Palace Band Quotes

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Arin remmembered seeing her hand in Javelin’s mane, curling into the coarse strands. This made him remember the almost freakish lenghth between her littlest finger and thumb as her hand spanned piano keys. The black star of the birth-mark. He saw her again in the imperial palace. Her music room. He’d seen that room only once. About a month ago, right before Firstsummer. Her blue sleeves were fastened at the wrist. Something tugged inside him. A flutter of unease. Do you sing? Those had been her first words to him, the day she had bought him. A band of nausea circled Arin’s throat, just as it had when she had asked him that question, in part for the same reason. She’d had no trace of an accent. She had spoken in perfect, natural, mother-taught Herrani.
Marie Rutkoski (The Winner's Kiss (The Winner's Trilogy, #3))
Kell's eyes went to the palace on last time, and he thought he could almost make out the shape of a man standing alone on a high balcony. At this distance, he was little more than a shadow, but Kell could see the band of gold glinting in his hair as a secong figure came to stand beside the king. Rhy raised his hand, and so did Kell, a single unspoken word between them. Anoshe.
Victoria E. Schwab
There followed another band after this, which was called the Royal Court Band, because the members all lived in the palace. They wore white uniforms with real diamond buttons and played “What is Oz without Ozma” very sweetly.
L. Frank Baum (Complete Works of L. Frank Baum)
Sometimes I dream of revolution, a bloody coup d’etat by the second rank—troupes of actors slaughtered by their understudies, magicians sawn in half by indefatigably smiling glamour girls, cricket teams wiped out by marauding bands of twelfth men—I dream of champions chopped down by rabbit-punching sparring partners while eternal bridesmaids turn and rape the bridegrooms over the sausage rolls and parliamentary private secretaries plant bombs in the Minister’s Humber—comedians die on provincial stages, robbed of their feeds by mutely triumphant stooges— —and—march— —an army of assistants and deputies, the seconds-in-command, the runners-up, the right-handmen—storming the palace gates wherein the second son has already mounted the throne having committed regicide with a croquet-mallet—stand-ins of the world stand up!—
Tom Stoppard (The Real Inspector Hound and Other Plays (Tom Stoppard))
Sometimes I dream of revolution, a bloody coup d’etat by the second rank—troupes of actors slaughtered by their understudies, magicians sawn in half by indefatigably smiling glamour girls, cricket teams wiped out by marauding bands of twelfth men—I dream of champions chopped down by rabbit-punching sparring partners while eternal bridesmaids turn and rape the bridegrooms over the sausage rolls and parliamentary private secretaries plant bombs in the Minister’s Humber—comedians die on provincial stages, robbed of their feeds by mutely triumphant stooges— —and—march— —an army of assistants and deputies, the seconds-in-command, the runners-up, the right-handmen—storming the palace gates wherein the second son has already mounted the throne having committed regicide with a croquet-mallet—stand-ins
Tom Stoppard (The Real Inspector Hound and Other Plays (Tom Stoppard))
Jolly Marchers by Maisie Aletha Smikle Dam Dam Didley Doe Dee Daw Didley Doe Dee Dam Doe Fa So La Ti Doe Animals in a row Prancing as they go Jiggling and Wiggling Tails and head bobbing Mice on drums Elephants on flute Zebras blare the trumpets Squirrels blow trombones Skunks get funky on clarinets Bees on violins Hogs on guitar Parrots and crickets sing Aha Aha Vultures cheer Mosquitoes twirl Wings clapping and flapping Heads go up and down bobbing Marching and skanking Rocking and bobbing Wiggling and singing Dee Daw Didley Doe This is not a circus There are no clowns There is not a palace There are no crowns On and on they go Monkeys in tow Tigers in bow Onlookers stare and glow Donkey takes the podium As conductor of the band Waving his marching wand The band comes to a stand Mule takes a stool And sits in the cool They have reached the bend Where the march ends The ants were nesting So they missed the fest Some got on tambourines And insist they must join in The ants jiggle and wiggle Some play the fiddle Dancing and singing Didley Dam Didley Doe
Maisie Aletha Smikle
Six or seven minutes past 2 P.M. on September 11, 1973, an infiltration patrol of the San Bemardo Infantry School commanded by Captain Roberto Garrido burst into the second floor of the Chilean Presidential Palace, Santiago's Palacio de La Moneda. Charging up the main staircase and covering themselves with spurts from their FAL machine guns, the patrol advanced to the entrance of the Salon Rojo, the state reception hall. Inside, through dense smoke coming from fires elsewhere in the building and from the explosion of tear gas bombs, grenades, and shells from Sherman tank cannons, the patrol captain saw a band of civilians braced to defend themselves with submachine guns. In a reflex action, Captain Garrido loosed a short burst from his weapon. One of his three bullets struck a civilian in the stomach. A soldier in Garrido's patrol imitated his commander, wounding the same man in the abdomen. As the man writhed on the floor in agony, Garrido suddenly realized who he was: Salvador Allende. "We shit on the President!" he shouted. There was more machine-gun fire from Garrido's patrol. Allende was riddled with bullets. As he slumped back dead, a second group of civilian defenders broke into the Salon Rojo from a side door. Their gunfire drove back Garrido and his patrol, who fled down the main staircase to the safety of the first floor, which the rebel troops had occupied.
 Some of the civilians returned to the Salon Rojo to see what could be done. Among them was Dr. Enrique Paris, a psychiatrist and President Allende's personal doctor. He leaned over the body, which showed the points of impact of at least six shots in the abdomen and lower stomach region. After taking Allende's pulse, he signaled that the President was dead. Someone, out of nowhere, appeared with a Chilean flag, and Enrique Paris covered the body with it.
Robinson Rojas Sandford (The murder of Allende and the end of the Chilean way to socialism)
The future of the world no longer disturbs me; I do not try still to calculate, with anguish, how long or how short a time the Roman peace will endure; I leave that to the gods. Not that I have acquired more confidence in their justice, which is not our justice, or more faith in human wisdom; the contrary is true. Life is atrocious, we know. But precisely because I expect little of the human condition, man’s periods of felicity, his partial progress, his efforts to begin over again and to continue, all seem to me like so many prodigies which nearly compensate for the monstrous mass of ills and defeats, of indifference and error. Catastrophe and ruin will come; disorder will triumph, but order will too, from time to time. Peace will again establish itself between two periods of war; the words humanity, liberty, and justice will here and there regain the meaning which we have tried to give them. Not all our books will perish, nor our statues, if broken, lie unrepaired; other domes and other pediments will arise from our domes and pediments; some few men will think and work and feel as we have done, and I venture to count upon such continuators, placed irregularly throughout the centuries, and upon this kind of intermittent immortality. If ever the barbarians gain possession of the world they will be forced to adopt some of our methods; they will end by resembling us. Chabrias fears that the pastophor of Mithra or the bishop of Christ may implant himself one day in Rome, replacing the high pontiff. If by ill fate that day should come, my successor officiating in the vatical fields along the Tiber will already have ceased to be merely the chief of a gang, or of a band of sectarians, and will have become in his turn one of the universal figures of authority. He will inherit our palaces and our archives, and will differ from rulers like us less than one might suppose. I accept with calm these vicissitudes of Rome eternal.
Marguerite Yourcenar (Memoirs of Hadrian)
The wedding of David and Michal was a glorious affair. Though Saul was normally stingy with his money, he was not so with his daughters. Michal had started the day with a bath followed by a bodily anointing of oil. She wore a linen and silk dress with embroidered cloth of Phoenician purple. Her hair was brushed to a soft perfection and placed beneath her Tyrian style crown of gold. She was bedecked with gold and silver jewelry from Egypt. Bracelets, necklaces, ear coverings and a ring on her nose. She walked through the Gibeah streets in fine calf leather sandals, surrounded by a cadre of dozens of virgin bridesmaid companions dressed in white linen. A band of minstrels led her with rejoicing on tambourine, flute, and lyre. She felt like a queen. She would be a queen one day. She knew that she was marrying the mightiest warrior in all of Israel. The gibborim who had killed the giant Rephaim Philistine, who her own father, the anointed warrior king, could not conquer. All she could think of the entire journey to the palace were the lyrics she first heard her from the lips of her bridegroom upon their first acquaintance. She had never forgot them. They were burned into her heart. He had sung a song of virginal submission to a manly king as a sample of his musical talent to her father. But she knew he had sung those words for her. She knew by the look in his eyes, his unquenchable stare of desire for her. It was like a prophecy. Now those words were coming true, she was going to be living them out any moment. Hear, O daughter, and consider, and incline your ear: forget your people and your father’s house, and the king will desire your beauty. Since he is your lord, bow to him. The people of Israel lined the streets and cheered their beautiful princess as she approached the entranceway to the palace. She could feel her heart pounding out of her chest. Would he sing to her on their wedding night? Would he seduce her with his musical talent before he ravished her? All glorious is the princess in her chamber, with robes interwoven with gold. In many-colored robes she is led to the king, with her virgin companions following behind her. With joy and gladness they are led along as they enter the palace of the king.
Brian Godawa (David Ascendant (Chronicles of the Nephilim, #7))
I knew you forever and you were always old, soft white lady of my heart. Surely you would scold me for sitting up late, reading your letters, as if these foreign postmarks were meant for me. You posted them first in London, wearing furs and a new dress in the winter of eighteen-ninety. I read how London is dull on Lord Mayor's Day, where you guided past groups of robbers, the sad holes of Whitechapel, clutching your pocketbook, on the way to Jack the Ripper dissecting his famous bones. This Wednesday in Berlin, you say, you will go to a bazaar at Bismarck's house. And I see you as a young girl in a good world still, writing three generations before mine. I try to reach into your page and breathe it back… but life is a trick, life is a kitten in a sack. This is the sack of time your death vacates. How distant your are on your nickel-plated skates in the skating park in Berlin, gliding past me with your Count, while a military band plays a Strauss waltz. I loved you last, a pleated old lady with a crooked hand. Once you read Lohengrin and every goose hung high while you practiced castle life in Hanover. Tonight your letters reduce history to a guess. The count had a wife. You were the old maid aunt who lived with us. Tonight I read how the winter howled around the towers of Schloss Schwobber, how the tedious language grew in your jaw, how you loved the sound of the music of the rats tapping on the stone floors. When you were mine you wore an earphone. This is Wednesday, May 9th, near Lucerne, Switzerland, sixty-nine years ago. I learn your first climb up Mount San Salvatore; this is the rocky path, the hole in your shoes, the yankee girl, the iron interior of her sweet body. You let the Count choose your next climb. You went together, armed with alpine stocks, with ham sandwiches and seltzer wasser. You were not alarmed by the thick woods of briars and bushes, nor the rugged cliff, nor the first vertigo up over Lake Lucerne. The Count sweated with his coat off as you waded through top snow. He held your hand and kissed you. You rattled down on the train to catch a steam boat for home; or other postmarks: Paris, verona, Rome. This is Italy. You learn its mother tongue. I read how you walked on the Palatine among the ruins of the palace of the Caesars; alone in the Roman autumn, alone since July. When you were mine they wrapped you out of here with your best hat over your face. I cried because I was seventeen. I am older now. I read how your student ticket admitted you into the private chapel of the Vatican and how you cheered with the others, as we used to do on the fourth of July. One Wednesday in November you watched a balloon, painted like a silver abll, float up over the Forum, up over the lost emperors, to shiver its little modern cage in an occasional breeze. You worked your New England conscience out beside artisans, chestnut vendors and the devout. Tonight I will learn to love you twice; learn your first days, your mid-Victorian face. Tonight I will speak up and interrupt your letters, warning you that wars are coming, that the Count will die, that you will accept your America back to live like a prim thing on the farm in Maine. I tell you, you will come here, to the suburbs of Boston, to see the blue-nose world go drunk each night, to see the handsome children jitterbug, to feel your left ear close one Friday at Symphony. And I tell you, you will tip your boot feet out of that hall, rocking from its sour sound, out onto the crowded street, letting your spectacles fall and your hair net tangle as you stop passers-by to mumble your guilty love while your ears die.
Anne Sexton
I looked toward the small vent in the corner of the ceiling through which the music entered my cell. The source must have been far away, for it was just a faint stirring of notes, but when I closed my eyes, I could hear it more clearly. I could... see it. As if it were a grand painting, a living mural. There was beauty in the music- beauty and goodness. The music folded over itself like batter being poured from a bowl, one note atop another, melting together to form a whole, rising, filling me. It wasn't wild music, but there was a violence of passion in it, a swelling kind of joy and sorrow. I pulled my knees to my chest, needing to feel the sturdiness of my skin, even with the slime of the oily paint upon it. The music built a path, an ascent founded upon archways of colour. I followed it, walking out of that cell, through layers of earth, up and up- into fields of cornflowers, past a canopy of trees, and into the open expanse of sky. The pulse of the music was like hands that gently pushed me onward, pulling me higher, guiding me through the clouds. I'd never seen clouds like these- in their puffy sides, I could discern faces fair and sorrowful. They faded before I could view them too clearly, and I looked into the distance to where the music summoned me. It was either a sunset or a sunrise. The sun filled the clouds with magenta and purple, and its orange-gold rays blended with my path to form a band of shimmering metal. I wanted to fade into it, wanted the light of that sun to burn me away, to fill me with such joy that I would become a ray of sunshine myself. This wasn't music to dance to- it was music to worship, music to fill in the gaps of my soul, to bring me to a place where there was no pain. I didn't realise I was weeping until the wet warmth of a tear splashed upon my arm. But even then I clung to the music, gripping it like a ledge that kept me from falling. I hadn't realised how badly I didn't want to tumble into that deep dark- how much I wanted to stay here among the clouds and colour and light. I let the sounds ravage me, let them lay me flat and run over my body with their drums. Up and up, building to a palace in the sky, a hall of alabaster and moonstone, where all that was lovely and kind and fantastic dwelled in peace. I wept- wept to be so close to that palace, wept for the need to be there. Everything I wanted was there- the one I loved was there- The music was Tamlin's fingers strumming my body; it was the gold of his eyes and the twist of his smile. It was that breathy chuckle, and the way he said those three words. It was this I was fighting for, this I had sworn to save. The music rose- louder, grander, faster, from wherever it was played- a wave that peaked, shattering the gloom of my cell. A shuddering sob broke from me at the sound faded into silence. I sat there trembling and weeping, too raw and exposed, left naked by the music and the colour in my mind.
Sarah J. Maas (A Court of Thorns and Roses (A Court of Thorns and Roses, #1))
In the last years of the Roman empire, a Germanic war-band chieftain, Clovis, based in northern Gaul – Neustria – had declared himself king of the Franks, conquering much of Roman France and Germany, naming his Merovingian dynasty after his grandfather Merovec. Roman order gradually vanished: some cities almost emptied; coins were less used; slavery declined; epidemics raged; bishops and lords, ruling from their manors, amassed the best land and controlled the peasantry, who became servi – serfs. Yet the Merovingians – who marked their sanctity by growing their hair very long, a dynasty of Frankish Samsons – feuded among themselves, splintering into smaller realms. In the 620s, a nobleman named Pepin, who owned estates in Brabant, became mayor of the palace for the king of Austrasia – northern Germany and the Low Countries – founding his own dynasty but it was a dangerous game: his son and son-in-law were executed by Merovingians. In 687, his grandson, also Pepin, united the kingdoms with himself as dux et princeps Francorum under the nominal king.
Simon Sebag Montefiore (The World: A Family History of Humanity)
Of Rome's wealth in the Middle Ages de Rosa says: "The cardinals had huge palaces with countless servants. One papal aide reported that he never went to see a cardinal without finding him counting his gold coins. The Curia was made up of men who had bought office and were desperate to recoup their enormous outlay. . . . For every benefice of see, abbey and parish, for every indulgence there was a set fee. The pallium, the two-inch-wide woollen band with crosses embroidered on it . . . paid for by every bishop. . . brought in. . . hundreds of millions of gold florins to the papal coffers. . . . [T]he Councilof Basle in 1432 was to call it 'the most usurious contrivance ever invented. . . . '" De Rosa continues:       Dispensations were another source of papal revenue. Extremely severe, even impossible, laws were passed so that the Curia could grow rich by selling dispensations . . . [such as] from fasting during Lent. . . . Marriage in particular was a rich source of income. Consanguinity was alleged to hold between couples who had never dreamed they were related. Dispensations from consanguinity in order to marry amounted to a million gold florins a year.26 An Eyewitness Account from Spain D. Antonio
Dave Hunt (A Woman Rides the Beast)
As for the scenes we shared in the Piazza Unita that day in 1897, I can hear the music still, but all the rest is phantom. The last passenger liner sailed long ago. The schooners, steamboats and barges have disappeared. No tram has crossed the piazza for years. The Caffe Flora changed its name to Nazionale when the opportunity arose, and is now defunct. The Governor's Palace is now only the Palace of the Prefect and the Lloyd Austriaco headquarters, having metamorphosed into Lloyd Triestino when the Austrians left, are now government offices: wistfully the marble tritons blow their their horns, regretfully Neptune and Mercury linger upon their entablatures. Those silken and epauletted passengers, with all they represented, have vanished from the face of Europe, and I am left all alone listening to the band.
Jan Morris (Trieste and The Meaning of Nowhere)
The second lesson Pulcheria learned from her mother had to do with what kind of man one could trust. Fundamentally, any outstanding man at court who had sons of his own - or hope of having them - was a potential usurper. This is why eunuchs played such an important role in the imperial palace. But Christian priests and bishops constituted another class of men who - even if they did have children - had sworn themselves to a vocation in the Church. This meant that however much trouble they stirred up, they could not threaten the Emperor's person. Still, they had to be managed expertly. Eudoxia had discovered that bishops could be valuable allies and formidable enemies, and Pulcheria took this lesson to heart.
Kate Cooper (Band of Angels: The Forgotten World of Early Christian Women)
Whiskey Truths and Lies" (Verse 1) In this dimly lit honky tonk, where the jukebox plays my life, I've heard a thousand stories, felt a million eyes. But the one thing I know, under these neon skies, Hurt me with the truth, but never comfort me with a lie. (Chorus) 'Cause lies are like whiskey, they burn going down, Leaving you empty, spinning round and round. But truth is like sunrise, clears the darkest night, Hurt me with the truth, but never comfort me with a lie. (Verse 2) I've danced with shadows, I've sung with the band, Worn my heart on my sleeve, got blood on my hands. In the echo of the steel guitar, I've let out my cries, Hurt me with the truth, but never comfort me with a lie. (Bridge) I'll take the pain, the bitter and the sweet, Over a sugar-coated poison, that's no treat. So pour me another, bartender, keep it neat, And tell me something real, make this heart beat. (Chorus) 'Cause lies are like whiskey, they burn going down, Leaving you empty, spinning round and round. But truth is like sunrise, clears the darkest night, Hurt me with the truth, but never comfort me with a lie. (Outro) So here's to the truth, it's the song I'll sing, In this honky tonk palace, let the truth bell ring. For every broken heart, for every goodbye, Hurt me with the truth, but never comfort me with a lie.
James Hilton-Cowboy
The future of the world no longer disturbs me; I do not try still to calculate, with anguish, how long or how short a time the Roman peace will endure; I leave that to the gods. Not that I have acquired more confidence in their justice, which is not our justice, or more faith in human wisdom; the contrary is true. Life is atrocious, we know. But precisely because I expect little of the human condition, man’s periods of felicity, his partial progress, his efforts to begin over again and to continue, all seem to me like so many prodigies which nearly compensate for the monstrous mass of ills and defeats, of indifference and error. Catastrophe and ruin will come; disorder will triumph, but order will too, from time to time. Peace will again establish itself between two periods of war; the words humanity, liberty, and justice will here and there regain the meaning which we have tried to give them. Not all our books will perish, nor our statues, if broken, lie unrepaired; other domes and other pediments will arise from our domes and pediments; some few men will think and work and feel as we have done, and I venture to count upon such continuators, placed irregularly throughout the centuries, and upon this kind of intermittent immortality. If ever the barbarians gain possession of the world they will be forced to adopt some of our methods; they will end by resembling us. Chabrias fears that the pastophor of Mithra or the bishop of Christ may implant himself one day in Rome, replacing the high pontiff. If by ill fate that day should come, my successor officiating in the vatical fields along the Tiber will already have ceased to be merely the chief of a gang, or of a band of sectarians, and will have become in his turn one of the universal figures of authority. He will inherit our palaces and our archives, and will differ from rulers like us less than one might suppose. I accept with calm these vicissitudes of Rome eternal.
Margeurite Yourcenar (Las Caridades de Alcipo y otros Poemas (Coleccion Visor de Poesia, 148))
Good call dropping the mystery-ingredient round." She caught Sylvie's questioning glance. "Finalist last year with an unknown allergy to turmeric. Violent gastro effects. Ever seen the pie scene in Stand By Me?" Sylvie winced. "We had to reshoot the whole day. I was scrubbing neon yellow out of my ears for a week." Mariana smoothed back a strand of salt-and-pepper hair. "We looked like we'd banded together to massacre Big Bird." Only this woman could make that anecdote sound almost classy.
Lucy Parker (Battle Royal (Palace Insiders, #1))
Upstairs, on the balcony, the chairs are laid out for one of the most extraordinary – though invisible – rituals of a Palace banquet. In a tradition harking back to the medieval custom of royal meals as public entertainment, two dozen people will have tickets to sit behind the Band of the Grenadier Guards and simply watch the banquet. The ‘audience’ will be made up of members of staff, each of whom can bring a guest, and it’s always extremely popular as the ‘audience’ have dinner thrown in. However, once seated no one is allowed to budge for the best part of two hours.
Robert Hardman (Her Majesty: The Court of Queen Elizabeth II)
Dotawo was a kingdom in decline, a shadow of its former self. Gone were the days when Yusifina’s ancestors ruled a vast land stretching the length of the Iteru, from the Sixth Cataract in the south to beyond the First Cataract in the north. Civil war, famine, plague, and invasions had ravaged the land, gradually reducing Nubia to ruin over the centuries until nothing but the rump state of Dotawo remained. The splendid cathedrals and opulent palaces fell to ruins, swallowed up by the desert or overrun by nomadic invaders. The Golden Age of Nubia’s glorious past was little more than a memory. As a child, Yusifina had heard tales of their legendary ancestors, the Empire of Kush, that once ruled over Egypt and expelled the Persian and Roman invasions. Now, they were a mere fragment of that once-great civilization, withering into obscurity and teetering on the brink of collapse. Even a small band of raiders out of the desert might be enough to topple the regime.
Yisei Ishkhan (The Tales of Abel and Mitra: Part I (The Tales of Abel and Mitra, #1))