Pippa Passes Quotes

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The year's at the spring And day's at the morn; Morning's at seven; The hill-side's dew-pearled; The lark's on the wing; The snail's on the thorn; God's in His heaven— All's right with the world!
Robert Browning (Pippa Passes (1901))
God’s in His heaven— All’s right with the world!
Robert Browning (Pippa Passes (1901))
Ron told Pippa that during the six years he had spent on the book, Valerie Chernow had developed a powerful identification with Hamilton’s wife. “She used to say, ‘Eliza is like me: She’s good, she’s true, she’s loyal, she’s not ambitious.’ There was a purity and a goodness about the character, and that was like Valerie,” he says. In 2006, after 27 years of marriage, Valerie passed away. For her gravestone, Ron chose a line from the letter that Hamilton wrote to Eliza on the night before the duel: “Best of wives and best of women.
Lin-Manuel Miranda (Hamilton: The Revolution)
The poet Robert Browning caused considerable consternation by including the word twat in one of his poems, thinking it an innocent term. The work was Pippa Passes, written in 1841 and now remembered for the line "God's in His heaven, all's right with the world." But it also contains this disconcerting passage: Then owls and bats Cowls and twats Monks and nuns in a cloister's moods, Adjourn to the oak-stump pantry! Browning had apparently somewhere come across the word twat--which meant precisely the same then as it does now--but pronounced it with a flat a and somehow took it to mean a piece of headgear for nuns. The verse became a source of twittering amusement for generations of schoolboys and a perennial embarrassment to their elders, but the word was never altered and Browning was allowed to live out his life in wholesome ignorance because no one could think of a suitably delicate way of explaining his mistake to him.
Bill Bryson (The Mother Tongue: English and How It Got That Way)
My whole life I’ve been ordered about. Now I shall give the orders.” I’ve never seen Felicity so wounded. “Not me,” she says. “I never ordered you about.” “Oh, Fee.” The old Pippa surfaces for just a moment, hopeful and childlike. She pulls Felicity to her. Something I cannot name passes between them, and then Pip’s lips are on Fee’s in a deep kiss, as if they feed on one another, their fingers entwined in each other’s hair. And suddenly, I understand what I must have always known about them—the private talks, the close embraces, the tenderness of their friendship. A blush spreads across my neck at the thought. How could I not have seen it before?
Libba Bray (The Sweet Far Thing (Gemma Doyle, #3))
Smallpox,' ' Zach read aloud when the page was passed to him. 'It was eradicated by the nineteen eighties,' Pip said. 'Oi, no time travel.' Jamie whacked her on the head with his master booklet.
Holly Jackson (Kill Joy : A Good Girl's Guide to Murder 4)
In a striking example of the unfamiliarity of some Victorians with bawdy vocabulary, we see that the poet Robert Browning egregiously misunderstood one common word. He encountered the couplet “They talked of his having a Cardinal’s hat,/They’d send him as soon an old nun’s twat,” in a seventeenth-century poem. Erroneously believing from this passage that the word referred to a part of a nun’s habit, Browning wrote of “Cowls and twats” in his 1848 poem Pippa Passes.
Jesse Sheidlower (The F-Word)
the bead now?” Pippa reached into the front pouch of her laptop case and pulled out a small plastic bag. She produced a bead and passed it to Mike. “Be careful with it.” He held it toward the strip light on the ceiling, rolling it between his fingers. “Holy … We need to get to work on this.” Mike passed the bead to Charlie and wheeled away to his laptop. Charlie’s first
Darren Wearmouth (Critical Dawn (Critical, #1))
Oh, well…they’ve been a little relaxed because of Gram’s passing, but I’ve been assured once school starts my life will be all work and no play.” I kick my feet under the water and watch the surface swirl. “Well, we better take advantage.” He pulls me in for another kiss and when we break apart, I’m overcome with laughter. This is so the opposite of how I saw my summer ending even just a few hours ago. “You’re really here. I can’t get over it.” “When I called and heard your voice mail greeting this morning, something inside me just clicked. I had to see you. Today.” He leans toward me until our foreheads press together, his fingertips trailing tortuously slowly up and down each of my arms. “I tried all summer to talk myself out of liking you, to stay away from Cinque Terre once I knew you were there. Especially when I thought you might be with someone else. But I couldn’t. I want to make this work, Pippa. I knew we met for a reason.” His breath is warm on my face as he whispers, “I can’t not be with you.” I close my eyes and absorb his words. He wants to make this work. I want to make this work. It will. Somehow. “You really like me that much?” I hear him swallow. “I’m not sure like is a strong enough word.
Kristin Rae (Wish You Were Italian (If Only . . . #2))
The dreadwolf had been only half-right. She was part thunderbird—her great-grandmother had mated with a human long ago, before being executed. The gift, more legend than truth these days, had resurfaced in Sofie. It was why the rebels had wanted her so badly, why they’d sent her out on such dangerous missions. Why Pippa had come to value her. Sofie smelled like and could pass for a human, but in her veins lurked an ability that could kill in an instant. The Asteri had long ago hunted most thunderbirds to extinction. She’d never learned how her great-grandmother had survived, but the descendants had kept the bloodline secret. She had kept it secret. Until that day three years ago when her family had been killed and taken. When she’d found the nearest Ophion base and showed them exactly what she could do. When she told them what she wanted them to do for her in exchange.
Sarah J. Maas (House of Sky and Breath (Crescent City, #2))