Passage Doorway Quotes

Man has gone out to explore other worlds and other civilizations without having explored his own labyrinth of dark passages and secret chambers, and without finding what lies behind doorways that he himself has sealed.

Perhaps sunlight had always been luminous, and doorways signs of greater passage than that of one room to another. But she’d not noticed it until now.

You are life, inventing form. No more can you die on sword or years than you can die on doorways through which you walk, one room into another. Every room gives its word for you to speak, every passage its song for you to sing.

The accountant lingers at his children's doorway a moment more, listening to the easy rhythm of their breathing, and something cold moves through him, like the passage of a ghost - but he know that's not it. It's more like the portent of a future. A future that must never come to pass... ...and for the first time, he gives rise to a thought that is silently echoed in millions of homes that night. My God... what have we done?

Alice Malloy had dark, stringy hair, and even her husband, who loved her more than he knew, was sometimes reminded by her lean face of a tenement doorway on a rainy day, for her countenance was long, vacant, and weakly lighted, a passage for the gentle transports and miseries of the poor.

Such moments passed and the wasting fires of lust sprang up again. The verses passed from his lips and the inarticulate cries and the unspoken brutal words rushed forth from his brain to force a passage. His blood was in revolt. He wandered up and down the dark slimy streets peering into the gloom of lanes and doorways, listening eagerly for any sound. He moaned to himself like some baffled prowling beast. He wanted to sin with another of his kind, to force another being to sin with him and to exult with her in sin. He felt some dark presence moving irresistibly upon him from the darkness, a presence subtle and murmurous as a flood filling him wholly with itself. Its murmur besieged his ears like the murmur of some multitude in sleep; its subtle streams penetrated his being. His hands clenched convulsively and his teeth set together as he suffered the agony of its penetration. He stretched out his arms in the street to hold fast the frail swooning form that eluded him and incited him: and the cry that he had strangled for so long in his throat issued from his lips. It broke from him like a wail of despair from a hell of sufferers and died in a wail of furious entreaty, a cry for an iniquitous abandonment, a cry which was but the echo of an obscene scrawl which he had read on the oozing wall of a urinal.

The way he said "Prism" left no question about what he meant: it was a proper name, the title of some strange passage, and his voice ached around that single syllable like flesh aches around a knife.

She had to get a hold of herself. She had to run. Did she have a chance of making it out alive? Something told her “no.” Definitely no. The chamber exit, a narrow doorway, led to an even narrower passage that would dump her back into the dark jungle. She wouldn’t make it two feet before he barreled down on her with those powerful thighs. Yes, powerful thighs. Ummm. She ground her palm into her forehead. Tramp! Get a hold of yourself.

It shouldn't have surprised me. I serve a God who experienced and expressed anger. One of the most meaningful passages of Scripture for me is found in the New Testament, where Jesus leads a one-man protest inside the Temple walls. Jesus leads a one-man protest inside the Temple walls. Jesus shouts at the corrupt Temple officials, overturns furniture, sets animals free, blocks the doorways with his body, and carries a weapon - a whip - through the place. Jesus throws folks out the building, and in so doing creates space for the most marginalized to come in: the poor, the wounded, the children. I imagine the next day's newspapers called Jesus's anger destructive. But I think those without power would've said that his anger led to freedom - the freedom of belonging, the freedom healing, and the freedom of participating as full members in God's house.

Between takeoff and landing, we are each in suspended animation, a pause between chapters of our lives. When we stare out the window into the sun's glare, the landscape is only a flat projection with mountain ranges reduced to wrinkles in the continental skin. Oblivious to our passage overhead, other stories are unfolding beneath us. Blackberries ripen in the August sun, a woman packs a suitcase and hesitates at her doorway, a letter is opened and the most surprising photograph slides from between the pages. But we are moving too fast and we are too far away; all the stories escape us, except our own. When I turn away from the window, the stories recede into the two-dimensional map of green and brown below. Like a trout disappearing into the shade of an overhanging bank, leaving you staring at the flat surface of the water and wondering if you saw it at all.

The old house had a thousand doors in it. All old houses do. You can see them if you know how to look: the noontime shadow of a windowpane crawling with intent across a floor; unmeasured angles of wall meeting wall; fireplaces grown chill with unused years. Archways with unseen contours you can trace with a finger in the cracks as brick grinds against brick in settling walls. Some nights, and some houses are doorways entire, silhouettes against the evening's last light black on black like an opening into a darker sky. You just have to look. An eye-corner glance will do, if you don't turn and stare and explain it away.

Alice opened the door and found that it led into a small passage, not much larger than a rat-hole: she knelt down and looked along the passage into the loveliest garden you ever saw. How she longed to get out of that dark hall, and wander about among those beds of bright flowers and those cool fountains, but she could not even get her head though the doorway; ‘and even if my head would go through,’ thought poor Alice, ‘it would be of very little use without my shoulders. Oh, how I wish I could shut up like a telescope! I think I could, if I only know how to begin.’ For, you see, so many out-of-the-way things had happened lately, that Alice had begun to think that very few things indeed were really impossible.

Eleanor West spent her days giving them what she had never had, and hoped that someday, it would be enough to pay her passage back to the place where she belonged.

Alice Malloy had dark, stringy hair, and even her husband, who loved her more than he knew, was sometimes reminded by her lean face of a tenement doorway on a rainy day, for her countenance was long, vacant, and weakly lighted, a passage for the gentle transports and miseries of the poor. Evarts Malloy was very thin. He had worked as a bus driver and he stooped a little

At that time I found that many of the citizens had been living under ground. The ridges upon which Vicksburg is built, and those back to the Big Black, are composed of a deep yellow clay of great tenacity. Where roads and streets are cut through, perpendicular banks are left and stand as well as if composed of stone. The magazines of the enemy were made by running passage-ways into this clay at places where there were deep cuts. Many citizens secured places of safety for their families by carving out rooms in these embankments. A door-way in these cases would be cut in a high bank, starting from the level of the road or street, and after running in a few feet a room of the size required was carved out of the clay, the dirt being removed by the door-way. In some instances I saw where two rooms were cut out, for a single family, with a door-way in the clay wall separating them. Some of these were carpeted and furnished with considerable elaboration. In these the occupants were fully secure from the shells of the navy,

She had never seen the Tree House at night. Vast and dark, lit with candles for the occasion, the rooms looked magical, the staircase a citadel, with its own strange inglenooks and deep dusty treads. In the fireplace, instead of wood, a great gong and mallet hung from a stand. The rooms were filled with couches and mismatched armchairs, and floor cushions, some with cats, and some without. Living ivy climbed to the ceiling and outlined every aperture. In the candlelight the ivy-framed bay window became a bower, the doorways passages to secret gardens.

Arches and doorways have their own magic, their own mystery. Moving through them, standing beneath them, we are in the in-between, the twilight, the passage. There's an unspoken danger, the threat of being lost or forgotten. It's why a husband carries his bride over the threshold – so he can protect her from any harm, any pain. It's all I want – to shelter you from harm, to give you the happiness you've given me. I want to step into that life with you. Because together, we can survive anything. I promise to carry you through life, to comfort and protect you. To keep you safe. You asked me once what my passion was, and I've finally found it. It's you.

I could use a nice bath down at the river tonight. Guess I'll just have to settle for a spit bath." She smiled good-naturedly and picked up the bucket. "Come on up to the house when you're finished and I'll show you to a room." As she turned to leave, Rider nonchalantly stretched out his arm and grabbed her belt, pulling her up short. "I could walk you to the swimming hole and stand guard if you like." His grin was devilish. Willow smiled and pried loose the long fingers on her waist. "I thank you for the offer, but I like my privacy." "Are you suggesting that I would be like the fox guarding the henhouse?" he teased, wiggling his brows up and down. "Don't forget, we are supposed to be lovers." "We're only playacting that we're lovers." She laughed and headed torward the door. His chair tipped over as Rider beat her there and stretched an arm across the doorway to block her passage. "All good plays are well-rehearsed,Willow." His deep baritone was tantalizing in its implication. Her cheeks pinked and she uttered a nervous little laugh. "Let me through, you big galoot." Instead,he leaned closer. He smelled of leather,outdoors, and a familiar male scent she now realized was his alone. The heady combination aroused her desire to be closer, to be touched. Warning bells went off. Willow tried stepping back, but his other arm came up behind her and cut off her retreat. Her hammering heart skipped a beat as his desire-laden eyes touched where his hands dared not. "Let's rehearse, sweetheart." "Rehearse," she repeated in a dreamy whisper. She dropped the bucket, all thoughts of escape gone. Her body leaned into his of its own volition. What do I know of lovers? she asked herself. Practice, yes. I need practice. Hicks must be convinced. She tilted her head back for Rider's kiss. Rehearsal, that's all it is. Her lips met his.

Portals and doorways are common symbolic constructs that represent transformative rites of passage. To look for a literal portal would be like trying to locate the actual Gates of Heaven.

Imagine a fade-out here, if you please, or one of those discreet rows of asterisks, to indicate the passage of time—not very much time, admittedly, as one of us was out of practice and perhaps a little overexcited— anyway, we return to the scene with the two participants lying back on their pillows, bedsheets now chastely drawn up to their chins, watched silently through the doorway by a stuffed otter and the head of a china basset hound, half-hidden under a frayed gingham tablecloth. Everything was perfectly still; it felt like no one in the whole wide world was awake but us—like we had stolen a march on time, and although our problems waited for us on the other side, these moments were ours to let float by as we pleased. How sweet it was, after so much turbulence, not even to have to talk, or think.

Nonethless it had been a castle, with all that this implies: it had had towering walls and turrets, beams as great as trees, arched doorways wide enough for processions to pass through, ceilings so cavernous that owls nested in them. It had had wings and ramparts and thin windows from which to shoot arrows, internal courtyards, banquet rooms, hidden doors, secret passages. It had had a chapel and, in its bowels, a dungeon. It housed sculptures and paintings, tapestries and cushions, carpets and carvings, its fortressed heart had been clad in glit, silver, glass, gold, damask, ivory, ermine.

And she looked up at the stone just as a seam appeared down the middle and the two sides swung inward, like great stone doors. Not like stone doors, Xan thought. They are stone doors. The shape of the stone still stood like a doorway against the blue sky, but the entrance itself opened into the a very dim corridor where a set stone steps disappeared into the dark.

Inside the doorway the passage gleamed as if it were lined with a network of steel. On a second glance, Syme saw that the glittering pattern was really made up of ranks and ranks of rifles and revolvers, closely packed or interlocked. “I must ask you to forgive me all these formalities,” said Gregory; “we have to be very strict here.” “Oh, don’t apologise,” said Syme. “I know your passion for law and order,” and he stepped into the passage lined with the steel weapons. With his long, fair hair and rather foppish frock-coat, he looked a singularly frail and fanciful figure as he walked down that shining avenue of death.

The following monograph concerns the permutations of a repeated motif in world mythologies: passages, portals, and entryways. Such a study might at first seem to suffer from those two cardinal sins of academia- frivolity and triviality- but it is the author's intention to demonstrate the significance of doorways as phenomenological realities. The potential contributions to other fields of study- grammalogie, glottologie, anthropology- are innumerable, but if the author may be so presumptive, this study intends to go far beyond the limitations of our present knowledge. Indeed, this research might reshape our collective understanding of the physical laws of the universe. The central contention is simply this: the passages, portals, and entryways common to all mythologies are rooted in physical anomalies that permit users to travel from one world to another. Or, to put it even more simply: these doors actually exist.

That „road less traveled by“ is a modern parallel to the ancient mystical metaphor „the way is narrow that leads to life, and there are few who find it“ (Matthew 7:14) This less traveled, more difficult „road“ is the living out of a spiritual life rather than a mere survival in our short passage through time […] The less traveled road, or the mystic way as others might call it, is therefore a process of sublimation carrying the relationship of the self with the universe to higher levels than our ordinary states of awareness. But this is no selfish journey. For as the mystic grows nearer the source of true life and participates in the creative energies of the Divine, he or she is capable of greater unselfish activity to the point of unconditional Love […] This is the journey of the one who chooses „the road less traveled“ and there are many who have witnessed to the fact that this harder road, this narrow way, is an inner journey leading to the infinite depths of our True Self, crossing the threshold into becoming a conscious Child of God, a Child of the Universe. (p. 205 -215)

The Bible’s many fierce passages on sin appear in a new light once I understand God’s desire to press me toward repentance, the doorway to grace.

the last, I saw, as it were, a narrow gap, like a little door-way in the wall, through which I attempted to pass: Now the passage being very strait and narrow, I made many offers to get in, but all in vain, even until I was well-nigh quite beat out, by striving to get in; at last, with great striving, methought I at first did get in my head, and after that, by a sideling striving, my shoulders, and my whole body; then I was exceeding glad, went and sat down in the midst of them, and so was comforted with the light and heat of their sun. 55.  Now this mountain, and wall, etc., was thus made out to me: The mountain signified the church of the living God: the sun that shone thereon, the comfortable shining of His merciful face on them that were therein; the wall I thought was the word, that did make separation between the Christians and the world; and the gap which was in the wall, I thought, was Jesus Christ, Who is the way to God the Father.  John xiv. 6; Matt. vii. 14.  But forasmuch as the passage was wonderful narrow, even so narrow that I could not, but with great difficulty, enter in thereat, it showed me, that none could enter into life, but those that were in downright earnest, and unless also they left that wicked world behind them; for here was only room for body and soul, but not for body and soul and sin.

Even the most brave and powerful men tremble at the sight of their Beloved - So vulnerable from the essence her fragrance leaves in their heart. I remember You like a cryptic carving of ancient scriptures on the sandalwood With reverence, meaning and a scent. I dance like a wild stream between the palms of God - so that, My movement is free of thought, My love for you free from context, I mirror galaxies for you drunk of my own reflection, You are the silence in a drowning noise - like an island, And your silence becomes a voice of its own. Tonight I am Rumi, the poet of the poets Who spoke of the Beloved: Oh Beloved, Moon of the Moons! Your pale face dissolves in the daylight, Where should I find you in my wake? Light becomes a concealing veil for your sacredness. Night covers you in a different veil, like that pearl at the bottom of the ocean, that is my heart. So precious is thy refinement. You move with the tides, always leaving but a fragrance of devotion. I'm meeting you on the crossroads where breath becomes life - And like a breath, immersed and formless, together we are scattered and life is merely a passage, a doorway to our secret garden.

My anger didn’t destroy me. It did not leave me alone and desolate. On the contrary, my anger undergirded my calling, my vocation. It gave me the courage to say hard things and to write like Black lives are on the line. It shouldn’t have surprised me. I serve a God who experienced and expressed anger. One of the most meaningful passages of Scripture for me is found in the New Testament, where Jesus leads a one-man protest inside the Temple walls. Jesus shouts at the corrupt Temple officials, overturns furniture, sets animals free, blocks the doorways with his body, and carries a weapon—a whip—through the place. Jesus throws folks out the building, and in so doing creates space for the most marginalized to come in: the poor, the wounded, the children. I imagine the next day’s newspapers called Jesus’s anger destructive. But I think those without power would’ve said that his anger led to freedom—the freedom of belonging, the freedom of healing, and the freedom of participating as full members in God’s house.

Don’t worry—we don’t blame you,” Livvy said when she noticed Amy’s frown. “No one should be held accountable for their ancestors’ mistakes, so long as they learn from them. And now that I’ve thoroughly overwhelmed you with difficult information, let me show you the best part of this room.” She crossed to the ornate silver wardrobe and pulled the doors open, shoving aside the fancy clothes hanging from the rack and knocking on the back. “It has a secret wardrobe passage?” Sophie asked as Livvy twisted a hidden knob and revealed a narrow doorway that led to a lush, airy conservatory lit with twinkling lights. Flowering vines draped across the crystal ceiling, and the walls dripped with blue papery flowers that smelled like vanilla and honeysuckle. Tendrils of jade-green grass covered the floor, and graceful trees had been scattered around the space, growing in giant crystal urns. “I thought your furry friends would love having their own private garden,” Livvy explained. “But like I said, you’re welcome to pick any room you—” “Are you kidding?” Amy interrupted. “I’m totally taking the Narnia room!

Just as a door can be opened from the inside to allow us out, the same door can allow the outside in. The inhabitants of Dy5topia, namely the 'nOmen'―picture 1940’s style, film noir gangsters, that possess dark 'supernatural' powers―engage in behaviors that allow them 'passage' into our world...where encounters can and do occur.

A doorway is a passage, not a place of residence.

The house stood high on the peninsula of Vaucluse, three stories tall with a turret on one side. It had been built in the middle of the nineteenth century, when Jess's great-great-great-grandfather arrived in the colony of New South Wales, and had been featured in several glossy books about architecture that her grandmother kept open on the display tables in the library. Inside it was entirely unpredictable: unexpected doorways led to hidden staircases that wound around brick chimneys and allowed a person to arrive in a vastly different part of the house from that which they'd left.

We all have the ability to walk out of the gloomy prison of self-limiting, uncritical existence into the bright daylight of a boundless, deeply meaningful, and tremendously satisfying existence, with its attendant playful, exuberant, joyous wisdom. The infinite life is life unbound by time or space. Deaths are only doorways, transitions from one life-form to the next, just as sleep is only a passage from evening to a new day. Your every movement of body, speech, and mind arises from a beginningless past and resonates into an endless future. You are free and boundless in dimension, and also very real and unique. You are lost in oneness with the awesome infinite, yet you have infinite importance due to your total interconnectedness with all other beings. When self-centered and unhappy, you are a big problem for them, often engaged in life-and-death struggles. When enlightened, self-transcendent, boundlessly open, and truly happy, you can be the living solution to all their problems. Open your eyes and look at yourself carefully. Expand the concept of reality that you live by – your awareness of, and responsibility for, your own personal continuity. Everything you do now, your very breathing, flows from your sense of yourself as a living continuum and your drive to improve your state of being. You are a dynamic evolutionary process. There is no limit to how far you can develop positively into higher states of spirituality, understanding, love, happiness, and creativity. (p. 29)

the body is itself a kind of place - not a solid object - but a terrain through which things pass, and in which they sometimes settle and sediment. Sometimes they are transformed by the passage. And sometimes they reshape the doorway itself.

Gas She had never been in this part of Paris before—only reading of it in the novels of Duvain, or seeing it at the Grand Guignol. So this was the Montmartre? That horror where danger lurked under cover of night; where innocent souls perished without warning—where doom confronted the unwary—where the Apache revelled. She moved cautiously in the shadow of the high wall, looking furtively backward for the hidden menace that might be dogging her steps. Suddenly she darted into an alley way, little heeding where it led . . . groping her way on in the inky blackness, the one thought of eluding the pursuit firmly fixed in her mind . . . on she went . . . Oh! when would it end? . . . Then a doorway from which a light streamed lent itself to her vision . . . In here . . . anywhere, she thought. The door stood at the head of a flight of stairs . . . stairs that creaked with age as she endeavoured to creep down . . . then she heard the sound of drunken laughter and shuddered—surely this was—No, not that. Anything but that! She reached the foot of the stairs and saw an evil-smelling wine bar, with wrecks of what were once men and women indulging in a drunken orgy . . . then they saw her, a vision of affrighted purity. Half a dozen men rushed towards her amid the encouraging shouts of the rest. She was seized. She screamed with terror . . . better had she been caught by her pursuer was her one fleeting thought as they dragged her roughly across the room. The fiends lost no time in settling her fate. They would share her belongings . . . and she . . . Why! Was this not the heart of Montmartre? She should go—the rats should feast. Then they bound her and carried her down the dark passage, up a flight of stairs to the riverside. The water rats should feast, they said. And then . . . swinging her bound body to and fro, dropped her with a splash into the dark, swirling waters. Down she went, down, down. Conscious only of a choking sensation, this was death . . . then . . . "It's out, Madam," said the dentist. "Half a crown, please."—HITCH

Shameful,' Rhysand purred, and we whirled to find him faintly illuminated by the light that broke in through the doorway. But he stood behind us- father into the passage, rather than toward the door. He hadn't come in through the throne room. With that ability of his, he had probably walked through the walls. 'Just shameful.' He stalked toward us. Tamlin remained holding me. 'Look at what you've done to my pet.' Panting, neither of us said anything. But the air became a cold kiss upon my skin- upon my exposed breasts. 'Amarantha would be greatly aggrieved if she knew her little warrior was dallying with the human help,' Rhysand went on, crossing his arms. 'I wonder how she'd punish you. Or perhaps she'd stay true to habit and punish Lucien. He still has one eye to lose, after all. Maybe she'll put it in a ring, too.' Ever so slowly, Tamlin removed my hands from his body and stepped out of my embrace. 'I'm glad to see you're being reasonable,' Rhysand said, and Tamlin bristled. 'Now, be a clever High Lord and buckle your belt and fix your clothes before you go out there.' Tamlin looked at me, and, to my horror, did as Rhysand instructed. My High Lord never took his eyes off my face as he straightened his tunic and hair, then retrieved and fastened his belt again. The paint on his hands and clothes- paint from me- vanished. 'Enjoy your party,' Rhysand crooned, pointing to the door. Tamlin's green eyes flickered as they continued to stare into mine. He softly said, 'I love you.' Without another glance at Rhysand, he left.

dust. It was silent by nature—the only noise that found its way into the dark passage was the occasional passing of the elevator car. A button would be pressed and the hoist would come to life, taking the lift from one floor to another. The doorway would open, the passenger would exit, and the shaft would return to its hibernation.

the doorway were a rusty red, different from the rest of the building; I assumed they had survived the fire when the old abbey was burnt by the Danes. An oak door banded with iron stood closed, flat and unfriendly. Agatha rapped on it with her bony knuckles, the sound echoing down the corridor. There was no answer in reply to her knock but Agatha opened the door nonetheless and curtly beckoned us forward. Once we’d inched past her, she whirled about and disappeared, a black crow flapping towards the cloisters. Mary and I teetered on the first of three large steps bent in the middle from the passage of countless feet, which descended into the chamber.