On The Marble Cliffs Quotes

Die Menschenordnung gleicht dem Kosmos darin, daß sie von Zeit zu Zeiten, um sich von neuem zu gebären, ins Feuer tauchen muß.

He sang the brightness of mornings and green rivers, He sang of smoking water in the rose-colored daybreaks, Of colors: cinnabar, carmine, burnt sienna, blue, Of the delight of swimming in the sea under marble cliffs, Of feasting on a terrace above the tumult of a fishing port, Of tastes of wine, olive oil, almonds, mustard, salt. Of the flight of the swallow, the falcon, Of a dignified flock of pelicans above the bay, Of the scent of an armful of lilacs in summer rain, Of his having composed his words always against death And of having made no rhyme in praise of nothingness.

The word is both king and conjurer.

We cannot count on seeing our work completed here below, and happy is the man whose will is not too painfully invested in his efforts. No house is built, no plan created, in which ruin is not the cornerstone, and what lives imperishably in us does not reside in our works.

Profonde est la haine qui brûle contre la beauté dans les cœurs abjects.

The downfall of order brings good to none.

Like everything on this earth, plants want to speak to us, but understanding their language requires a clear mind.

When we stood thus on the crest of the Marble Cliffs, Brother Otho would often say that this was the meaning of life: reenacting creation in the ephemeral, the way a child at play imitates his father's work. What gives meaning to sowing and procreation, to building and establishing order, to images and poetry, is that the masterwork is reflected in them as in a mirror of multicolored glass that soon shatters.

Such are the cellars over which the proud castles of tyranny rise and above which the aromas of their feast swirl: putrid caves of a gruesome kind in which the depraved rabble regales itself with the violation of human dignity and liberty for all eternity.

She’d wandered through the house, admiring the long white couches and marble countertops and the giant glass windows that faded into a view of the beach. She couldn’t imagine living like this—hanging on a cliff, exposed by glass. But maybe the rich didn’t feel a need to hide. Maybe wealth was the freedom to reveal yourself.

I had often doubted; now I was convinced: there were still noble beings among us in whose hearts knowledge of the higher order was preserved and perpetuated. A lofty example enjoins us to follow, and I swore before this head that for all the future I would cast my lot with the solitary and free rather than the triumphant and servile.

What? Am I to be a listener only all my days? Am I never to get my word in—I that have been so often bored by the Theseid of the ranting Cordus? Shall this one have spouted to me his comedies, and that one his love ditties, and I be unavenged? Shall I have no revenge on one who has taken up the whole day with an interminable Telephus or with an Orestes which, after filling the margin at the top of the roll and the back as well, hasn't even yet come to an end? No one knows his own house so well as I know the groves of Mars, and the cave of Vulcan near the cliffs of Aeolus. What the winds are brewing; whose souls Aeacus has on the rack; from what country another worthy is carrying off that stolen golden fleece; how big are the ash trees which Monychus hurls as missiles: these are the themes with which Fronto's plane trees and marble halls are for ever ringing until the pillars quiver and quake under the continual recitations; such is the kind of stuff you may look for from every poet, greatest or least. Well, I too have slipped my hand from under the cane; I too have counselled Sulla to retire from public life and take a deep sleep; it is a foolish clemency when you jostle against poets at every corner, to spare paper that will be wasted anyhow. But if you can give me time, and will listen quietly to reason, I will tell you why I prefer to run in the same course over which Lucilius, the great nursling of Aurunca drove his horses.

His principle was that each theory was a contribution to genesis because in every era human intelligence conceives creation anew -- and that each interpretation contains no more truth than a leaf that unfolds and soon withers. That is the reason he called himself Phyllobius, "he who lives among leaves," in his unusual characteristic mixture of modesty and pride.

There are eras of decline in which the form our inner life is destined to take becomes blurred. In these periods, we stagger this way and that like creatures who have lost their balance. We sink from hollow joys into dull sorrow, and a pervasive sense of loss lends the future and the past a more alluring air. And so we maunder through remote pasts or distant utopias while the present moment vanishes.

Yet who would have believed that the gods of fat and butter who filled the cows' udders would gain a following in the Marina--of worshippers, at that, who came from houses in which offerings and sacrifices had long been mocked? The same spirits who deemed themselves strong enough to cut the ties that bound them to their ancestral faith became subjugated to the barbarian idols' spell. The sight of their blind obedience was more repugnant than drunkenness at midday.

How is a cloud outlined? Granted whatever you choose to ask, concerning its material, or its aspect, its loftiness and luminousness,—how of its limitation? What hews it into a heap, or spins it into a web? Cold is usually shapeless, I suppose, extending over large spaces equally, or with gradual diminution. You cannot have, in the open air, angles, and wedges, and coils, and cliffs of cold. Yet the vapor stops suddenly, sharp and steep as a rock, or thrusts itself across the gates of heaven in likeness of a brazen bar; or braids itself in and out, and across and across, like a tissue of tapestry; or falls into ripples, like sand; or into waving shreds and tongues, as fire. On what anvils and wheels is the vapor pointed, twisted, hammered, whirled, as the potter’s clay? By what hands is the incense of the sea built up into domes of marble?

After breakfast, Amar stood waiting for me in the center of a marble vestibule. Around him, the mirror portals flashed through the settings--a fox napping in tall grass, a shining cave strung with ghost-lit threads and a cliff jutting a stony chin to the sea. Amar grinned and once more, I was transfixed by the way a small smile could soften the stern angles of his jaw and the haunted look in his eyes. “Are we going to the tapestry room?” He shook his head. “Not yet. Those decisions take time. There are other things to see and know here.” I shivered at the thought of yanking the threads. I was in no rush to condemn someone. Amar stepped toward a door I hadn’t noticed until now, inky black and studded with pearls and moonstone. He pushed it open and a chilly gust kissed my face. “I promised you the moon for your throne and stars to wear in your hair,” said Amar, gesturing inside. “And I always keep my promises.

The Unassailable City was a vast promontory of rock rising hundreds of yards above the waves. Clinging like barnacles to its sheer sides were countless, chaotic structures. Those closest to the sea were fashioned from the flotsam of old ships, seemingly sunken into the face of the rock. Others were crafted from giant, overlapping conch shells strung together with seaweed-rope. Higher up, caves had been hacked from the rock, and crooked shacks struggled for purchase upon narrow shelves. A network of ropes and ladders laced the cliffs, as alive with movement as a web of newly hatched sea spiders. Enormous cranes, used to shift goods to and from the fleets below, grasped the edge of the precipitous heights and tried their balance against the gusting wind. Long-barrelled cannon squatted at their feet like guard dogs. These weapons could sink a frigate a mile distant, and had kept enemies away for centuries. Upon the very summit was a wide plateau, where stood the white houses and marble palaces of the High Mercantilists that ran the city.

It is no wonder that historians trace the birth of Western civilization to these jewels of the Aegean, Ionian, and Mediterranean seas. The Greek Isles are home to wide-ranging and far-reaching cultural traditions and mythic tales, not to mention the colorful history and unforgettable vistas that still draw thousands of tourists to the region every year. Minoan ruins stand alongside Byzantine churches and Crusader fortresses. Terra-cotta pots spilling over with hibiscus flowers adorn blinding-white stucco houses that reflect the sun’s dazzling light. Fishing villages perched upon craggy cliffs overlook clusters of colorful boats in island harbors. Centuries-old citrus and olive groves dot the hillsides. Lush vegetation and rocky shores meet isolated stretches of sand and an azure sea. Masts bob left and right on sailboats moored in secluded inlets. Each island is a world unto itself. Although outsiders and neighbors have inhabited, visited, and invaded these islands throughout the centuries, the islands’ rugged geography and small size have also ensured a certain isolation. In this environment, traditional ways of life thrive. The arts--pottery, glass blowing, gem carving, sculpture, and painting, among others--flourish here today, as contemporary craft artists keep alive techniques begun in antiquity. In the remote hilltop villages of Kárpathos, for example, artisans practice crafts that date back eons, and inhabitants speak a dialect close to ancient Greek. Today, to walk along the pebbled pathways of a traditional Greek mountain village or the marbled streets of an ancient acropolis is to step back in time. To meander at a leisurely pace through these island chains by boat is to be captivated by the same dramatic landscapes and enchanted islets that make the myths of ancient Greece so compelling. To witness the Mediterranean sun setting on the turquoise sea is to receive one of life’s greatest blessings.

Once he reached the farm he followed a barely used dirt road that led towards the sandstone cliffs. He heard the dog scrabbling across the rocky ground. The huffling of her breath. Some of the rocks were quite large and he turned and watched her stumble into them. In terrain like this she could easily break a leg and yet she lurched on, determined to find him. When she finally reached him she touched his leg with her nose, before settling down a few feet away, blind head looking out of over the dry Limpopo below. He wished he could pluck out her eyes and hold them in his hands like marbles. Rub them together, make thunder, bring rain. Instead he nudged the safety catch off his rifle and shot her.

The resulting garment was black, of course. But it was like no fabric I'd ever seen before, liquid and faintly glimmering. He had ordered each of his guardians to donate several of their feathers, and these he had woven into the material. They were not visible exactly, except as a suggestion of wings when the cloak caught the wind. It was a garment that needed no adornment, for it was like something snipped out of a dream, and he gave it none, apart from the row of buttons. I would have expected him to pick the finest of those I had gathered, but instead he chose a selection that would represent all the regions of his realm: silver from the Weeping Mines and the lower tributary of the Tromlu River; carved oak from the antlers of one of the hag-headed deer; colored marble from the Blue Hooks. The effect was more impressive than if he had adorned himself in jewels, for together the buttons possessed an enchantment that made strange images flit through my mind when I looked upon them, memories of places I'd never seen. A shadowy grove around a narrow standing stone; a flash of mist-shrouded water tumbling down a sheer cliff.

Though I watched much of its construction, I could not say how he made his cloak. At times he seemed to reach down and gather a shadow from beneath a tree, at which point it became a solid thing, or solider, an undulating darkness not unlike my own cloak. Sometimes he would stride into the forest and come back with an armful of pine boughs or birch bark, which would, from one moment to the next, turn into something like fabric. Occasionally he would dip the cloak into the lake as he worked, and when he removed it, it would have taken on a subtly different shape. The resulting garment was black, of course. But it was like no fabric I’d ever seen before, liquid and faintly glimmering. He had ordered each of his guardians to donate several of their feathers, and these he had woven into the material. They were not visible exactly, except as a suggestion of wings when the cloak caught the wind. It was a garment that needed no adornment, for it was like something snipped out of a dream, and he gave it none, apart from the row of buttons. I would have expected him to pick the finest of those I had gathered, but instead he chose a selection that would represent all the regions of his realm: silver from the Weeping Mines and the lower tributary of the Tromlu River; carved oak from a dozen different corners of the forest; rare bone from the antlers of one of the hag-headed deer; coloured marble from the Blue Hooks. The effect was more impressive than if he had adorned himself in jewels, for together the buttons possessed an enchantment that made strange images flit through my mind when I looked upon them, memories of places I’d never seen. A shadowy grove around a narrow standing stone; a flash of mist-shrouded water tumbling down a sheer cliff.

From his attic of dreams, from his tower of ivory and spleen, the morose impressionist saw unrolling beneath him a double lane of light, tall poles, bearing twy-electric lamps, either side of nocturnal Madison Avenue, throwing patches of metallic blue upon the glistening damp pave - veritable fragments of shivering luminosity; saw the interminable stretch of humid asphalt stippled by rare notes of dull crimson; exigent lanterns of some fat citizen contractor. Occasional trolley-cars, projecting vivid shafts of canary colour into the mist, traversed with vertiginous speed and hollow thunder the dreary roadway. It was now midnight. On the street were buttresses of granite; at unryhthmic intervals gloomy apartment-houses reared to the clouds their oblong ugliness, attracting by their magnetism the vagrom winds which tease, agitate, and buffet unfortunate ones afoot in this melancholy cañon of marble, steam, and steel. A huge, belated, bug-like motor-car, its antennæ vibrating with fire, slipped tremulously through the casual pools of shadowed cross-lights; swam and hummed so softly that it might have been mistaken for a novel, timorous, amphibian monster, neither boat nor machine. To the faded nerves of the fantastic impressionist aloft in his ineluctable cage this undulating blur of blue and grey and frosty white, these ebon silhouettes of hushed brassy palaces, and the shimmering wet night did but evoke the exasperating tableau of a petrified Venice. Venice overtaken by a drought eternal; an aerial Venice with cliff-dwellers in lieu of harmonious gondoliers; a Venice of tarnished twilights, in which canals were transposed to the key of stone; across which trailed and dripped superficial rain from dusk and implacable skies; rain upright and scowling. And the soul of the poet ironically posed its own acid pessimism in the presence of this salty, chill, and cruel city — a Venice of receded seas, a spun-iron Venice, sans hope, sans faith, sans vision.