Peep Song Quotes

There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was a light and high beauty for ever beyond its reach. His song in the Tower had been defiance rather than hope; for then he was thinking of himself. Now, for a moment, his own fate, and even his master’s, ceased to trouble him. He crawled back into the brambles and laid himself by Frodo’s side, and putting away all fear he cast himself into a deep untroubled sleep.

Thank all the gods,” said Sphene. “I was afraid you were going to suggest we sing that song about the thousand eggs.” “A thousand eggs all nice and warm,” I sang. “Crack, crack, crack, a little chick is born. Peep peep peep peep! Peep peep peep peep!” “Why, Fleet Captain,” Translator Zeiat exclaimed, “that’s a charming song! Why haven’t I heard you sing it before now?” I took a breath. “Nine hundred ninety-nine eggs all nice and warm…” “Crack, crack, crack,” Translator Zeiat joined me, her voice a bit breathy but otherwise quite pleasant, “a little chick is born. Peep peep peep peep! What fun! Are there more verses?” “Nine hundred and ninety-eight of them, Translator,” I said. “We’re not cousins anymore,” said Sphene.

No more peeping through keyholes! No more mas turbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter. I want Madagascan funeral poles, with animal upon animal and at the top Adam and Eve, and Eve with a crude, honest slit between the legs. I want hermaphrodites who are real hermaphrodites, and not make-believes walking around with an atrophied penis or a dried-up cunt. I want a classic purity, where dung is dung and angels are angels. The Bible a la King James, for example. Not the Bible of Wycliffe, not the Vulgate, not the Greek, not the Hebrew, but the glorious, death-dealing Bible that was created when the English language was in flower, when a vocabulary of twenty thousand words sufficed to build a monument for all time. A Bible written in Svenska or Tegalic, a Bible for the Hottentots or the Chinese, a Bible that has to meander through the trickling sands of French is no Bible-it is a counterfeit and a fraud. The King James Version was created by a race of bone-crushers. It revives the primitive mysteries, revives rape, murder, incest, revives epilepsy, sadism, megalomania, revives demons, angels, dragons, leviathans, revives magic, exorcism, contagion, incantation, revives fratricide, regicide, patricide, suicide, revives hypnotism, anarchism, somnambulism, revives the song, the dance, the act, revives the mantic, the chthonian, the arcane, the mysterious, revives the power, the evil, and the glory that is God. All brought into the open on a colossal scale, and so salted and spiced that it will last until the next Ice Age. A classic purity, then-and to hell with the Post Office authorities! For what is it enables the classics to live at all, if indeed they be living on and not dying as we and all about us are dying? What preserves them against the ravages of time if it be not the salt that is in them? When I read Petronius or Apuleius or Rabelais, how close they seem! That salty tang! That odor of the menagerie! The smell of horse piss and lion’s dung, of tiger’s breath and elephant’s hide. Obscenity, lust, cruelty, boredom, wit. Real eunuchs. Real hermaphrodites. Real pricks. Real cunts. Real banquets! Rabelais rebuilds the walls of Paris with human cunts. Trimalchio tickles his own throat, pukes up his own guts, wallows in his own swill. In the amphitheater, where a big, sleepy pervert of a Caesar lolls dejectedly, the lions and the jackals, the hyenas, the tigers, the spotted leopards are crunching real human boneswhilst the coming men, the martyrs and imbeciles, are walking up the golden stairs shouting Hallelujah!

Italy still has a provincial sophistication that comes from its long history as a collection of city states. That, combined with a hot climate, means that the Italians occupy their streets and squares with much greater ease than the English. The resultant street life is very rich, even in small towns like Arezzo and Gaiole, fertile ground for the peeping Tom aspect of an actor’s preparation. I took many trips to Siena, and was struck by its beauty, but also by the beauty of the Siennese themselves. They are dark, fierce, and aristocratic, very different to the much paler Venetians or Florentines. They have always looked like this, as the paintings of their ancestors testify. I observed the groups of young people, the lounging grace with which they wore their clothes, their sense of always being on show. I walked the streets, they paraded them. It did not matter that I do not speak a word of Italian; I made up stories about them, and took surreptitious photographs. I was in Siena on the final day of the Palio, a lengthy festival ending in a horse race around the main square. Each district is represented by a horse and jockey and a pair of flag-bearers. The day is spent by teams of supporters with drums, banners, and ceremonial horse and rider processing round the town singing a strange chanting song. Outside the Cathedral, watched from a high window by a smiling Cardinal and a group of nuns, with a huge crowd in the Cathedral Square itself, the supporters passed, and to drum rolls the two flag-bearers hurled their flags high into the air and caught them, the crowd roaring in approval. The winner of the extremely dangerous horse race is presented with a palio, a standard bearing the effigy of the Virgin. In the last few years the jockeys have had to be professional by law, as when they were amateurs, corruption and bribery were rife. The teams wear a curious fancy dress encompassing styles from the twelfth to the eighteenth centuries. They are followed by gangs of young men, supporters, who create an atmosphere or intense rivalry and barely suppressed violence as they run through the narrow streets in the heat of the day. It was perfect. I took many more photographs. At the farmhouse that evening, after far too much Chianti, I and my friends played a bizarre game. In the dark, some of us moved lighted candles from one room to another, whilst others watched the effect of the light on faces and on the rooms from outside. It was like a strange living film of the paintings we had seen. Maybe Derek Jarman was spying on us.

We fell in love with that little peep-show projection on the inside of an iris, pictures that amount to nothing more than the thirsty moon over a spot of bloody ground. Those weren’t the nothings we restless sleepwalkers knew, no place no home no song. So we heard her and we followed until she went where we couldn't follow. She went down beyond the mountains and disappeared between the crease of sky and land, like a great eyelid folding shut. No one knows what happened out in the Black Hills, but I imagine she lies buried in a rusty coffin under the stars. And on nights when the desert crickets sing her tune, they say one day she will rise again. On that day, there is no telling the kind of vengeance she'll demand of us. Fair is fair. They say when she fell from Heaven she wore a crown of jagged stars that slit the skies throat. They say she loved them all, in the secret corners of their shallow sleep. Strangers, at the last. They say a lot of things. They’re all lies. Everything is already written.

Have you heard the songs they sing here in Kilanga?” he asked. “They’re very worshipful. It’s a grand way to begin a church service, singing a Congolese hymn to the rainfall on the seed yams. It’s quite easy to move from there to the parable of the mustard seed. Many parts of the Bible make good sense here, if only you change a few words.” He laughed. “And a lot of whole chapters, sure, you just have to throw away.” “Well, it’s every bit God’s word, isn’t it?” Leah said. “God’s word, brought to you by a crew of romantic idealists in a harsh desert culture eons ago, followed by a chain of translators two thousand years long." Leah stared at him. “Darling, did you think God wrote it all down in the English of King James himself?” “No, I guess not.” “Think of all the duties that were perfectly obvious to Paul or Matthew in that old Arabian desert that are pure nonsense to us now. All that foot washing, for example. Was it really for God’s glory, or just to keep the sand out of the house?” Leah sat narrow-eyed in her chair, for once stumped for the correct answer. “Oh, and the camel. Was it a camel that could pass through the eye of a needle more easily than a rich man? Or a coarse piece of yarn? The Hebrew words are the same, but which one did they mean? If it’s a camel, the rich man might as well not even try. But if it’s the yarn, he might well succeed with a lot of effort, you see?” He leaned forward toward Leah with his hands on his knees. “Och, I shouldn’t be messing about with your thinking this way, with your father out in the garden. But I’ll tell you a secret. “When I want to take God at his word exactly, I take a peep out the window at His Creation. Because that, darling, He makes fresh for us every day, without a lot of dubious middle managers.

There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach. His song in the Tower had been defiance rather than hope; for then he was thinking of himself. Now, for a moment, his own fate, and even his master's, ceased to trouble him. He crawled back into the brambles and laid himself by Frodo's side, and putting away all fear he cast himself into a deep untroubled sleep.

Each who passes is considered, and each who stops is considered, and not a single one can it fail. It cannot fail the young man who died and was buried, Nor the young woman who died and was put by his side, Nor the little child that peeped in at the door and then drew back and was never seen again, Nor the old man who has lived without purpose, and feels it with bitterness worse than gall, Nor him in the poorhouse tubercled by rum and the bad disorder, Nor the numberless slaughtered and wrecked . . . . nor the brutish koboo, called the odure of humanity, Nor the sacs merely floating with open mouths for food to slip in, Nor any thing in the earth, or down in the oldest graves of the earth, Nor any thing in the myriads that inhabit them, Nor the present, nor the least wisp that is known.

Clear and sweet is my soul, and clear and sweet is all that is not my soul. Lack one lacks both, and the unseen is proved by the seen, Till that becomes unseen and receives proof in its turn. Showing the best and dividing it from the worst age vexes age, Knowing the perfect fitness and equanimity of things, while they discuss I am silent, and go bathe and admire myself. Welcome is every organ and attribute of me, and of any man hearty and clean, Not an inch nor a particle of an inch is vile, and none shall be less familiar than the rest. I am satisfied—I see, dance, laugh, sing; As the hugging and loving bed-fellow sleeps at my side through the night, and withdraws at the peep of the day with stealthy tread, Leaving me baskets cover’d with white towels swelling the house with their plenty, Shall I postpone my acceptation and realization and scream at my eyes, That they turn from gazing after and down the road, And forthwith cipher and show me to a cent, Exactly the value of one and exactly the value of two, and which is ahead?

She rubbed the skin off your headstone of a sternum and painted a sad picture of herself in your eyes. We fell in love with that little peep-show projection on the inside of an iris, pictures that amount to nothing more than the thirsty moon over a spot of bloody ground. Those weren’t the nothings we restless sleepwalkers knew, no place no home no song. So we heard her and we followed until she went where we couldn't follow. She went down beyond the mountains and disappeared between the crease of sky and land, like a great eyelid folding shut. No one knows what happened out in the Black Hills, but I imagine she lies buried in a rusty coffin under the stars. And on nights when the desert crickets sing her tune, they say one day she will rise again. On that day, there is no telling the kind of vengeance she'll demand of us. Fair is fair. They say when she fell from Heaven she wore a crown of jagged stars that slit the skies throat. They say she loved them all, in the secret corners of their shallow sleep. Strangers, at the last. They say a lot of things. They’re all lies. Everything is already written.

A faint singing seemed to issue from the walls... yes, it was as though the walls themselves were singing!... The song became plainer... the words were now distinguishable... he heard a voice, a very beautiful, very soft, very captivating voice... but, for all its softness, it remained a male voice... The voice came nearer and nearer... it came through the wall... it approached... and now the voice was in the room, in front of Christine. Christine rose and addressed the voice, as though speaking to some one: "Here I am, Erik," she said. "I am ready. But you are late." Raoul, peeping from behind the curtain, could not believe his eyes, which showed him nothing. Christine's face lit up. A smile of happiness appeared upon her bloodless lips, a smile like that of sick people when they receive the first hope of recovery. The voice without a body went on singing; and certainly Raoul had never in his life heard anything more absolutely and heroically sweet, more gloriously insidious, more delicate, more powerful, in short, irresistibly triumphant. He listened to it in a fever and he now began to understand how Christine Daaé was able to appear one evening, before the stupefied audience, with accents of a beauty hitherto unknown, of a superhuman exaltation, while doubtless still under the influence of the mysterious and invisible master. The voice was singing the Wedding-night Song from Romeo and Juliet. Raoul saw Christine stretch out her arms to the voice as she had done, in Perros church-yard, to the invisible violin playing The Resurrection of Lazarus and nothing could describe the passion with which the voice sang: "Fate links thee to me for ever and a day!" The strains went through Raoul's heart.

A CHILD SPOKE ABOUT HIS FEAR, LONG AGO. IT RESEMBLED A little song: In the attic there’s a beam that hits you on the head, there’s a wind that bangs the shutters, there’s a mouse that peeps out of the corner.

Worst Comes To Worst" (feat. Guru) [Babu mixing] "Worst come to worst my peoples come first" "Worst...come.....to worst" "Worst come to worst my peoples come first" "Worst come...to...worst" "Worst come to worst my peoples come first" [Evidence talking] Yeah It's goin down y'all That's Babu Yo, some people got good friends, at night I live my life right Intense, on the edge On the wild, I'm from the group where friction leads to fire Stack your bricks, the time is take your pick Do or don't, the track - Alchemist My life is good, I got my peeps in the mix, so... "Worst come to worst my people come first" [Iriscience] I got worldwide family all over the earth And I worry 'bout 'em all for whatever it's worth From the birth to the hearse, the streets, the guns burst Words I disperse are here to free minds And if mine are needy I need to feed mine "When worst come to worst..." [Evidence] Set up shop and write a verse Actually (what?), that's best come to best My lyrics take care of me, they therapy Get shit off my chest Extra stress, three-four over the score Different patterns of rhymin prepare me for war So next time you see us we'll be deadly on tour [Babu mixing] "Oh, when you need me" "Worst come to worst my peoples come first" [Guru talking] Word up, if worst comes to worst, I make whole crews disperse You know it's family first Gifted Unlimited with Dilated Peoples Babu, Evidence, Iriscience And a shout out to my man Alchemist on the trizzack "Oh, when you need me" "Worst come to worst my peoples come first" [Iriscience] I'm a glutton for the truth, even though truth hurts I've studied with my peoples on streets and in church We make it hard when we go on first Long road, honor of the samurai code These California streets ain't paved with gold Worst comes to worst "Worst come to worst my people come first" [Evidence] Uh, I got them back, at the end of the day We could go our seperate ways but the songs remains, it won't change Got my target locked at range I might switch gears but first I switch lanes Without my people I got nothin to gain That's why... "Worst come to worst my people come first" [Iriscience] Special victims unit, catalyst for movement Creates to devastate, since '84 show improvement Definitely Dilated Peoples comes first Cross-trainin spar, we raise the bar And we put it in your ear no matter who you are [Babu mixing] "Oh, when you need me" "Worst come to worst my peoples come first" "Worst....come...worst my peoples come first" "Worst...worst....worst....come to worst my peoples come first" "...my..my...my peoples come first "Oh, when you need me

Snow's song is silence,' Peep whispered.

came home from work one evening to find his youngest son, Tim, kicking and screaming on the living room floor. He was to start kindergarten the next day and was protesting that he would not go. Stan’s normal reaction would have been to banish the child to his room and tell him he’d just better make up his mind to go. He had no choice. But tonight, recognizing that this would not really help Tim start kindergarten in the best frame of mind, Stan sat down and thought, “If I were Tim, why would I be excited about going to kindergarten?” He and his wife made a list of all the fun things Tim would do such as finger painting, singing songs, making new friends. Then they put them into action. “We all started finger-painting on the kitchen table—my wife, Lil, my other son Bob, and myself, all having fun. Soon Tim was peeping around the corner. Next he was begging to participate. ‘Oh, no! You have to go to kindergarten first to learn how to finger-paint.’ With all the enthusiasm I could muster I went through the list talking in terms he could understand—telling him all the fun he would have in kindergarten. The next morning, I thought I was the first one up. I went downstairs and found Tim sitting sound asleep in the living room chair. ‘What are you doing here?’ I asked. ‘I’m waiting to go to kindergarten. I don’t want to be late.’ The enthusiasm of our entire family had aroused in Tim an eager want that no amount of discussion or threat could have possibly accomplished.

Please to See the King is a piercing, keen-edged record, perhaps the closest a British act has come to what Bob Dylan, speaking of his own recordings of 1965–6, called ‘that thin, that wild mercury sound … metallic and bright gold’. The title, taken from the song ‘The King’ that Carthy introduced to the album sessions, was spoken, according to custom, by ‘wren-hunters’ who went knocking on doors and requesting money in return for a peep at the slaughtered bird in a coffin, bound with a ribbon. And like the wren-hunters of yore, the early Steeleye found themselves in the midst of a difficult economy, hawking their wares around the country at a succession of student-union gigs, in the community which was most receptive to this new incarnation of folk music.

It's totally subconscious, unconscious or whatever. The radar is on whether you know it or not. You cannot switch it off. You hear this piece of conversation from across the room, "I just can't stand you anymore" ... That's a song. It just flows in. And also the other thing about being a songwriter, when you realize you are one, is that to provide ammo, you start to become an observer, you start to distance yourself. You're constantly on the alert. That faculty gets trained in you over the years, observing people, how they react to one another. Which, in a way, makes you weirdly distant. You shouldn't really be doing it. It's a little of Peeping Tom to be a songwriter. You start looking round, and everything's a subject for a song.

Illusions of a lover! Illusions have neither a past nor any present, They always seem to hang in the moments of the future, For when experienced one never knows what they mean or represent, But they always arise from the person’s conscience and the stature, As for those who are in love everything is an illusion, When with her even real appears more real, When not with her even real seems unreal, a sort of hallucination, A dawn of new reality where everything is surreal, Only her smiles, her charms, her kisses, and her deep eyes exist, And the heart seeks its indulgences in them, And ah how much like a wanton kid it does persist, To only chase her, and seek her as if she were the most precious gem, The sun peeps in from the still and motionless curtains, And the weary eyes open hoping its rays will bring her along, But then everything drowns in the loud calls of martins, Until every sound resembles her voice and her beautiful song, Then nothing exists, neither the Sun, nor the curtains, and not even martins, Only your song and your endless memories, And the heart dutifully warbles to mind these emotional bulletins, So, I rest my head on a pile of your feelings and bid farewell to all my worries! And now it is me and your feelings spread all over, The heart stops beating, the mind stops to think, For now Irma, begins the journey called forever, Where moments do not pass as eyes blink, Because the heart does not beat and the mind does not think, Making time irrelevant and unnecessary, And as in this moment called forever we sink, We now only seek what is necessary, You, your memories, your charms and your smiles, As this restful state extends into eternity, It marks an end of life’s tribulations and trials, Because now your feelings envelope me to create a new feeling of serenity!

There, peeping among the cloud-wrack above a dark tor high up in the mountains, Sam saw a white star twinkle for a while. The beauty of it smote his heart, as he looked up out of the forsaken land, and hope returned to him. For like a shaft, clear and cold, the thought pierced him that in the end the Shadow was only a small and passing thing: there was light and high beauty for ever beyond its reach. His song in the Tower had been defiance rather than hope; for then he was thinking of himself. Now, for a moment, his own fate, and even his master’s, ceased to trouble him. He crawled back into the brambles and laid himself by Frodo’s side, and putting away all fear he cast himself into a deep untroubled sleep.

These vile men! I believe I shall hate them all. Did they partake — But not half so grateful as the blackbirds: They rather look big with insolence, than perch near, and sing a song to confort the poor souls they have so dreadfully mortified. Other birds, as I have observed (sparrows, in particular) sit hour and hour, he’s and she’s, in turn; and I have seen the hen, when her rogue has staid too long, rattle at him, while he circles about her with sweeping wings, and displayed plumage, his head and breast of various dyes, ardently shining, peep, peep, peep; as much as to say, I beg your pardon, love — I was forced to go a great way off for my dinner. — Sirrah! I have thought she has said, in an unforgiving accent — Do your duty now — Sit close — Peep, peep, peep — I will, I will, I will — Away has she skimmed, and returned to relieve him — when she thought fit.