On Golden Pond Quotes

After all, when a stone is dropped into a pond, the water continues quivering even after the stone has sunk to the bottom.

When a stone is dropped into a pond, the water continues quivering even after the stone has sunk to the bottom.

Couldn't the wrong sort of living turn anyone mean? I remembered very well that one day back in Yoroido, a boy pushed me into a thorn bush near the pond. By the time I clawed my way out I was mad enough to bite through wood. If a few minutes of suffering could make me so angry, what would years of it do? Even stone can be worn down with enough rain.

The Screelings are loose and the Keeper may win. His assassins have come to rip off your skin. Golden eyes will see you if you try to run. The screelings will get you and laugh like it's fun. Walk away slow or they'll tear you apart, and laugh all day long as they rip out your heart. Golden eyes will see you if you try to stand still. The screelings will get you, for the Keeper they kill. Hack 'em up, chop 'em up, cut 'em to bits, or else they will get you while laughing in fits. If the screelings don't get you the Keeper will try, to reach out and touch you, your skin he will fry. Your mind he will flail, your soul he will take. You'll sleep with the dead, for life you'll forsake. You'll die with the Keeper till the end of time. He hates that you live, your life is the crime. The screelings might get you, it says so in text. If screelings don't get you the Keeper is next, lest he who's born true can fight for life's bond. And that one is marked; he's the pebble in the pond.

The first sorrow of autumn is the slow good-bye of the garden that stands so long in the evening—a brown poppy head, the stalk of a lily, and still cannot go. The second sorrow is the empty feet of a pheasant who hangs from a hook with his brothers. The woodland of gold is folded in feathers with its head in a bag. And the third sorrow is the slow good-bye of the sun who has gathered the birds and who gathers the minutes of evening, the golden and holy ground of the picture. The fourth sorrow is the pond gone black, ruined, and sunken the city of water—the beetle's palace, the catacombs of the dragonfly. And the fifth sorrow is the slow good-bye of the woodland that quietly breaks up its camp. One day it's gone. It has only left litter—firewood, tent poles. And the sixth sorrow is the fox's sorrow, the joy of the huntsman, the joy of the hounds, the hooves that pound; till earth closes her ear to the fox's prayer. And the seventh sorrow is the slow good-bye of the face with its wrinkles that looks through the window as the year packs up like a tatty fairground that came for the children.

The orange of the golden carp appeared at the edge of the pond. . . . We watched in silence at the beauty and grandeur of the great fish. Out of the corners of my eyes I saw Cico hold his hand to his breast as the golden carp glided by. Then with a switch of his powerful tail the golden carp disappeared into the shadowy water under the thicket.

[Adapted and condensed Valedictorian speech:] I'm going to ask that you seriously consider modeling your life, not in the manner of the Dalai Lama or Jesus - though I'm sure they're helpful - but something a bit more hands-on, Carassius auratus auratus, commonly known as the domestic goldfish. People make fun of the goldfish. People don't think twice about swallowing it. Jonas Ornata III, Princeton class of '42, appears in the Guinness Book of World Records for swallowing the greatest number of goldfish in a fifteen-minute interval, a cruel total of thirty-nine. In his defense, though, I don't think Jonas understood the glory of the goldfish, that they have magnificent lessons to teach us. If you live like a goldfish, you can survive the harshest, most thwarting of circumstances. You can live through hardships that make your cohorts - the guppy, the neon tetra - go belly-up at the first sign of trouble. There was an infamous incident described in a journal published by the Goldfish Society of America - a sadistic five-year-old girl threw hers to the carpet, stepped on it, not once but twice - luckily she'd done it on a shag carpet and thus her heel didn't quite come down fully on the fish. After thirty harrowing seconds she tossed it back into its tank. It went on to live another forty-seven years. They can live in ice-covered ponds in the dead of winter. Bowls that haven't seen soap in a year. And they don't die from neglect, not immediately. They hold on for three, sometimes four months if they're abandoned. If you live like a goldfish, you adapt, not across hundreds of thousands of years like most species, having to go through the red tape of natural selection, but within mere months, weeks even. You give them a little tank? They give you a little body. Big tank? Big body. Indoor. Outdoor. Fish tanks, bowls. Cloudy water, clear water. Social or alone. The most incredible thing about goldfish, however, is their memory. Everyone pities them for only remembering their last three seconds, but in fact, to be so forcibly tied to the present - it's a gift. They are free. No moping over missteps, slip-ups, faux pas or disturbing childhoods. No inner demons. Their closets are light filled and skeleton free. And what could be more exhilarating than seeing the world for the very first time, in all of its beauty, almost thirty thousand times a day? How glorious to know that your Golden Age wasn't forty years ago when you still had all you hair, but only three seconds ago, and thus, very possibly it's still going on, this very moment." I counted three Mississippis in my head, though I might have rushed it, being nervous. "And this moment, too." Another three seconds. "And this moment, too." Another. "And this moment, too.

Liberty On my notebooks from school On my desk and the trees On the sand, on the snow I write your name On every page read On all the white sheets Stone blood paper or ash I write your name On the golden images On the soldier’s weapons On the crowns of kings I write your name On the jungle, the desert The nests and the bushes On the echo of childhood I write your name On the wonder of nights On the white bread of days On the seasons engaged I write your name On all my blue rags On the pond mildewed sun On the lake living moon I write your name On the fields, the horizon The wings of the birds On the windmill of shadows I write your name On the foam of the clouds On the sweat of the storm On dark insipid rain I write your name On the glittering forms On the bells of colour On physical truth I write your name On the wakened paths On the opened ways On the scattered places I write your name On the lamp that gives light On the lamp that is drowned On my house reunited I write your name On the bisected fruit Of my mirror and room On my bed’s empty shell I write your name On my dog greedy tender On his listening ears On his awkward paws I write your name On the sill of my door On familiar things On the fire’s sacred stream I write your name On all flesh that’s in tune On the brows of my friends On each hand that extends I write your name On the glass of surprises On lips that attend High over the silence I write your name On my ravaged refuges On my fallen lighthouses On the walls of my boredom I write your name On passionless absence On naked solitude On the marches of death I write your name On health that’s regained On danger that’s past On hope without memories I write your name By the power of the word I regain my life I was born to know you And to name you LIBERTY

Sometimes you have to look hard at a person and remember he’s doing the best he can. He’s just trying to find his way, just like you.” On Golden Pond 1981 Katherine Hepburn

Happy Easter to you, my friend! This day’s light shall have no end. For Christ did rise In the golden morn And by His life are we reborn. Happy Easter to one and all! The night is over, the sun is tall. The day did break with a tiny beam And flooded life with Light supreme.

But they had found the Tansy Patch a charming place and were glad to go again. For the rest of the vacation there was hardly a day when they did not go up to it-- preferably in the long, smoky, delicious August evenings when the white moths sailed over the tansy plantation and the golden twilight faded into dusk and purple over the green slopes beyond and fireflies lighted their goblin torches by the pond.

I found myself wondering if she'd started life much as I had. It made no difference that she was a mean old woman and I was just a struggling little girl. Couldn't the wrong sort of living turn anyone mean? I remembered very well that one day back in Yoroido, a boy pushed me into a thorn bush near the pond. By the time I clawed my way out I was mad enough to bite through wood. If a few minutes of suffering could make me so angry, what would years of it do? Even stone can be worn down with enough rain.

I don't know for sure what ever became of Hatsumomo. A few years after the war, I heard she was making a living as a prostitute in the Miyagawa-cho district. She couldn't have been there long, because on the night I heard it, a man at the same party swore that if Hatsumomo was a prostitute, he would find her and give her some business of his own. He did go looking for her, but she was nowhere to be found. Over the years, she probably succeeded in drinking herself to death. She certainly wouldn't have been the first geisha to do it. In just the way that a man can grow accustomed to a bad leg, we'd all grown accustomed to having Hatsumomo in our okiya. I don't think we quite understood all the ways her presence had afflicted us until long after she'd left, when things that we hadn't realized were ailing slowly began to heal. Even when Hatsumomo had been doing nothing more than sleeping in her room, the maids had known she was there, and that during the course of the day she would abuse them. They'd lived with the kind of tension you feel if you walk across a frozen pond whose ice might break at any moment. And as for Pumpkin, I think she'd grown to be dependent on her older sister and felt strangely lost without her. I'd already become the okiya's principal asset, but even I took some time to weed out all the peculiar habits that had taken root because of Hatsumomo. Every time a man looked at me strangely, I found myself wondering if he'd heard something unkind about me from her, even long after she was gone. Whenever I climbed the stairs to the second floor of the okiya, I still kept my eyes lowered for fear that Hatsumomo would be waiting there on the landing, eager for someone to abuse. I can't tell you how many times I reached that last step and looked up suddenly with the realization that there was no Hatsumomo, and there never would be again. I knew she was gone, and yet the very emptiness of the hall seemed to suggest something of her presence. Even now, as an older woman, I sometimes lift the brocade cover on the mirror of my makeup stand, and have the briefest flicker of a thought that I may find her there in the glass, smirking at me.

Better to preserve the illusion of safety. Better to improvise. Better to march along through the golden autumn woods, not very well prepared, poking icy ponds with your hiking pole, snacking on chocolate, sitting on frozen logs, peeling hard-boiled eggs with cold fingers as the early snow sifts down and the day darkens. No one knows where you are.

he's going to marry Ellen West after wanting her all his life. If I was Ellen—but then, I'm not, and if she is satisfied I can very well be. I heard her say years ago when she was a schoolgirl that she didn't want a tame puppy for a husband. There's nothing tame about Norman, believe ME." The sun was setting over Rainbow Valley. The pond was wearing a wonderful tissue of purple and gold and green and crimson. A faint blue haze rested on the eastern hill, over which a great, pale, round moon was just floating up like a silver bubble. They were all there, squatted in the little open glade—Faith and Una, Jerry and Carl, Jem and Walter, Nan and Di, and Mary Vance. They had been having a special celebration, for it would be Jem's last evening in Rainbow Valley. On the morrow he would leave for Charlottetown to attend Queen's Academy. Their charmed circle would be broken; and, in spite of the jollity of their little festival, there was a hint of sorrow in every gay young heart. "See—there is a great golden palace over there in the sunset," said Walter, pointing. "Look at the shining tower—and the crimson banners streaming from them. Perhaps a conqueror is riding home from battle—and

Far from birds, from flocks and village girls, What did I drink, on my knees in the heather Surrounded by a sweet wood of hazel trees, In the warm and green mist of the afternoon? What could I drink from that young Oise, − Voiceless elms, flowerless grass, an overcast sky! − Drinking from these yellow gourds, far from the hut I loved? Some golden spirit that made me sweat. I would have made a dubious sign for an inn. − A storm came to chase the sky away. In the evening Water from the woods sank into the virgin sand, And God’s wind threw ice across the ponds. Weeping, I saw gold − but could not drink. − ——— At four in the morning, in the summer, The sleep of love still continues. Beneath the trees the wind disperses The smells of the evening feast. Over there, in their vast wood yard, Under the sun of the Hesperidins, Already hard at work − in shirtsleeves − Are the Carpenters. In their Deserts of moss, quietly, They raise precious panelling Where the city Will paint fake skies. O for these Workers, charming Subjects of a Babylonian king, Venus! Leave for a moment the Lovers Whose souls are crowned with wreaths. O Queen of Shepherds, Carry the water of life to these labourers, So their strength may be appeased As they wait to bathe in the noon-day sea.

In summer the rich pond water was a vat of ripe simmering fruit, of varnish color: golden in the sun, holding like a rich syrup all the stock and plankton of the woods: loam-wealth, growth richness, leaf and sap goodness, the potlikker of the secret woods—all untouched and rare and gamy. There lolled fat, torpid, safe fish, bobbling languorously over in the thick piny syrup, bubbling their rubbery globules, like plump ripe fruit in their juices.

When the Golden Temple reflected the evening sun or shone in the moon, it was the light of the water (in the pond before it) that made the entire structure look as if it were mysteriously floating along and flapping its wings. The strong bonds of the temple's form were loosened by the reflection of the quivering water, and at such moments the Golden Temple seemed to be constructed of materials like wind and water and flame that are commonly in motion.

Across the lilies was a pond, its waters a vibrant green from reflecting the trees around it. In the center of the pond swam two elegant white birds, their long necks curved toward one another. "Swans!" Cinderella breathed. She leaned against the bridge's rail and gazed at the pair of swans gliding across the pond. At her side, Charles rested his elbows on the bridge. "They're here every evening before sundown. Sometimes, during sunset, you can see the light dapple their feathers. Look." Rays of golden light stroked the swans' wings, which shimmered against the still waters. "I used to come here whenever I could to watch them," said Prince Charles. "I'm certain it's been the very same pair of swans for years. When I saw them, I'd feel a little less lonely." "How happy they look," mused Cinderella, watching as the swans took flight, their feet skidding across the pond before they soared into the sky. "Free to come and go as they please.

Everything was so beautiful in this magical moment before sunrise. The wild blue irises around the pond, the violet shadows in the curves of the dunes, the white, filmy mist hanging over the buttercup valley across the pond, the cloth of gold and silver thtat was called a field of daisies, thye cool, delicious gulf breeze, the blue of far lands beyond the harbour, plumes of purple and mauve smoke going up on the still, golden air from the chimneys of Stovepipe Town where the fishermen rose early. And Teddy lying at her feet, his slim brown hands clasped behind his head. Again she felt thye magnetic attraction of his personality. Felt it so strongly that she dared not meet his eyes. Yet she was admitting to herself with a secret cadour which would have horrified Aunt Elizabeth that she wanted to run her fingers through his sleek black hair- feel his arms about her- press her face against his dark tender ne- feel his lips on her lips- Teddy took one of his hands from under his head and put it over hers.

The sun spangled the big pond, and through the quivers of light, we watched scores of fat koi that swam there from spring through autumn before being moved to indoor aquariums. Mom bought a twenty-five-cent bag of bread cubes, and the fish ventured right up to us, fins wimpling, mouths working, and we fed them. I felt the most unexpected tenderness toward those koi, because they were so beautiful and colorful and, I don’t know, like music made flesh. My mom kept pointing to this one and that one—how red, how orange, how yellow, how golden—and suddenly I couldn’t talk about them because my throat grew tight. I knew if I talked about them, my voice would tremble, and I might even tear up. I wondered what was wrong with me. They were just fish. Maybe I was turning sissy, but at least I fed the last of the bread to them without embarrassing myself. Almost half a century later, I feel that same tenderness toward nearly everything that swims and flies and walks on all fours, and I’m not embarrassed. Creation moves and astonishes if you let it. When I realize how unlikely it is that anything at all should live on this world spun together from dust and hot gases, that creatures of almost infinite variety should at night look up at the stars, I know that it’s all more fragile than it appears, and I think maybe the only thing that keeps the Earth alive and turning is our love for it.

A Rakshasi did not live here. A princess did. I was staring into the most dazzling garden I had ever seen. Cobblestone pathways meandered between rows of salmon-hued hibiscus, regal hollyhock, delicate impatiens, wild orchids, thorny rosebushes, and manicured shrubs starred with jasmine. Bunches of bougainvillea cascaded down the sides of the wall, draped across the stone like extravagant shawls. Magnolia trees, cotton-candy pink, were interspersed with coconut trees, which let in streaks of purplish light through their fanlike leaves. A rock-rimmed pond glistened in a corner of the garden, and lotus blossoms sprouting from green discs skimmed its surface. A snow white bird that looked like a peacock wove in and out through a grove of pomegranate trees, which were set aflame by clusters of deep orange blossoms. I had seen blue peacocks before, but never a white one. An Ashoka tree stood at one edge of the garden, as if on guard, near the door. A brief wind sent a cluster of red petals drifting down from its branches and settling on the ground at my feet. A flock of pale blue butterflies emerged from a bed of golden trumpet flowers and sailed up into the sky. In the center of this scene was a peach stucco cottage with green shutters and a thatched roof, quaint and idyllic as a dollhouse. A heavenly perfume drifted over the wall, intoxicating me- I wanted nothing more than to enter.

The golden age of childhood can be quite accurately fixed in time and place [he wrote in Morning and Noon, a volume of early reminiscences]. It reached its apex in the last decade of the nineteenth century and the first few years of the twentieth, before the plunge into a motor age and city life swept away the freedom of children and dogs, put them both on leashes and made them the organized prisoners of an adult world. . . . No one was run over. No one was kidnapped. No one had teeth straightened. No one worried about children, except occasionally my mother, when she saw us riding on the back step of the ice wagon and believed, fleetingly, that one of the great blocks of Pamecha Pond ice would fall on us. But none ever did.

As I walked, I became aware of the strong odor of peonies and jasmine. I inhaled deeply to draw in the lovely bouquet. The scent was from the fresh flowers of a lush garden. The path opened into a courtyard, a tangle of peonies and jasmine framing the entrance, blooming in spectacular fashion. Silky petals brushed against my skin. The tension building in my neck and shoulders melted away as I entered a fairyland. The rustle of the night breeze joined the familiar voice of Teresa Teng echoing from invisible speakers. Beneath my feet, a path of moss-covered stones led to a circular platform surrounded by a large, shallow pond. The night garden was bursting with a palette of muted greens, starlit ivories, and sparkling golds: the verdant lichen and waxy lily pads in the pond, the snowy white peonies and jasmine flowers, and the metallic tones of the fireflies suspended in the air, the square-holed coins lining the floor of the pond, and the special golden three-legged creatures resting on the floating fronds. I knew these creatures from my childhood. The feng shui symbol of prosperity, Jin Chan was transformed into a golden toad for stealing the peaches of immortality. Jin Chan's three legs represented heave, earth, and humanity. Statues of him graced every Chinese home I had ever been in, for fortune was a visitor always in demand. Ma-ma had placed one near the stairs leading to the front door. The pond before me held eight fabled toads, each biting on a coin. If not for the subtle rise and fall of their vocal sacs, I would have thought them statues.

The hill between the manor and forest displayed layers of Lady Croft's prized gardens. Paved pathways wove through a formal Italian garden, rose garden, water garden, lily pond, and a tulip garden built around Roman ruins. Maggie stood beside a statue of the goddess Hemera and a row of yew bushes that had been neatly pruned into a wall to form the perimeter of the Croft family maze. Walter sat nearby on a picnic blanket as she scanned the hillside above the maze to see if she could find Libby's copper-streaked hair among the immaculate gardens and all the people dressed in their finest for this entree into Ladenbrooke's gardens. The Croft family opened the front gate to the public once each summer. Hundreds of people from around the Cotswolds came to peruse Lady Croft's magnificent displays- the golden heather, purple dahlias, peach lilies floating on the pond.

To live a dispassionate and cultured life in the open air of ideas, reading, dreaming and thinking of writing -- a life so slow it constantly verges on tedium, but pondered enough never to find itself there. To live this life far from emotions and thought, living it only in the thought of emotion and in the emotion of thoughts. To goldenly stagnate in the sun, like a murky pond surrounded by flowers. To possess, in the shade, that nobility of spirit that makes no demands on life. To be in the whirl of the worlds like dust of flowers, sailing through the afternoon air on an unknown wind and falling, in the torpor of dusk, wherever it falls, lost among larger things. To be this with a sure understanding, neither happy nor sad, grateful to the sun for its brilliance and to the stars for their remoteness. To be no more, have no more, want no more... The music of the hungry beggar, the song of the blind man, the relic of the unknown wayfarer, the tracks in the desert of the camel without burden or destination...

Do you think she was like that?” “I’ve found it is helpful when talking to use actual subjects and context so your listener can understand what, exactly, you are trying to convey.” I rolled my eyes. “Like you’re so big on clear communication.” “Reth, I . . .” I paused, then took a deep breath. “I’m sorry.” “Whatever are you sorry for?” I shrugged. “How about threatening to kill you, for starters.” “That is an excellent place to start, although I must tell you those threats were rather more endearing and humorous than frightening.” I rolled my eyes. “Whatever. You really came through for me when no one else could, and I know Lend wouldn’t be here without your help. So thank you.” I leaned my head against his shoulder and it seemed like he almost missed a step, but then he continued on as graceful as before. I lifted my head back up, staring ahead and straining for my first glimpse of the pond. “Why did you do it? Help me, I mean. I know you don’t love Lend.” His golden voice was as deliciously warm as it had always been, wrapping around me in a comforting blanket, insulating me from the bite of the December air. “No, but I do love you, silly creature that you are.

The Common Perch, _Perca flavescens_, which name describes well the gleaming, golden reflections of its scales as it is drawn out of the water, its red gills standing out in vain in the thin element, is one of the handsomest and most regularly formed of our fishes, and at such a moment as this reminds us of the fish in the picture which wished to be restored to its native element until it had grown larger; and indeed most of this species that are caught are not half grown. In the ponds there is a light-colored and slender kind, which swim in shoals of many hundreds in the sunny water, in company with the shiner, averaging not more than six or seven inches in length, while only a few larger specimens are found in the deepest water, which prey upon their weaker brethren. I have often attracted these small perch to the shore at evening, by rippling the water with my fingers, and they may sometimes be caught while attempting to pass inside your hands. It is a tough and heedless fish, biting from impulse, without nibbling, and from impulse refraining to bite, and sculling indifferently past. It rather prefers the clear water and sandy bottoms, though here it has not much choice. It is a true fish, such as the angler loves to put into his basket or hang at the top of his willow twig, in shady afternoons along the banks of the stream. So many unquestionable fishes he counts, and so many shiners, which he counts and then throws away. Old Josselyn in his "New England's Rarities," published in 1672, mentions the Perch or River Partridge.

Spring was a long time unfolding. During the last weeks of Lent the weather was clear and frosty. In the daytime it thawed in the sun, but at night it went down to seven below; there was such a crust that carts could go over it where there was no road. There was still snow at Easter. Then suddenly, on Easter Monday, a warm wind began to blow, dark clouds gathered, and for three days and nights warm, heavy rain poured down. On Thursday the wind dropped, and a thick grey mist gathered, as if concealing the mysteries of the changes taking place in nature. Under the mist waters flowed, ice blocks cracked and moved off, the muddy, foaming streams ran quicker, and on the eve of Krasnaya Gorka the mist scattered, the dark clouds broke up into fleecy white ones, the sky cleared, and real spring unfolded. In the morning the bright sun rose and quickly ate up the thin ice covering the water, and the warm air was all atremble, filled with the vapours of the reviving earth. The old grass and the sprouting needles of new grass greened, the buds on the guelder-rose, the currants and the sticky, spiritous birches swelled, and on the willow, all sprinkled with golden catkins, the flitting, newly hatched bee buzzed. Invisible larks poured trills over the velvety green fields and the ice-covered stubble, the peewit wept over the hollows and marshes still filled with brown water; high up the cranes and geese flew with their spring honking. Cattle, patchy, moulted in all but a few places, lowed in the meadows, bow-legged lambs played around their bleating, shedding mothers, fleet-footed children ran over the drying paths covered with the prints of bare feet, the merry voices of women with their linen chattered by the pond, and from the yards came the knock of the peasants’ axes, repairing ploughs and harrows. The real spring had come.

[Nero] castrated the boy Sporus and actually tried to make a woman of him; and he married him with all the usual ceremonies, including a dowry and a bridal veil, took him to his house attended by a great throng, and treated him as his wife. This Sporus, decked out with the finery of the empresses and riding in a litter, he took with him to the assizes and marts of Greece, and later at Rome through the Street of the Images,​ fondly kissing him from time to time. That he even desired illicit relations with his own mother, and was kept from it by her enemies, who feared that such a help might give the reckless and insolent woman too great influence, was notorious, especially after he added to his concubines a courtesan who was said to look very like Agrippina. Even before that, so they say, whenever he rode in a litter with his mother, he had incestuous relations with her, which were betrayed by the stains on his clothing. He so prostituted his own chastity that after defiling almost every part of his body, he at last devised a kind of game, in which, covered with the skin of some wild animal, he was let loose from a cage and attacked the private parts of men and women, who were bound to stakes, and when he had sated his mad lust, was dispatched​ by his freedman Doryphorus; for he was even married to this man in the same way that he himself had married Sporus, going so far as to imitate the cries and lamentations of a maiden being deflowered. He made a palace extending all the way from the Palatine to the Esquiline, which at first he called the House of Passage, but when it was burned shortly after its completion and rebuilt, the Golden House. Its size and splendour will be sufficiently indicated by the following details. Its vestibule was large enough to contain a colossal statue of the emperor a hundred and twenty feet high; and it was so extensive that it had a triple colonnade​ a mile long. There was a pond too, like a sea, surrounded with buildings to represent cities,​ besides tracts of country, varied by tilled fields, vineyards, pastures and woods, with great numbers of wild and domestic animals. In the rest of the house all parts were overlaid with gold and adorned with gems and mother-of‑pearl. There were dining-rooms with fretted ceils of ivory, whose panels could turn and shower down flowers and were fitted with pipes for sprinkling the guests with perfumes. The main banquet hall was circular and constantly revolved day and night, like the heavens. His mother offended him by too strict surveillance and criticism of his words and acts. At last terrified by her violence and threats, he determined to have her life, and after thrice attempting it by poison and finding that she had made herself immune by antidotes, he tampered with the ceiling of her bedroom, contriving a mechanical device for loosening its panels and dropping them upon her while she slept. When this leaked out through some of those connected with the plot, he devised a collapsible boat,​ to destroy her by shipwreck or by the falling in of its cabin. ...[He] offered her his contrivance, escorting her to it in high spirits and even kissing her breasts as they parted. The rest of the night he passed sleepless in intense anxiety, awaiting the outcome of his design. On learning that everything had gone wrong and that she had escaped by swimming, driven to desperation he secretly had a dagger thrown down beside her freedman Lucius Agermus, when he joyfully brought word that she was safe and sound, and then ordered that the freedman be seized and bound, on the charge of being hired to kill the emperor; that his mother be put to death, and the pretence made that she had escaped the consequences of her detected guilt by suicide.

It had pale golden sands and clear cloudless blue skies. Rich quantities of palm trees and exotic flowers in dramatic red and fuchsia pink and bright yellow colors enhanced the islands beauty. The gardens were decorated with white Balinese furniture and the Japanese rock gardens with mythical dragons, lions, dinosaurs, elephants, nymphs, and man beasts (half men and half beast) in concrete large statutes and red bridges over goldfish ponds. A large loch housed swans and pink flamingos.

the famous quatrain: "Let princes revel at the pump; Let peers with ponds make free; But whisky, beer, or even wine, Is good enough for me.

I won’t say my emotions had settled themselves by the time the train pulled into Kyoto Station early the following morning. After all, when a stone is dropped into a pond, the water continues quivering even after the stone has sunk to the bottom.

After another ten minutes of driving through lush forestland, we emerge into sunlight and I'm convinced we drove out of London and into Jane Austen's imagination. A massive golden-brick mansion sneers at us with stately disregard. White pillars decorate the exterior, and a series of fountains line an expansive, perfectly manicured green lawn. I half expect to see Mr. Darcy emerge from one of the ponds. "It is a truth universally acknowledged," I whisper, "that a single man in possession of a good fortune must be in want of a demon." Doug snickers next to me. He's remained carefully limp in case there are more cameras. "Oh my gods. What if - what if it actually is Colin Firth? If Colin Firth wants to hunt you, I might let him. Well, I'd let early- to midnineties Colin Firth hunt you. I'll have to see how he looks in person now." "I can support that.

Being in a pond doesn’t mean that you are wet.

The Dragon" The bees came out of the junipers, two small swarms The size of melons; and golden, too, like melons, They hung next to each other, at the height of a deer’s breast Above the wet black compost. And because The light was very bright it was hard to see them, And harder still to see what hung between them. A snake hung between them. The bees held up a snake, Lifting each side of his narrow neck, just below The pointed head, and in this way, very slowly They carried the snake through the garden, The snake’s long body hanging down, its tail dragging The ground, as if the creature were a criminal Being escorted to execution or a child king To the throne. I kept thinking the snake Might be a hose, held by two ghostly hands, But the snake was a snake, his body green as the grass His tail divided, his skin oiled, the way the male member Is oiled by the female’s juices, the greenness overbright, The bees gold, the winged serpent moving silently Through the air. There was something deadly in it, Or already dead. Something beyond the report Of beauty. I laid my face against my arm, and there It stayed for the length of time it takes two swarms Of bees to carry a snake through a wide garden, Past a sleeping swan, past the dead roses nailed To the wall, past the small pond. And when I looked up the bees and the snake were gone, But the garden smelled of broken fruit, and across The grass a shadow lay for which there was no source, A narrow plinth dividing the garden, and the air Was like the air after a fire, or before a storm, Ungodly still, but full of dark shapes turning.

short list of puddings to die for (and you will). Spotted dick – A suet roll encasing a filling of currants, sugar and raisins. Spotted dog – A roll freckled with dried fruit, as Mary Norwak says in English Puddings, ‘like a Dalmatian dog’. Jam roly poly – In theory, a roll of suet pastry wrapped round a layer of jam, but I have yet to see one that didn’t look like the aftermath of a car accident. No doubt I am not the first: this pudding was often nicknamed ‘dead man’s leg’. Sussex pond pudding – A basin-shaped pud of golden suet pastry with a lemon and sugar filling. So named because the syrup runs out as you slice into the crust, forming a sweet pool around the edge.

You might say Gion was like a pond high up on a mountaintop, fed by streams of rich springwater. More water poured in at some spots than others, but it raised the pond as a whole.

They went together to the pond. The frogs, frozen by the movement, sat still. Fourteen golden eyes like nuggets gleamed unwinking from the margin. Some squatted on dead reeds and immersed branches. Tranced by the half-apprehended movement above them they relied for safety upon immobility. Some hung by one slim hand like children to a raft. All had been stricken to stone by the human appearance. Only the sun, shifting in the sky, tickled the fire in the nuggets in their green heads.

To see the yellow fritillaries burst forth after the deep snows of winter and know that the bears are soon to follow is to be attentive to wild nature’s seasonal fugue of infinite composition and succession. The great gray owl sitting on a snag near Sawmill Ponds is not simply a bird but a heightened intelligence with golden eyes behind a mask of feathers.

The Golden Guide to Pond Life, The Golden Guide to Stars, to Rocks and Minerals, to Reptiles and Amphibians: humans are almost beside the point.

The night around them was also alive with the intermittent cries and groans of the wounded. The pleading and sighs of the dying. They didn’t hear it. They had become accustomed to the sounds of suffering and dying, and those sounds were ordinary, natural to them, as integrated into the night as the croaking of frogs in the marshes by the River Chotla or the singing of cicadas in the acacia trees by Golden Pond.

It was one of those days that made one understand why parents paid such a premium for their children to spend four years on this campus. The temperature sat somewhere in the fifties, but the sun was shining and reflecting perfectly off the pond in the middle of campus. Each redbrick building radiated a near-golden-hour glow, a rose-colored tint that would eventually shade every memory of Taft I shared with the parents of prospective independent school students later on in my career.

The office of my daughter’s house is my new home. I sleep on something called a futon. I can sleep comfortably enough. When I wake up in the morning and the light is coming in the window, the painting that she made of koi fish in a pond looks like it is golden and shining. When I lie down on my futon bed in the afternoon or the evening, the gold and shine are gone. Sometimes something looks one way for a time and then becomes another thing. The fish are flat and orange, black and white. The painting doesn’t have anything to say. Above my futon is a crack in the ceiling, a big long crack. I lie here in the dark, but I can still see the crack. It frightens me because it means something is broken.

Everything speaks of the autumn now. The sea roars hollowly day and night, the fields are bare and sere, bordered by strips of deep-dyed golden-rod, asters, and life-everlasting; and the ponds are blue – blue – not the steely blue of winter or the deep azure of summer, but a clear, steadfast serene blue, as if the water were past all the moods and tenses of passion and had settled down to tranquility.

Listen to me, mister. You're my knight in shining armor. Don't you forget it.