Moon View From Window Quotes

...Would you like to know the view I have out of my window, since you love snow? So here you are: the broad whiteness of the Moldau, and along that whiteness, little black silhouettes of people cross from one shore to the other, like musical notes. For example, the figure of some boy is dragging behind him a D-sharp: a sledge. Across the river there are snowy roofs in a distant, lightweight sky... I walked around the cathedral along a slippery path between snowdrifts. The snow was light, dry: grab a handful, throw it up, and it disperses in the air like dust, as if flying back up. The sky darkened. In it appeared a thin golden moon: half of a broken halo. I walked along the edge of the fortress wall. Old Prague lay below in the thickening mist. The snowy roofs clustered together, cumbrous and dim. The houses seemed to have been piled anyhow, in a moment of terrible and fantastic carelessness. In this frozen storm of outlines, in this snowy semi-darkness, the streetlamps and windows were burning with a warm and sweet lustre, like well-licked punch lollipops. In just one place you could also see a little scarlet light, a drop of pomegranate juice. And in the fog of crooked walls and smoky corners I divined an ancient ghetto, mystical ruins, the alley of Alchemists...

On hers . . . a mess, the teacher had said, but she had already heard the other children exclaim over what she could see for herself. Magnificence, glory, all the things they weren’t supposed to have. She woke up with tears still wet on her cheeks, and blinked them out of her eyes. Something vividly red swung in and out of view at the window. Dayvine trumpets, in the breeze—the vine on that side of the house must have grown a foot overnight. Barto had insisted on keeping the house free of vines; she lay there and felt a deep happiness work out from her bones at the sight of those flowers dancing in the sunlight.

Socrates tried to soothe us, true enough. He said there were only two possibilities. Either the soul is immortal or, after death, things would be again as blank as they were before we were born. This is not absolutely comforting either. Anyway it was natural that theology and philosophy should take the deepest interest in this. They owe it to us not to be boring themselves. On this obligation they don’t always make good. However, Kierkegaard was not a bore. I planned to examine his contribution in my master essay. In his view the primacy of the ethical over the esthetic mode was necessary to restore the balance. But enough of that. In myself I could observe the following sources of tedium: 1) The lack of a personal connection with the external world. Earlier I noted that when I was riding through France in a train last spring I looked out of the window and thought that the veil of Maya was wearing thin. And why was this? I wasn’t seeing what was there but only what everyone sees under a common directive. By this is implied that our worldview has used up nature. The rule of this view is that I, a subject, see the phenomena, the world of objects. They, however, are not necessarily in themselves objects as modern rationality defines objects. For in spirit, says Steiner, a man can step out of himself and let things speak to him about themselves, to speak about what has meaning not for him alone but also for them. Thus the sun the moon the stars will speak to nonastronomers in spite of their ignorance of science. In fact it’s high time that this happened. Ignorance of science should not keep one imprisoned in the lowest and weariest sector of being, prohibited from entering into independent relations with the creation as a whole. The educated speak of the disenchanted (a boring) world. But it is not the world, it is my own head that is disenchanted. The world cannot be disenchanted. 2) For me the self-conscious ego is the seat of boredom. This increasing, swelling, domineering, painful self-consciousness is the only rival of the political and social powers that run my life (business, technological-bureaucratic powers, the state). You have a great organized movement of life, and you have the single self, independently conscious, proud of its detachment and its absolute immunity, its stability and its power to remain unaffected by anything whatsoever — by the sufferings of others or by society or by politics or by external chaos. In a way it doesn’t give a damn. It is asked to give a damn, and we often urge it to give a damn but the curse of noncaring lies upon this painfully free consciousness. It is free from attachment to beliefs and to other souls. Cosmologies, ethical systems? It can run through them by the dozens. For to be fully conscious of oneself as an individual is also to be separated from all else. This is Hamlet’s kingdom of infinite space in a nutshell, of “words, words, words,” of “Denmark’s a prison.

They stood out sharply—the big, yellow moon and the small, green one—vivid in outline but their distance impossible to grasp. In their light, the ocean's tiny ripples shone mysteriously like scattered shards of glass. As the train continued around the curve, the two moons moved slowly across the window, leaving those delicate shards behind, like wordless hints, until they disappeared from view.

That August, the day of the lunar eclipse—their daughters three and a half and two—Cam piled everyone in the truck to get the best view from the top of Hopewell Hill. “Maybe they won’t remember,” he said. “I just like to show them things.” This was what you did. You took your children out in the darkness to watch the moon disappear. You dissected coyote scat with them. You led your two-year-old down to the garden to press a handful of radish seeds into the soil and handed her the spatula to lick when you made chocolate pudding and turned the pages of Richard Scarry’s What Do People Do All Day?, pointing out the animal characters and naming their jobs. You gathered autumn leaves, pressed them with an iron in between two sheets of wax paper, and taped them on the window, where you’d set an avocado seed in a glass of water to watch it sprout; and carried your three-year-old outside in your arms at night—her and her sister—to let them catch snowflakes. Who knew what they’d remember, and what they’d make of it, but the hope was there that if nothing else, what they would hold on to from these times was the knowledge of being deeply loved.

Beauty Void lay the world, in nothingness concealed, Without a trace of light or life revealed, Save one existence which second knew- Unknown the pleasant words of We and You. Then Beauty shone, from stranger glances free, Seen of herself, with naught beside to see, With garments pure of stain, the fairest flower Of virgin loveliness in bridal bower. No combing hand had smoothed a flowing tress, No mirror shown her eyes their loveliness No surma dust those cloudless orbs had known, To the bright rose her cheek no bulbul flown. No heightening hand had decked the rose with green, No patch or spot upon that cheek was seen. No zephyr from her brow had fliched a hair, No eye in thought had seen the splendour there. Her witching snares in solitude she laid, And love's sweet game without a partner played. But when bright Beauty reigns and knows her power She springs indignant from her curtained bower. She scorns seclusion and eludes the guard, And from the window looks if doors be barred. See how the tulip on the mountain grown Soon as the breath of genial Spring has blown, Bursts from the rock, impatient to display Her nascent beauty to the eye of day. When sudden to thy soul reflection brings The precious meaning of mysterious things, Thou canst not drive the thought from out thy brain; Speak, hear thou must, for silence is such pain. So beauty ne'er will quit the urgent claim Whose motive first from heavenly beauty came When from her blessed bower she fondly strayed, And to the world and man her charms displayed. In every mirror then her face was shown, Her praise in every place was heard and known. Touched by her light, the hearts of angels burned, And, like the circling spheres, their heads were turned, While saintly bands, whom purest at the sight of her, And those who bathe them in the ocean sky Cries out enraptured, "Laud to God on high!" Rays of her splendour lit the rose's breast And stirred the bulbul's heart with sweet unrest. From her bright glow its cheek the flambeau fired, And myriad moths around the flame expired. Her glory lent the very sun the ray Which wakes the lotus on the flood to-day. Her loveliness made Laila's face look fair To Majnún, fettered by her every hair. She opened Shírín's sugared lips, and stole From Parvíz' breast and brave Farhád's the soul. Through her his head the Moon of Canaan raised, And fond Zulaikha perished as she gazed. Yes, though she shrinks from earthly lovers' call, Eternal Beauty is the queen of all; In every curtained bower the screen she holds, About each captured heart her bonds enfolds. Through her sweet love the heart its life retains, The soul through love of her its object gains. The heart which maidens' gentle witcheries stir Is, though unconscious, fired with love of her. Refrain from idle speech; mistake no more: She brings her chains and we, her slaves, adore. Fair and approved of Love, thou still must own That gift of beauty comes from her alone. Thou art concealed: she meets all lifted eyes; Thou art the mirror which she beautifies. She is that mirror, if we closely view The truth- the treasure and the treasury too. But thou and I- our serious work is naught; We waste our days unmoved by earnest thought. Cease, or my task will never end, for her Sweet beauties lack a meet interpreter. Then let us still the slaves of love remain For without love we live in vain, in vain. Jámí, "Yúsuf and Zulaikha". trans. Ralph T. H. Griffith. Ballantyne Press 1882. London. p.19-22

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet is truly a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Sōseki counted his morning trips to the toilet a great pleasure, “a physiological delight” he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves. As I have said there are certain prerequisites: a degree of dimness, absolute cleanliness, and quiet so complete one can hear the hum of a mosquito. I love to listen from such a toilet to the sound of softly falling rain, especially if it is a toilet of the Kantō region, with its long, narrow windows at floor level; there one can listen with such a sense of intimacy to the raindrops falling from the eaves and the trees, seeping into the earth as they wash over the base of a stone lantern and freshen the moss about the stepping stones. And the toilet is the perfect place to listen to the chirping of insects or the song of the birds, to view the moon, or to enjoy any of those poignant moments that mark the change of the seasons. Here, I suspect, is where haiku poets over the ages have come by a great many of their ideas. Indeed one could with some justice claim that of all the elements of Japanese architecture, the toilet is the most aesthetic. Our forebears, making poetry of everything in their lives, transformed what by rights should be the most unsanitary room in the house into a place of unsurpassed elegance, replete with fond associations with the beauties of nature.

First, without exception, biblical authors presupposed a premodern view of the world. To illustrate, as with all people in the ancient Near East, the Hebrews believed that the sky was “hard as a molten mirror” (Job 37:18). It had to be hard, in their view, for it was a “dome” that “separated the waters that were under the dome from the waters that were above the dome” (Gen. 1:7). This dome rested on “pillars,” as did the earth as it sat upon the “waters” that encircled it (Ps. 75:3; 104:2–3, 5–6; cf. Job 9:6; 26:11). “Windows” in the solid dome were opened when Yahweh wanted it to rain, allowing the waters “above the dome” to fall to the ground (Gen. 7:11). The sun, moon, and stars were all “lights in the dome” that were placed there to function as “signs and for seasons and for days and years” (Gen. 1:14). The Lord, along with other heavenly beings, sat in a chamber above the dome. From this location God threw lightning bolts (Ps. 18:12–14), shook the pillars (earthquakes? Job 9:6), and caused the wind to blow (Ps. 107:25). We modern people routinely assume this language is merely poetic, but at the time it was the way people really understood the world. It is completely understandable that God would leave the primitive worldview of ancient authors intact as he used ancient authors to communicate his Word. How else could he effectively communicate to the people of the time? Had God attempted to communicate a scientifically accurate view of the world, the theological truth he wanted to convey would not have been communicated. At the same time, we must frankly admit that given what we know about the world today, the view of the cosmos presupposed in the Bible is inaccurate. The earth does not rest on pillars, and the sky is not hard! The Bible’s theological message is unfailing though its view of the cosmos is scientifically incorrect. A

The view from my window was a symmetrical sea of undulating curves. The Nightborn drew their architectural inspiration from the sky and moon—metal-capped domes, polished granite, silver that cradled indigo stained glass. From up here, the moonlight and rain caressed an expanse of platinum.

Then, suddenly, all thoughts of the troublesome third stage fell away, because in that moment he saw something much, much grander. He saw the Earth. It was a view that American astronauts and Soviet cosmonauts had seen from space many times before, but in those cases, the planet had been a broad arc, too big to fit into the aperture of a window because it was too close. Now, however, Borman, Lovell, and Anders could see the planet floating alone, unsupported, in space. The Earth was no longer the soil beneath their feet or the horizon below their spacecraft. It was an almost complete disk of light suspended in front of them, a delicate Christmas tree ornament made of swirls of blue and white glass. It looked impossibly beautiful—and impossibly breakable. What Borman said aloud was: “What a view!

i know i am in love again when" light shakes into the cobwebs woven over all the empty doorframes. when a nearby car’s bass is a feigned serenade & the moon seems like a dirty thing. passing fuselage & hospital lights glint & i’m turned on thinking they flash for me. me, whose favorite window features a view that’s mostly ground. me, who’s quiet, swaddled, blanket-borne in the fucking eve, waiting on a call from my only lover, or a friend six states away. the space between saying how much i miss everyone i know & pressing my forehead to my knee is usually smaller than i think. the closest body of water calls itself a river, but it’s stagnant. i call myself a lot to give, but that’s an exaggeration. walking the bank, i trace ripples—lamp-lit contours that fade into murk. i am two breaths away from saying i don’t understand happiness when the voice on the other end of the line asks if it’s okay to hang up now. what is the opposite of blank noise? insert that excess here. i want to live off it. Raena Shirali, No More Potluck. Issue 33: Solitude

Parked in the homestay lot, the car faced the black of the sea. A soft glow of light came from the hotel, but a tall stand of trees blocked the lobby from their view... The moon was out and I could see the grey of its craters. It shone on the light blue sedan, an odd colour for a beautiful car like that. His deep, dark eyes from the seafood stall flashed into my mind-sad, lonely and frantic. From the window of the car there was a small amber glow from what looked like a lit cigarette.

Before Chiara's eyes, a cottage sprang from the ground, with a pale blue door and windows with painted doves. "Oh, my!" Chia exclaimed. Inside, the cottage was sparsely furnished, with four wooden chairs covered in blue cotton cushions, a table with hearts carved along the edges, an oven that smelled like chocolate and cherries, and a harpsichord in the corner by the window. But it was everything Chiara could have dreamt of. A home of her own. "This spot is one of my favorites," Agata narrated. "Absolutely lovely. Look there, you've a view of the Silver Brook, and in the mornings the moon crickets sing most beautifully." Chiara inhaled. All the smells she had loved most from home---the wild grass, the pine cones from the trees, the fresh loaves Papa baked before dawn, the musty parchment from Ily's music paper. They flooded her nostrils all at once, as if she'd brought them with her.

The dark side of the moon seemed especially cold. John William Atlas pulled his thick coat tighter over his chest and shook himself. From his view out of the port window, Earth was a ghost of its former countenance. The land not covered by vast grey oceans was parched and arid, the only life left thriving were those who walked the land. Atlas scrubbed a hand over the window as the glass fogged, and recalled dusty photos and flickering holographs of the Earth of before. Bright green and dazzling blue. Atlas had never known the planet in that way, had never grown to love his war-torn, hardened home world.

The doc thinks not. His view is that they are caused by my being a typical young man about town who doesn't go to bed early enough. He says I must leg it to the country and breathe pure air, so I shall need a cottage.' 'With honeysuckle climbing over the door and old Mister Moon peeping in through the window?' 'That sort of thing. Any idea how one sets about getting a cottage of that description?' 'I'll find you one. Jimmy Briscoe has dozens. And Maiden Eggesford, where he lives, is not far from the popular seaside resort of Bridmouth-on-Sea, notorious for its invigorating air. Corpses at Bridmouth-on-Sea leap from their biers and dance round the maypole.

She let his words wash over her. For, beyond the small, curving window, she saw black, gray, brown-white, a mesh of curves and inky darkness, sliding across her view like oil. It was a crescent bathed in sunlight, pocked with craters, wrinkled by hills. On the plains she could see boulders, pinpoints of brightness sending long, needle-fine shadows across the dusty ground. And the crescent was growing. The ship was flying into the shadow of the Moon toward the terminator, the line between night and day. The sunlit crescent narrowed, even as it spread across space. It was soon too large to be captured by a single window, and she leaned forward to see the sweep of the Moon, from horn to skinny horn. At last the crescent narrowed to invisibility, and she was flying over the shadowed Moon, a hole in the stars. She found she was holding her breath. The noises of the ship’s systems, little gadgets humming and ticking, seemed sacrilegious in this huge dark quiet. There was an explosion of light. She craned to see. Far ahead of the craft, the sun was rising over the Moon. A line of fire had straddled the horizon, poking through the mountains and crater rims there. The light fled across the bare surface, casting shadows hundreds of miles long from mountains and broken crater walls. The smaller, younger craters were wells of darkness in the flat light.