Onyx And Ivory Quotes

We've searched our database for all the quotes and captions related to Onyx And Ivory. Here they are! All 15 of them:

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There is no greater weapon than knowledge.
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Mindee Arnett (Onyx & Ivory (Rime Chronicles, #1))
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The world is black and white and all the shades of grey in between.
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Mindee Arnett (Onyx and Ivory (Rime Chronicles, #1))
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It's always a choice, to do right or wrong, no matter the power.
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Mindee Arnett (Onyx and Ivory (Rime Chronicles, #1))
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It’s the cruelest part of this life, I think, that we don’t get to choose the families and situations we’re born into.
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Mindee Arnett (Onyx & Ivory (Rime Chronicles, #1))
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But no amount of wishing could change their hearts, and desire could not be mined, only ignited.
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Mindee Arnett (Onyx & Ivory (Rime Chronicles, #1))
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I stole it from the grave of the king of Skaar, and when his kinsmen found out, they sent twelve warriors to bring me back, but I killed them one by one, the first with a hunting knife and the last with a kiss.
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Mindee Arnett (Onyx & Ivory (Rime Chronicles, #1))
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Better to have two people whose love is true than a whole city of fair-weather friends.
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Mindee Arnett (Onyx and Ivory (Rime Chronicles, #1))
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It is easy enough to call men from the edges of the earth. It is easy enough to summon them to my feet with a thought– it is beautiful to see the tall panther and the sleek deer-hounds circle in the dark. It is easy enough to make cedar and white ash fumes into palaces and to cover the sea-caves with ivory and onyx. But I would give up rock-fringes of coral and the inmost chamber of my island palace and my own gifts and the whole region of my power and magic for your glance.
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H.D.
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Holy mother of horses. - Dal
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Mindee Arnett (Onyx and Ivory (Rime Chronicles, #1))
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Soon they reached the opened city gates. Two massive horse statues stood, one on either side of the entrance. They weren’t identical but asymmetrical complements of each other. The left one, carved in sleek ivory, was leaned back on its haunches, just coming up to a rear, muzzle pointed skyward. The right, carved from glistening onyx, black as pitch, was in full rear, its head curved downward, forelegs striking.
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Mindee Arnett (Onyx & Ivory (Rime Chronicles, #1))
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As Kate fell into the rhythm of Darby’s strideβ€”horse and rider becoming oneβ€”she felt her spirits soar. For a little while, with the scenery blurring by, she was no longer Traitor Kate. No longer the girl despised by a kingdom. No longer the girl cast aside by the friend and prince she had once loved. In moments like these, atop a horse and flying over the ground, she glimpsed her old life. She became Kate Brighton again. Daughter of Hale Brighton, master of horse to the high king. She was free. A girl with a future. Someone who mattered.
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Mindee Arnett (Onyx & Ivory (Rime Chronicles, #1))
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The walls were hung with rich tapestries representing the Triumph of Beauty. A large press, inlaid with agate and lapis-lazuli, filled one corner, and facing the window stood a curiously wrought cabinet with lacquer panels of powdered and mosaiced gold, on which were placed some delicate goblets of Venetian glass, and a cup of dark-veined onyx. Pale poppies were broidered on the silk coverlet of the bed, as though they had fallen from the tired hands of sleep, and tall reeds of fluted ivory bare up the velvet canopy, from which great tufts of ostrich plumes sprang, like white foam, to the pallid silver of the fretted ceiling. A laughing Narcissus in green bronze held a polished mirror above its head. On the table stood a flat bowl of amethyst.
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Oscar Wilde (A House of Pomegranates)
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Titles served their purpose in creating necessary boundaries, reminding people of their place in life. Once she hadn’t realized how vast the chasm was between the highborn and lowborn, but she’d spent the last few years learning better. It was a vast chasm indeed, uncrossable.
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Mindee Arnett (Onyx and Ivory (Rime Chronicles, #1))
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Where are your monuments, your battles, martyrs? Where is your tribal memory? Sirs, in that gray vault. The sea. The sea has locked them up. The sea is History. First, there was the heaving oil, heavy as chaos; then, likea light at the end of a tunnel, the lantern of a caravel, and that was Genesis. Then there were the packed cries, the shit, the moaning: Exodus. Bone soldered by coral to bone, mosaics mantled by the benediction of the shark's shadow, that was the Ark of the Covenant. Then came from the plucked wires of sunlight on the sea floor the plangent harp of the Babylonian bondage, as the white cowries clustered like manacles on the drowned women, and those were the ivory bracelets of the Song of Solomon, but the ocean kept turning blank pages looking for History. Then came the men with eyes heavy as anchors who sank without tombs, brigands who barbecued cattle, leaving their charred ribs like palm leaves on the shore, then the foaming, rabid maw of the tidal wave swallowing Port Royal, and that was Jonah, but where is your Renaissance? Sir, it is locked in them sea sands out there past the reef's moiling shelf, where the men-o'-war floated down; strop on these goggles, I'll guide you there myself. It's all subtle and submarine, through colonnades of coral, past the gothic windows of sea fans to where the crusty grouper, onyx-eyed, blinks, weighted by its jewels, like a bald queen; and these groined caves with barnacles pitted like stone are our cathedrals, and the furnace before the hurricanes: Gomorrah. Bones ground by windmills into marl and cornmeal, and that was Lamentations - that was just Lamentations, it was not History; then came, like scum on the river's drying lip, the brown reeds of villages mantling and congealing into towns, and at evening, the midges' choirs, and above them, the spires lancing the side of God as His son set, and that was the New Testament. Then came the white sisters clapping to the waves' progress, and that was Emancipation - jubilation, O jubilation - vanishing swiftly as the sea's lace dries in the sun, but that was not History, that was only faith, and then each rock broke into its own nation; then came the synod of flies, then came the secretarial heron, then came the bullfrog bellowing for a vote, fireflies with bright ideas and bats like jetting ambassadors and the mantis, like khaki police, and the furred caterpillars of judges examining each case closely, and then in the dark ears of ferns and in the salt chuckle of rocks with their sea pools, there was the sound like a rumour without any echo of History, really beginning.
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Derek Walcott (Selected Poems)
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I understand now why people fear bone witches. Theirs is not the magic found in storybooks, slaying onyx-eyed dragons and rescuing grateful maidens from ivory towers. Theirs is not the magic made from smoke and mirrors, where the trap lies in the twitch of the hand and a trick of the eyes. Nor is theirs the magic that seeds runeberry fields, whose crops people harvest for potions and spells. This is death magic, complicated and exclusive and implacable, and from the start, I wielded it with ease
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Rin Chupeco (The Bone Witch (The Bone Witch, #1))