t feel wrong at the time.” I raised my gaze to his. “You’re right about that, at least,” I said. “So am I forgiven?” he asked. I hesitated, confused by the myriad of emotions I was feeling. John had known. He’d known the whole time we had been together the night before that he was forever sealing my destiny to his. Of course, he’d thought I’d known, too. He’d asked if I was sure it was what I wanted, despite the consequences. I might have misunderstood what those consequences were, but I’d been very adamant in my response. I’d said yes. And I’d meant it. “Excuse me,” called Frank’s voice from the opposite wall of vaults. “But you might want to take a look at the boy.” John and I both glanced down. Beneath the hands we’d left on Alex, he’d come back to life.

On his belly, Matthias crawled through the dirt of the graveyard. “Everyone unhurt?” he asked as he reached the broken mast of the mausoleum. “Out of breath but still breathing,” said Jesper. Kuwei nodded, though he was shaking badly. “Fantastic plan, by the way. How is being pinned down here better than being pinned down in the tomb?” “Did you get Wylan’s powders?” “What was left of them,” said Jesper. He emptied his pockets, revealing three packets. Matthias chose one at random. “Can you manipulate those powders?” Jesper shifted uneasily. “Yes. I guess. I did something similar at the Ice Court. Why?” Why. Why. In the drüskelle he would have been brigged for insubordination. “Black Veil is supposedly haunted, yes? We’re going to make some ghosts.” Matthias glanced around the edge of the mausoleum. “They’re moving in. I need you to follow my orders and stop asking questions. Both of you.” “No wonder you and Kaz don’t get along,” Jesper muttered.

I recognized the great monument from the illustration in the copy of /The Jungle Book/ that my mother kept in the top drawer of my bedside table. When I went with Sophia to the Taj Mahal for the first time, I was not as enchanted by the real mausoleum as I had been by its plaster, paint, and paper replica in the studio; the original posed a dreadfully seductive promise in cool marble of a strangely painful loveliness, a lover's lie that death itself might in some mysterious way, because of love, be lovely.

He lay sprawled, too wicked to move, spewed up like a broken spider-crab on the tarry shingle of morning. The light did him harm, but not as much as looking at things did; he resolved, having done it once, never to move his eyeballs again. A dusty thudding in his head made the scene before him beat like a pulse. His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum. During the night, too, he’d somehow been on a cross-country run and then been expertly beaten up by secret police. He felt bad.

The gravedigger knew a fine trick. When the worms looked unhappy he would leave his place in the mausoleum and go up into the sunshine. He would go empty-handed, but when he returned, with him came a most exquisite corpse. The worms would rejoice, and they would feast upon the corpse until they were fat and could feast no more. The young would come with the old to see this trick and glory in it. No worm knew where the gravedigger got his corpses, but they were always succulent and nourishing. They praised the gravedigger’s generosity. -- From "Worms

It was Grandfather's watch and when Father gave it to me he said I give you the mausoleum of all hope and desire; it's rather excruciating-ly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father's. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.

We drove across the Red Square past Lenin's Mausoleum and the towers and domes of the Kremlin--and stopped a block away at the Grand Hotel. Our rooms were ready for us--clean and comfortable, with hot and cold water, homelike settees and deep roomy chairs. Courteous attendants were there, baths and elevator, a book shop and two restaurants. Everything that a hotel for white folks at home would have--except that, quite truthfully, there was no toilet paper. And no Jim Crow. Of course, we knew that one of the basic principles of the Soviet Union is the end of all racial distinctions. That's the main reason we had come to Moscow.

Gossip reduces the other to he/she, and this reduction is intolerable to me. For me the other is neither he nor she; the other has only a name of his own, or her own name. The third-person pronoun is a wicked pronoun: it is the pronoun of the non-person, it absents, it annuls. When I realize that common discourse takes possession of my other and restores that other to me in the bloodless form of a universal substitute, applied to all the things which are not here, it is as if I saw my other dead, reduced, shelved in an urn upon the wall of the great mausoleum of language. For me, the other cannot be a referent: you are never anything but you, I do not want the Other to speak of you.

A Magnum Paucity by Stewart Stafford Build the nation's mausoleum, Light the people's funeral pyre, For Hibernia's sons and daughters, In genocide to expire. Romantic Ireland has no grave, It died foraging at the roadside for bites, Or on a coffin ship out of reach of the New World, An empire's boot on the throat for last rites. Did you know your identity all along? Or find it struggling and aghast? Old Eireann was the first expendable colony, And egregiously, not Britannia's last. Constricting stomachs do not growl patriotic oaths, Freedom is a stranger to a starved mind, Force-feed our children grapes of wrath, With liberation dead on the vine. © Stewart Stafford, 2022. All rights reserved.

Superstition, as indigenous to Louisiana as gators and Tabasco, holds that the spirits of the dead avenge any disruption of their bodies, which makes one wonder at the rancor released on the 1957 day when fifty-five white families re-interred their beloved in Hope Mausoleum after the Rt. Rev. Girault M. Jones, Bishop of Louisiana, deconsecrated the Girod Street Cemetery, condemning every last African American bone to anonymity in a mass grave in Providence Memorial Park. From that pogrom grew the Superdome. Thirteen acres of structural steel framing stretch up to 273 feet from the unholy ground, a towering testament to the American propensity to cheer black men into the end zones and desert them entirely six points later.

The worst form of bondage is the bondage of dejection, which keeps men hopelessly chained in loss of faith in themselves. We have been repeatedly told, with some justification, that Asia lives in the past,—it is like a rich mausoleum which displays all its magnificence in trying to immortalize the dead. It was said of Asia that it could never move in the path of progress, its face was so inevitably turned backwards. We accepted this accusation, and came to believe it. In India, I know, a large section of our educated community, grown tired of feeling the humiliation of this charge against us, is trying all its resources of self-deception to turn it into a matter of boasting. But boasting is only a masked shame, it does not truly believe in itself.

Many people don’t realize this, but the Taj Mahal is a single mausoleum, designed, constructed, and maintained for one woman: Mumtaz Mahal, the favorite wife of Emperor Shah Jahan. The emperor was so distressed by the death of his beloved that he commissioned the construction of the Taj Mahal. He preserved her body for the more than twenty years it took to build (from 1632 to 1653); he spent thirty-two million rupees (nearly a billion dollars in today’s currency), and employed twenty thousand of the world’s greatest artisans, imported Italian marble (which was not an easy thing to do in seventeenth-century India—and not to mention that India had its own makrana marble he could have been using), all to create a private tomb worthy of his lost love.

The Rival If the moon smiled, she would resemble you. You leave the same impression Of something beautiful, but annihilating. Both of you are great light borrowers. Her O-mouth grieves at the world; yours is unaffected, And your first gift is making stone out of everything. I wake to a mausoleum; you are here, Ticking your fingers on the marble table, looking for cigarettes, Spiteful as a woman, but not so nervous, And dying to say something unanswerable. The moon, too, abases her subjects, But in the daytime she is ridiculous. Your dissatisfactions, on the other hand, Arrive through the mailslot with loving regularity, White and blank, expansive as carbon monoxide. No day is safe from news of you, Walking about in Africa maybe, but thinking of me.

Will for life is will for form. Death, in its most visible and immediate expression, is the disintegration of form. Childhood and youth are the promise of form. Old age is the ruin of physical form; death, the fall into formlessness. That is why one of the most ancient and simple manifestations of the will for life is art. The first thing man did upon discovering that he was mortal was to erect a tomb. Art began with the consciousness of death. The mausoleum, since ancient times, has been both an homage to the dead and a defiance of death: the body decays, turns to dust, but the monument remains. Form remains. We are threatened not only by death by time itself, which makes, then unmakes, us. Every sculpture, every painting, every poem, every song is a form animated by the will to survive time and its erosions. The now wants to be saved, to be converted into stone or drawing, into color, sound, or word.

The next day Phipps wrote about Göring’s open house in his diary. “The whole proceedings were so strange as at times to convey a feeling of unreality,” he wrote, but the episode had provided him a valuable if unsettling insight into the nature of Nazi rule. “The chief impression was that of the most pathetic naïveté of General Göring, who showed us his toys like a big, fat, spoilt child: his primeval woods, his bison and birds, his shooting-box and lake and bathing beach, his blond ‘private secretary,’ his wife’s mausoleum and swans and sarsen stones.… And then I remembered there were other toys, less innocent though winged, and these might some day be launched on their murderous mission in the same childlike spirit and with the same childlike glee.” CHAPTER 43 A Pygmy Speaks Wherever Martha and her father now went they heard rumors and speculation that the collapse of Hitler’s regime might be imminent. With

Without electricity or gas, the kitchen became a twilight mausoleum of dead appliances. One day, Natasha had an idea. Wearing latex gloves she found in Sonja’s room, she scrubbed the innards of the oven and refrigerator with steel wool and bleach. She cut a broomstick to the width of the refrigerator compartment, jammed it in below the thermostat control, and pulled out the plastic shelves. In her bedroom, she gathered clothes from the floor in sweeping armfuls and deposited them before the refrigerator and the oven. Ever since she had begun working for the shuttle trader, her wardrobe exceeded her closet space. She hung silk evening dresses and cashmere sweaters on the broomstick bar, set folded jeans and blouses on the oven rack. When finished, she opened the doors to her new closet and bureau and felt pleased with her ingenuity. This is how you will survive, she told herself. You will turn the holes in your life into storage space.

The headlights of parked cars shone through the rain, and the sidewalks extended, empty, into the darkness. Underground, the sewers surged like rivers, and a few blocks away, sirens blared. He was no longer aware of his heart or thoughts, only the image of a sunken face staring up from a well, the paleness rising through the water like polished bone. A ringed hand reached toward it, but as the fingers approached, the face would sink away, its eyes opening, closing, and the droplets of red falling like leaves. He was a child running through an autumn cemetery, leaping over cast iron fences, the rain bleeding into the tombstones and the roofs of the mausoleums, his legs following the wings of a crow, flapping to the north. A hedge of withered roses stood between him and his childhood house. He tripped and grazed his cheek on a manhole, his red blooming in the water. The sun set behind the hill; the house turned black—abandoned and derelict—and Chris knew he had to keep running, ahead, into the unknown.

Corrupting, there, forsaken, becoming, already, nothing. "And thy corpse shall be meat unto all fowls of the air, and unto the beasts of the earth, and no man shall frighten them away to think that this is one of God's most terrible curses. But consider it carefully. No sepulchre. No cremation. No obsequies. Becoming meat for someone else's teeth, said Lorimer with some of his past passion. "Can you imagine? Can you imagine what a relief? Will we ever dare to look at a body without the shroud of superstition, naked, like it truly is? Matter, and nothing more. Preoccupied with the perpetuity of our departed souls, we have forgotten that, on the contrary, it is our carcasses and our flesh that make us immortal. I am fairly confident they didn't bury him so that his transmigration into bird and beast would be swifter. Never mind memorials, relics, mausoleums, and other vain preservations from corruption and oblivion. What greater tribute than to be feasted upon by one's fellow creatures? What monument could be nobler than the breathing tomb of a coyote or the soaring urn of a vulture? What preservation more dependable? What resurrection more literal? This is true religion-knowing there is a bond among all living things. Having understood this, there is nothing to mourn, because even though nothing can ever be retained, nothing is ever lost. Can you imagine?" "Lorimer asked again. "The relief. The freedom.

The fact is that what scientists call zoonotic disease was little known in the Americas. By contrast, swine, mainstays of European agriculture, transmit anthrax, brucellosis, leptospirosis, trichinosis, and tuberculosis. Pigs breed exuberantly and can pass diseases to deer and turkeys, which then can infect people. Only a few of De Soto’s pigs would have had to wander off to contaminate the forest. The calamity wreaked by the De Soto expedition, Ramenofsky and Galloway argued, extended across the whole Southeast. The societies of the Caddo, on the Texas-Arkansas border, and the Coosa, in western Georgia, both disintegrated soon after. The Caddo had a taste for monumental architecture: public plazas, ceremonial platforms, mausoleums. After De Soto’s army left the Caddo stopped erecting community centers and began digging community cemeteries. Between the visits of De Soto and La Salle, according to Timothy K. Perttula, an archaeological consultant in Austin, Texas, the Caddoan population fell from about 200,000 to about 8,500—a drop of nearly 96 percent. In the eighteenth century, the tally shrank further, to 1,400. An equivalent loss today would reduce the population of New York City to 56,000, not enough to fill Yankee Stadium. “That’s one reason whites think of Indians as nomadic hunters,” Russell Thornton, an anthropologist at the University of California at Los Angeles, said to me. “Everything else—all the heavily populated urbanized societies—was wiped out.

Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.

The Parthenon was 228 feet long by 101 broad, and 64 feet high; the porticoes at each end had a double row of eight columns; the sculptures in the pediments were in full relief, representing in the eastern the Birth of Athene, and in the western the Struggle between that goddess and Poseidon, whilst those on the metopes, some of which are supposed to be from the hand of Alcamenes, the contemporary and rival of Phidias, rendered scenes from battles between the Gods and Giants, the Greeks and the Amazons, and the Centaurs and Lapithæ. Of somewhat later date than the Parthenon and resembling it in general style, though it is very considerably smaller, is the Theseum or Temple of Theseus on the plain on the north-west of the Acropolis, and at Bassæ in Arcadia is a Doric building, dedicated to Apollo Epicurius and designed by Ictinus, that has the peculiarity of facing north and south instead of, as was usual, east and west. Scarcely less beautiful than the Parthenon itself is the grand triple portico known as the Propylæa that gives access to it on the western side. It was designed about 430 by Mnesicles, and in it the Doric and Ionic styles are admirably combined, whilst in the Erectheum, sacred to the memory of Erechtheus, a hero of Attica, the Ionic order is seen at its best, so delicate is the carving of the capitals of its columns. It has moreover the rare and distinctive feature of what is known as a caryatid porch, that is to say, one in which the entablature is upheld by caryatides or statues representing female figures. Other good examples of the Ionic style are the small Temple of Niké Apteros, or the Wingless Victory, situated not far from the Propylæa and the Parthenon of Athens, the more important Temple of Apollo at Branchidæ near Miletus, originally of most imposing dimensions, and that of Artemis at Ephesus, of which however only a few fragments remain in situ. Of the sacred buildings of Greece in which the Corinthian order was employed there exist, with the exception of the Temple of Jupiter at Athens already referred to, but a few scattered remains, such as the columns from Epidaurus now in the Athens Museum, that formed part of a circlet of Corinthian pillars within a Doric colonnade. In the Temple of Athena Alea at Tegea, designed by Scopas in 394, however, the transition from the Ionic to the Corinthian style is very clearly illustrated, and in the circular Monument of Lysicrates, erected in 334 B.C. to commemorate the triumph of that hero's troop in the choric dances in honour of Dionysos, and the Tower of the Winds, both at Athens, the Corinthian style is seen at its best. In addition to the temples described above, some remains of tombs, notably that of the huge Mausoleum at Halicarnassus in memory of King Mausolus, who died in 353 B.C., and several theatres, including that of Dionysos at Athens, with a well-preserved one of larger size at Epidaurus, bear witness to the general prevalence of Doric features in funereal monuments and secular buildings, but of the palaces and humbler dwelling-houses in the three Greek styles, of which there must have been many fine examples, no trace remains. There is however no doubt that the Corinthian style was very constantly employed after the power of the great republics had been broken, and the Oriental taste for lavish decoration replaced the love for austere simplicity of the virile people of Greece and its dependencies. CHAPTER III

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RICHES WITHOUT WINGS. Walk worthy of the vocation wherewith ye are called. —Eph. iv. I. Abundance consists not alone in material possession, but in an uncovetous spirit. —Selden. Less coin, less care; to know how to dispense with wealth is to possess it. —Reynolds. Rich, from the very want of wealth, In heaven's best treasures, peace and health. —Gray. Money never made a man happy yet; there is nothing in its nature to produce happiness. The more a man has, the more he wants. Instead of filling a vacuum, it makes one. —Franklin. There are treasures laid up in the heart, treasures of charity, piety, temperance, and soberness. These treasures a man takes with him beyond death, when he leaves this world. —Buddhist Scriptures. "It is better to get wisdom than gold; for wisdom is better than rubies, and all things that may be desired are not to be compared to it." "Better a cheap coffin and a plain funeral after a useful, unselfish life, than a grand mausoleum after a loveless, selfish life.