Ornament And Silence Quotes

to become aware of the ineffable is to part company with words...the tangent to the curve of human experience lies beyond the limits of language. the world of things we perceive is but a veil. It’s flutter is music, its ornament science, but what it conceals is inscrutable. It’s silence remains unbroken; no words can carry it away. Sometimes we wish the world could cry and tell us about that which made it pregnant with fear--filling grandeur. Sometimes we wish our own heart would speak of that which made it heavy with wonder.

As for me, I feel myself living and thinking in a room where everything is the creation and the language of lives profoundly different from mine, of a taste opposite to mine, where I find nothing of my conscious thought, where my imagination is excited by feeling itself plunged into the depths of the non-ego; I feel happy only when setting foot—on the Avenue de la Gare, on the Port, or on the Place de l'Eglise—in one of those provincial hotels with cold, long corridors where the wind from outside contends successfully with the efforts of the heating system, where the detailed geographic map of the district is still the sole ornament on the walls, where each noise helps only to make the silence appear by displacing it, where the rooms keep a musty perfume which the open air comes to wash, but does not eliminate, and which the nostrils inhale a hundred times in order to bring it to the imagination, which is enchanted with it, which has it pose like a model to try to recreate it with all the thoughts and remembrances that it contains...

Bowman was aware of some changes in his behavior patterns; it would have been absurd to expect anything else in the circumstances. He could no longer tolerate silence; except when he was sleeping, or talking over the circuit to Earth, he kept the ship's sound system running at almost painful loudness. / At first, needing the companionship of the human voice, he had listened to classical plays--especially the works of Shaw, Ibsen, and Shakespeare--or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them. / So he switched to opera--usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The "Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more. / Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. / And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years.

I’m fine here, Lenny. I’m discovering who I am without all my ornaments and accessories. It’s quite a slow process, but a very useful one. Everybody ought to do the same at the end of their life. If I had any self-discipline I would beat my grandson to it and write my own memoirs. I have time, freedom, and silence, the three things I never had amidst all the noise of my earlier life. I’m preparing to die.” “That won’t

[The history of most women is] hidden either by silence, or by flourishes and ornaments that amount to silence.

Dandelion spoke first; elaborately, fluently, colourfully and volubly, embellishing his tale with ornaments so beautiful and fanciful they almost obscured the fibs and confabulations. Then the Witcher spoke. He spoke the same truth, and spoke so dryly, boringly and flatly that Dandelion couldn’t bare it and kept butting in, for which the dwarves reprimanded him. And then the story was over and a lengthy silence fell. 'To the archer Milva!' Zoltan Chivay cleared his throat, saluting with his cup. 'To the Nilfgaardian. To Regis the herbalist who entertained the travellers in his cottage with moonshine and mandrake. And to Angoulême, whom I never knew. May the earth lie lightly on them all. May they have in the beyond plenty of whatever they were short of on earth. And may their names live forever in songs and tales. Let’s drink to them.

Opening each door, I discovered porcelain pots of color, hair ornaments, and a brush with strands of hair in it. Lady O's hair. I reached for one and the moment I pulled a strand free, it struck me how transient life was -- one night a woman was brushing her hair, the next night she was dead.

Together they repeat, ''we are, we are, because we know, because we can tell each other the words of knowledge, of free and absolute consciousness.'' Thus do they stupefy one another. Having nothing and able to give nothing, they let themselves sink into words that feign communication, because none of them can make his world be the world of the others; they feign words containing the absolute world, and with words they nourish their boredom, making themselves a poultice for the pain; with words they show what they do not know and what they need in order to soothe the pain or make themselves numb to it. Each word contains mystery, and they entrust themselves to words, weaving with them thereby a new, tacitly agreed-upon veil over the obscurity: 'ornaments of the darkness'.

There were no flags ornamenting the graves. There were no hourly tours available for people to remember the dead. There was history, but also silence.

Every man whose business it is to think knows that he must for part of the day create about himself a pool of silence. But in that helter-skelter which we flatter by the name of civilization, the citizen performs the perilous business of government under the worst possible conditions. A faint recognition of this truth inspires the movement for a shorter work day, for longer vacations, for light, air, order, sunlight and dignity in factories and offices. But if the intellectual quality of our life is to be improved that is only the merest beginning. So long as so many jobs are an endless and, for the worker, an aimless routine, a kind of automatism using one set of muscles in one monotonous pattern, his whole life will tend towards an automatism using one set of muscles in one monotonous pattern, his whole life will tend towards an automatism in which nothing is particularly to be distinguished from anything else unless it is announced with a thunderclap. So long as he is physically imprisoned in crowds by day and even by night his attention will flicker and relax. It will not hold fast and define clearly where he is the victim of all sorts of pother, in a home which needs to be ventilated of its welter of drudgery, shrieking children, raucous assertions, indigestible food, bad air, and suffocating ornament. Occasionally perhaps we enter a building which is composed and spacious; we go to a theatre where modern stagecraft has cut away distraction, or go to sea, or into a quiet place, and we remember how cluttered, how capricious, how superfluous and clamorous is the ordinary urban life of our time. We learn to understand why our addled minds seize so little with precision, why they are caught up and tossed about in a kind of tarantella by headlines and catch-words, why so often they cannot tell things apart or discern identity in apparent differences.

I’m fine here, Lenny. I’m discovering who I am without all my ornaments and accessories. It’s quite a slow process, but a very useful one. Everybody ought to do the same at the end of their life. If I had any self-discipline I would beat my grandson to it and write my own memoirs. I have time, freedom, and silence, the three things I never had amidst all the noise of my earlier life. I’m preparing to die.

There is a moment in the tractate Menahot when the Rabbis imagine what takes place when Moses ascends Mount Sinai to receive the Torah. In this account (there are several) Moses ascends to heaven, where he finds God busily adding crownlike ornaments to the letters of the Torah. Moses asks God what He is doing and God explains that in the future there will be a man named Akiva, son of Joseph, who will base a huge mountain of Jewish law on these very orthographic ornaments. Intrigued, Moses asks God to show this man to him. Moses is told to 'go back eighteen rows,' and suddenly, as in a dream, Moses is in a classroom, class is in session and the teacher is none other than Rabbi Akiva. Moses has been told to go to the back of the study house because that is where the youngest and least educated students sit. Akiva, the great first-century sage, is explaining Torah to his disciples, but Moses is completely unable to follow the lesson. It is far too complicated for him. He is filled with sadness when, suddenly, one of the disciples asks Akiva how he knows something is true and Akiva answers: 'It is derived from a law given to Moses on Mount Sinai.' Upon hearing this answer, Moses is satisfied - though he can't resist asking why, if such brilliant men as Akiva exist, Moses needs to be the one to deliver the Torah. At this point God loses patience and tells Moses, 'Silence, it's my will.

Together they repeat, ''we are, we are, because we know, because we can tell each other the words of knowledge, of free and absolute consciousness.'' Thus do they stupefy one another. Having nothing and able to give nothing, they let themselves sink into words that feign communication, because none of them can make his world be the world of the others; they feign words containing the absolute world, and with words they nourish their boredom, making themselves a poultice for the pain; with words they show what they do not know and what they need in order to soothe the pain or make themselves numb to it. Each word contains mystery, and they entrust themselves to words, weaving with them thereby a new, tacitly agreed-upon veil over the obscurity: 'ornaments of the darkness'.

Classical Sanskrit prose writers made very long sentences like this: "Lost in the forest and in thought, bent upon death and at the root of a tree, fallen upon calamity and her nurse's bosom, parted from her husband and happiness, burnt with the fierce sunshine and the woes of widowhood, her mouth closed with silence as well as by her hand, held fast by her companions as well as by grief, I saw her with her kindred and her graces all gone, her ears and her soul left bare, her ornaments and her aims abandoned, her bracelets and her hopes broken, her companions and the needle-like grass-spears clinging round her feet, her eyes and her beloved fixed within her bosom, her sighs and her hair long, her limbs and her merits exhausted, her aged attendants and her streams of tears falling down at her feet...." and it goes on.

There was a time when my life seemed so painful to me that reading about the lives of other women writers was one of the few things that could help. I was unhappy, and ashamed of it; I was baffled by my life. For several years in my early thirties, I would sit in my armchair reading books about these other lives. Sometimes when I came to the end, I would sit down and read the book through from the beginning again. I remember an incredible intensity about all this, and also a kind of furtiveness—as if I were afraid that someone might look through the window and find me out. Even now, I feel I should pretend that I was reading only these women's fiction or their poetry—their lives as they chose to present them, alchemized as art. But that would be a lie. It was the private messages I really liked—the journals and letters, and autobiographies and biographies whenever they seemed to be telling the truth. I felt very lonely then, self-absorbed, shut off. I needed all this murmured chorus, this continuum of true-life stories, to pull me through. They were like mothers and sisters to me, these literary women, many of them already dead; more than my own family, they seemed to stretch out a hand. I had come to New York when I was young, as so many come, in order to invent myself. And, like many modern people—modern women, especially—I had catapulted out of my context; in important ways, the life of my mother, in her English village, was not much help. I remember reading in those dark years a review by John Updike in which he smoothly compared the lives of Jean Rhys and Colette. The first was in the end a failure, the second a triumph, he said. I took it personally, felt a stab in the heart. And poor Jane Bowles, said someone else, in the Times—you'd have to admit that hers was a desperate life. The successes gave me hope, of course, yet it was the desperate bits I liked best. I was looking for directions, gathering clues...

…They arrived when the sober grey of twilight had clad every object. Amanda viewed the dark and stupendous edifice, the gloom of which was now heightened by the shadows of evening, with venerable awe; the solitude, the silence, which reigned around, the melancholy murmur of the waves, as they dashed against the rocks, all heightened the sadness of her mind; yet it was not quite an unpleasing sadness, for with it was mingled a degree of that enthusiasm, which plaintive and romantic spirits are so peculiarly subject to feel in viewing the venerable grandeur of an ancient fabric renowned in history. As she entered a spacious hall, curiously wainscoted with oak, ornamented with coats of arms, spears, lances, and old armour, she could not avoid casting a retrospective eye to former times, when perhaps in this very hall, bards sung the exploits of those heroes, whose useless arms now hung upon the walls; and she wished, in the romance of the moment, some grey bard near her, to tell the deeds of other times, of kings renowned in our land, and chiefs we behold no more.

It was true what Doc had said, that Christmas succeeds Christmas rather than the days it follows. That had become apparent to Smoky in the last few days. Not because of the repeated ritual, the tree sledded home, the antique ornaments lovingly brought out, the Druid greenery hung on the lintels. It was only since last Christmas that all that had become imbued for him with dense emotion, an emotion having nothing to do with Yuletide, a day which for him as a child had nothing like the fascination of Hallowe'en, when he went masked and recognizable (pirate, clown) in the burnt and smoky night. Yet he saw that it was an emotion that would cover him now, as with snow, each time the season came. She was the cause, not he to whom he wrote. "Any," he began again, "my desires this year are a little clouded. I would like one of those instruments you use to sharpen the blades of an old-fashioned lawn mower. I would like the missing volume of Gibbon (Vol. II) which somebody's apparently taken out to use as a doorstop or something and lost." He thought of listing publisher and date, but a feeling of futility and silence came over him, drifting deep. "Santa," he wrote, "I would like to be one person only, not a whole crowd of them, half of them always trying to turn their backs and run whenever somebody" - Sophie, he meant, Alice, Cloud, Doc, Mother; Alice most of all - "looks at me. I want to be brave and honest and shoulder my burdens. I don't want to leave myself out while a bunch of slyboots figments do my living for me." He stopped, seeing he was growing unintelligible. He hesitated over the complimentary close; he thought of using "Yours as ever," but thought that might sound ironic or sneering, and at last wrote only "Yours &c.," as his father always had, which then seemed ambiguous and cool; what the hell anyway; and he signed it: Evan. S. Barnable.

when you are a beautiful boy I am a girl and when you are a girl I am a girl again. Love takes to the female form. When your arm is bare, I become an ornament. When I am naked you become my clothing. Your body being the only fashion I wish for. You, are a pool of raindrops and I am a thirsty man. You are the song bird’s melody and I am all ear, all ear. It is a strange love, no matter how many songs I sing I will never know the all of you - you are the supreme master of revealing and concealing. the form of the one I love is everywhere everything. Eyes remaining closed I fall into the Heart and silence engulfs …there, in the nothingness openness, there you are again –you are the darkened rain cloud and I have thrown away my umbrella. Love is that way. - t.k.

Silence, the ornament of sacred solitudes” (Life of Rancé).

Silence is an ornament which is visible from inside. (Le silence est une parure - Qui se voit de l'intérieur)

Dandelion spoke first; elaborately, fluently, colourfully and volubly, embellishing his tale with ornaments so beautiful and fanciful they almost obscured the fibs and confabulations. Then the Witcher spoke. He spoke the same truth, and spoke so dryly, boringly and flatly that Dandelion couldn’t bear it and kept butting in, for which the dwarves reprimanded him. And then the story was over and a lengthy silence fell. “To the archer Milva!” Zoltan Chivay cleared his throat, saluting with his cup. “To the Nilfgaardian. To Regis the herbalist who entertained the travellers in his cottage with moonshine and mandrake. And to Angoulême, whom I never knew. May the earth lie lightly on them all. May they have in the beyond plenty of whatever they were short of on earth.

The contrast between the two was conspicuous in ways not dissimilar to that between the two cemeteries at Monticello. There were far fewer tombstones at the People’s Memorial Cemetery than at Blandford, and those there were indiscriminately scattered across the brown grass. There were no flags ornamenting the graves. There were no hourly tours available for people to remember the dead. There was history, but also silence.

There was a time when my life seemed so painful to me that reading about the lives of other women writers was one of the few things that could help. I was unhappy, and ashamed of it; I was baffled by my life. For several years in my early thirties, I would sit in my armchair reading books about these other lives. Sometimes when I came to the end, I would sit down and read the book through from the beginning again. I remember an incredible intensity about all this, and also a kind of furtiveness—as if I were afraid that someone might look through the window and find me out. Even now, I feel I should pretend that I was reading only these women's fiction or their poetry—their lives as they chose to present them, alchemized as art. But that would be a lie. It was the private messages I really liked—the journals and letters, and autobiographies and biographies whenever they seemed to be telling the truth. I felt very lonely then, self-absorbed, shut off. I needed all this murmured chorus, this continuum of true-life stories, to pull me through. They were like mothers and sisters to me, these literary women, many of them already dead; more than my own family, they seemed to stretch out a hand.

Often, when I'm with her I have a tingling sensation of the present moment, even- or especially- when she reaches into her remarkable memory for tales of long-gone times. She has always rejected the idea of eternity, and even the idea of living, like Wells and Gorky, for future generations, in favor of living in the here and now. "The most ferocious immanance," she called it... the hours of its operation mattered to her. She wished to know precisely when the water gushed and when it lay still. She watches the world and herself in the world (mind, body, feelings) with great intensity. "I always wanted to know myself before I die," she writes. "I worship time! I cherish it!" she told me now. "As a child, I felt it, the weight of time.

Shutting down behind self-pity and secret shame; sacrificing themselves to childish mothers and selfish men; vaguely yearning, self-medicating; painting someone else's pictures; obediently tracing the magic circle. afraid, entranced. There are so many different ways to drown.

The twelve degrees of humility, which he lays down in his Rule,1017 are commended by St. Thomas Aquinas.1018 The first is a deep compunction of heart, and holy fear of God and his judgments, with a constant attention to walk in the divine presence, sunk under the weight of this confusion and fear. 2. The perfect renunciation of our own will. 3. Ready obedience. 4. Patience under all sufferings and injuries. 5. The manifestation of our thoughts and designs to our superior or director. 6. To be content, and to rejoice, in all humiliations; to be pleased with mean employments, poor clothes, &c., to love simplicity and poverty, (which he will have among monks, to be extended even to the ornaments of the altar,) and to judge ourselves unworthy, and bad servants in every thing that is enjoined us. 7. Sincerely to esteem ourselves baser and more unworthy than every one, even the greatest sinners.1019 8. To avoid all love of singularity in words or actions. 9. To love and practise silence. 10. To avoid dissolute mirth and loud laughter. 11. Never to speak with a loud voice, and to be modest in our words. 12. To be humble in all our exterior actions, by keeping our eyes humbly cast down with the publican,1020 and the penitent Manasses