Ornament Exchange Quotes

Tragedy was foresworn, in ritual denial of the ripe knowledge that we are drawing away from one another, that we share only one thing, share the fear of belonging to another, or to others, or to God; love or money, tender equated in advertising and the world, where only money is currency, and under dead trees and brittle ornaments prehensile hands exchange forgeries of what the heart dare not surrender.

Consider—to give up a heathen is to lose nothing for your ancestors, whereas with the gold you get in exchange you can ornament the shrines of their holy spirits. And surely, were gold evil in itself, if such a thing could be, the evil would depart of necessity once the metal were put to such pious use.

It is a remarkable fact that the people who do things by hand still find time to add to their work some elaboration of mere beauty which makes it a joy to look on, while our machine-made tools, which could do so at much less cost, are too utilitarian to afford any ornament. It used to give me daily pleasure in Teheran to see the sacks in which refuse is carried off the streets woven with a blue and red decorative pattern: but can one imagine a borough council in Leeds or Birmingham expressing a delicate fancy of this kind? Beauty, according to these, is what one buys for the museum: pots and pans, taps and door-handles, though one has to look at them twenty times a day, have no call to be beautiful. So we impoverish our souls and keep our lovely things for rare occasions, even as our lovely thoughts - wasting the most of life in pondering domestic molehills or the Stock Exchange, among objects as ugly as the less attractive forms of sin.

The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time.

But when, by the improvement and cultivation of land, the labour of one family can provide food for two, the labour of half the society becomes sufficient to provide food for the whole. The other half, therefore, or at least the greater part of them, can be employed in providing other things, or in satisfying the other wants and fancies of mankind. Clothing and lodging, household furniture, and what is called equipage, are the principal objects of the greater part of those wants and fancies. The rich man consumes no more food than his poor neighbour. In quality it may be very different, and to select and prepare it may require more labour and art; but in quantity it is very nearly the same. But compare the spacious palace and great wardrobe of the one, with the hovel and the few rags of the other, and you will be sensible that the difference between their clothing, lodging, and household furniture, is almost as great in quantity as it is in quality. The desire of food is limited in every man by the narrow capacity of the human stomach; but the desire of the conveniencies and ornaments of building, dress, equipage, and household furniture, seems to have no limit or certain boundary. Those, therefore, who have the command of more food than they themselves can consume, are always willing to exchange the surplus, or, what is the same thing, the price of it, for gratifications of this other kind. What is over and above satisfying the limited desire, is given for the amusement of those desires which cannot be satisfied, but seem to be altogether endless. The poor, in order to obtain food, exert themselves to gratify those fancies of the rich; and to obtain it more certainly, they vie with one another in the cheapness and perfection of their work. The number of workmen increases with the increasing quantity of food, or with the growing improvement and cultivation of the lands; and as the nature of their business admits of the utmost subdivisions of labour, the quantity of materials which they can work up, increases in a much greater proportion than their numbers. Hence arises a demand for every sort of material which human invention can employ, either usefully or ornamentally, in building, dress, equipage, or household furniture; for the fossils and minerals contained in the bowels of the earth, the precious metals, and the precious stones.

Benjamin’s aesthetic is dissectional, drawing on Baroque poetry, Baudelaire’s writing and fashion histories. The female body becomes ornament, and in such fetishistic fragmentation, body parts are likened to alabaster, snow, jewels, minerals, and the body can, of course, be made equivalent to – that is, bought for – the metal of exchange: money.

My bout with the Marquis was much like the others. Even more than usual I was hopelessly outclassed, but I stuck grimly to my place, refusing to back up, and took hit after hit, though my parrying was steadily improving. Of course I lost, but at least it wasn’t so easy a loss as I’d had when I first began to attend practice--and he didn’t insult me with obvious handicaps, such as never allowing his point to hit me. Bran and Savona finished a moment later, and Bran was just suggesting we exchange partners when the bells for third-gold rang, causing a general outcry. Some would stay, but most, I realized, were retreating to their various domiciles to bathe and dress for open Court. I turned away--and found Shevraeth beside me. “You’ve never sampled the delights of Petitioners’ Court,” he said. I thought of the Throne Room again, this time with Galdran there on the goldenwood throne, and the long lines of witnesses. I repressed a shiver. Some of my sudden tension must have exhibited itself in my countenance because he said, “It is no longer an opportunity for a single individual to practice summary justice such as you experienced on your single visit.” “I’m certain you don’t just sit around happily and play cards,” I muttered, looking down at the toes of my boots as we walked. “Sometimes we do, when there are no petitioners. Or we listen to music. But when there is business, we listen to the petitioners, accept whatever they offer in the way of proof, and promise a decision at a later date. That’s for the first two greens. The last is spent in discussing impressions of the evidence at hand; sometimes agreement is reached, and sometimes we decide that further investigation is required before a decision can be made.” This surprised me so much I looked up at him. There was no amusement, no mockery, no threat in the gray eyes. Just a slight question. I said, “You listen to the opinions of whoever comes to Court?” “Of course,” he said. “It means they want to be a part of government, even if their part is to be merely ornamental.” I remembered that dinner when Nee first brought up Elenet’s name, and how Shevraeth had lamented how most of those who wished to give him advice had the least amount worth hearing. “Why should I be there?” I asked. “I remember what you said about worthless advisers.” “Do you think any opinion you would have to offer would be worthless?” he countered. “It doesn’t matter what I think of my opinion,” I retorted, and then caught myself. “I mean to say, it is not me making the decisions.” “So what you seem to be implying is that I think your opinion worthless.” “Well, don’t you?” He sighed. “When have I said so?” “At the inn in Lumm, last year. And before that. About our letter to Galdran, and my opinion of courtiers.” “It wasn’t your opinion I pointed up, it was your ignorance,” he said. “You seem to have made truly admirable efforts to overcome that handicap. Why not share what you’ve learned?” I shrugged, then said, “Why don’t you have Elenet there?”--and hated myself for about as stupid a bit of pettiness as I’d ever uttered. But he took the words at face value. “An excellent suggestion, and one I acted on immediately after she arrived at Athanarel. She’s contributed some very fine insights. She’s another, by the way, who took her own education in hand. Three years ago about all she knew was how to paint fans.” I had talked myself into a corner, I realized--all through my own efforts. So I said, “All right, then. I’ll go get Mora to dig out that Court dress I ordered and be there to blister you all with my brilliance.” He bowed, lifted his gray-gloved hand in a casual salute, and walked off toward the Royal Wing. I retreated in quick order to get ready for the ordeal ahead.

Refine the gift list, shopping and buying for fewer people. * Email friends ahead of time and suggest not exchanging gifts. Plan an ornament exchange or a lunch instead.

Three blocks east of the Frink National Bank stood the Dana Building. It was some stories lower and without any prestige whatever. Its lines were hard and simple, revealing, emphasizing the harmony of the steel skeleton within, as a body reveals the perfection of its bones. It had no other ornament to offer. It displayed nothing but the precision of its sharp angles, the modeling of its planes, the long streaks of its windows like streams of ice running down from the roof to the pavements. New Yorkers seldom looked at the Dana Building. Sometimes, a rare country visitor would come upon it unexpectedly in the moonlight and stop and wonder from what dream that vision had come. But such visitors were rare. The tenants of the Dana Building said that they would not exchange it for any structure on earth; they appreciated the light, the air, the beautiful logic of the plan in their halls and offices. But the tenants of the Dana Building were not numerous; no prominent man wished his business to be located in a building that looked “like a warehouse.

Ritual characterizes every aspect of life here, and even mundane, daily activities take on an ageless quality. The daily rhythm begins at dawn, as the fishermen launch boats from countless harbors, an event that has taken place for centuries. The women go to market, exchanging greetings and comments. Ritual rules the care and time taken with every detail of the midday meal, from the hearty seafood appetizers to the strong, syrupy coffee that marks the end of the feast. The day winds down with the evening stroll, a tradition thoroughly ingrained in the culture of the Greek Isles. In villages and towns throughout the islands, sunset brings cooler air and draws people from their homes and the beaches for an enjoyable evening walk through town squares, portside promenades, and narrow streets. Ancient crafts still flourish in the artisans’ studios and in tidy homes of countless mountain villages and ports. Embroidery--traditionally the province of Greek women--is created by hand to adorn the regional costumes worn during festivals. Artists craft delicate silver utensils, engraved gems, blown glass, and gold jewelry. Potters create ceramic pieces featuring some of the same decorative patterns and mythological subjects that captured their ancestors’ imagination. Weddings, festivals, saints’ days. And other celebrations with family and friends provide a backdrop for grave and energetic Greek dancing. For centuries--probably ever since people have lived on the islands--Greek islanders have seized every opportunity to play music, sing, and dance. Dancing in Greece is always a group activity, a way to create and reinforce bonds among families, friends, and communities, and island men have been dancing circle dances like the Kalamatianos and the Tsamikos since antiquity. Musicians accompany revelers on stringed instruments like the bouzouki--the modern equivalent of the lyre. While traditional attire is reserved mainly for festive occasions, on some islands people still sport these garments daily. On Lefkada and Crete, it is not unusual to find men wearing vraka, or baggy trousers, and vests, along with the high boots known as stivania. Women wear long, dark, pleated skirts woven on a traditional loom, and long silk scarves or kerchiefs adorn their heads. All the garments are ornamented by hand with rich brocades and elaborate embroidery. All over the Greek Isles, Orthodox priests dress in long black robes, their shadowy figures contrasting with the bright whites, blues, and greens of Greek village architecture.

Christmas ornament exchanges,