Stages Of Sunset Quotes

The pageant of the river bank had marched steadily along, unfolding itself in scene-pictures that succeeded itself in stately procession. Purple loosestrife arrived early, shaking luxuriant locks along the edge of the mirror whence its own face laughed back at it. Willow-herb, tender and wistful, like a pink sunset-cloud was not slow to follow. Comfrey, the purple hand-in-hand with the white, crept forth to take its place in the line; and at last one morning the diffident and delaying dog-rose stepped delicately on the stage, and one knew, as if string music has announced it in stately chords that strayed into a gavotte, that June at last was here. One member of the company was still awaited; the shepherd-boy for the nymphs to woo, the knight for whom the ladies waited at the window, the prince that was to kiss the sleeping summer back to life and love. But when meadow-sweet, debonair and odorous in amber jerkin, moved graciously to his place in the group, then the play was ready to begin.

Folding her arms and closing her eyes, Hatsumi sank back into the corner of the seat. Her small gold earrings caught the light as the taxi swayed. Her midnight blue dress seemed to have been made to match the darkness of the cab. Every now and then her thinly daubed, beautifully formed lips would quiver slightly as if she had caught herself on the verge of talking to herself. Watching her, I could see why Nagasawa had chosen her as his special companion. There were any number of women more beautiful than Hatsumi, and Nagasawa could have made any of them his. But Hatsumi had some quality that could send a tremor through your heart. It was nothing forceful. The power she exerted was a subtle thing, but it called forth deep resonances. I watched her all the way to Shibuya, and wondered, without ever finding an answer, what this emotional reverberation that I was feeling could be. It finally hit me some dozen or so years later. I had come to Santa Fe to interview a painter and was sitting in a local pizza parlor, drinking beer and eating pizza and watching a miraculously beautiful sunset. Everything was soaked in brilliant red—my hand, the plate, the table, the world—as if some special kind of fruit juice had splashed down on everything. In the midst of this overwhelming sunset, the image of Hatsumi flashed into my mind, and in that moment I understood what that tremor of the heart had been. It was a kind of childhood longing that had always remained—and would forever remain—unfulfilled. I had forgotten the existence of such innocent, all-but-seared-in longing: forgotten for years to remember what such feelings had ever existed inside of me. What Hatsumi had stirred in me was a part of my very self that had long lain dormant. And when the realization struck me, it aroused such sorrow I almost burst into tears. She had been an absolutely special woman. Someone should have done something—anything—to save her. But neither Nagasawa nor I could have managed that. As so many of those I knew had done, Hatsumi reached a certain stage in her life and decided—almost on the spur of the moment—to end it. Two years after Nagasawa left for Germany, she married, and two years after that she slashed her wrists with a razor blade. It was Nagasawa, of course, who told me what had happened. His letter from Bonn said this: “Hatsumi’s death has extinguished something. This is unbearably sad and painful, even to me.” I ripped his letter to shreds and threw it away. I never wrote to him again.

Instructions for a Broken Heart I will find a bare patch of earth, somewhere where the ruins have fallen away, somewhere where I can fit both hands, and I will dig a hole. And into that hole, I will scream you, I will dump all the shadow places of my heart—the times you didn’t call when you said you’d call, the way you only half listened to my poems, your eyes on people coming through the swinging door of the café—not on me—your ears, not really turned toward me. For all those times I started to tell you about the fight with my dad or when my grandma died, and you said something about your car, something about the math test you flunked, as an answer. I will scream into that hole the silence of dark nights after you’d kissed me, how when I asked if something was wrong—and something was obviously so very wrong—how you said “nothing,” how you didn’t tell me until I had to see it in the dim light of a costume barn—so much wrong. I will scream all of it. Then I will fill it in with dark earth, leave it here in Italy, so there will be an ocean between the hole and me. Because then I can bring home a heart full of the light patches. A heart that sees the sunset you saw that night outside of Taco Bell, the way you pointed out that it made the trees seem on fire, a heart that holds the time your little brother fell on his bike at the fairgrounds and you had pockets full of bright colored Band-Aids and you kissed the bare skin of his knees. I will take that home with me. In my heart. I will take home your final Hamlet monologue on the dark stage when you cried closing night and it wasn’t really acting, you cried because you felt the words in you and on that bare stage you felt the way I feel every day of my life, every second, the way the words, the light and dark, the spotlight in your face, made you Hamlet for that brief hiccup of a moment, made you a poet, an artist at your core. I get to take Italy home with me, the Italy that showed me you and the Italy that showed me—me—the Italy that wrote me my very own instructions for a broken heart. And I get to leave the other heart in a hole. We are over. I know this. But we are not blank. We were a beautiful building made of stone, crumbled now and covered in vines. But not blank. Not forgotten. We are a history. We are beauty out of ruins.

A year ago, I was at a dinner in Amsterdam when the question came up of whether each of us loved his or her country. The German shuddered, the Dutch were equivocal, the Brit said he was "comfortable" with Britain, the expatriate American said no. And I said yes. Driving across the arid lands, the red lands, I wondered what it was I loved. the places, the sagebrush basins, the rivers digging themselves deep canyons through arid lands, the incomparable cloud formations of summer monsoons, the way the underside of clouds turns the same blue as the underside of a great blue heron's wings when the storm is about to break. Beyond that, for anything you can say about the United States, you can also say the opposite: we're rootless except we're also the Hopi, who haven't moved in several centuries; we're violent except we're also the Franciscans nonviolently resisting nucelar weapons out here; we're consumers except the West is studded with visionary environmentalists...and the landscape of the West seems like the stage on which such dramas are played out, a space without boundaries, in which anything can be realized, a moral ground, out here where your shadow can stretch hundreds of feet just before sunset, where you loom large, and lonely.

The sun is a respectful and polite player; when the time comes, she leaves the stage to make room for the magnificent show of the stars and the full moon!

The Place of God’s Justifiable Wrath How horrible is this echo? Let’s take a look at Matthew 18:8–9: And if your hand or your foot causes you to sin, cut it off and throw it away. It is better for you to enter life crippled or lame than with two hands or two feet to be thrown into the eternal fire. And if your eye causes you to sin, tear it out and throw it away. It is better for you to enter life with one eye than with two eyes to be thrown into the hell of fire. This passage, by the way, doesn’t just give us the comparative negative of hell, but it translates really well into a theology of suffering. With these words of Jesus in mind, I can now know that it is better never to hold my children, it is better never to run my fingers through my wife’s hair, it is better not to be able to brush my own teeth, it is better never to be able to drive a car, it is better to be paralyzed and never feel anything from the neck down, and it is better to have stage III anaplastic oligodendroglioma than to find myself outside the kingdom of God. It is better never to see the sunset or the sunrise, never see the stars in the sky, never to see my daughter in her little dress-up clothes, never to see my son throw a ball—it is better never to have seen those things than to have seen those things and yet end up outside the kingdom of God.

We have all these big windows to look out over the valley, but the curtains are always shut. Sunsets hidden, starlight concealed… your house… it’s a home, mine…you’ve seen it… it’s staged. Always on display, but never part of life.

The pageant of the river bank had marched steadily along, unfolding itself in scene-pictures that succeeded each other in stately procession. Purple loosestrife arrived early, shaking luxuriant tangled locks along the edge of the mirror whence its own face laughed back at it. Willow-herb, tender and wistful, like a pink sunset cloud, was not slow to follow. Comfrey, the purple hand-in-hand with the white, crept forth to take its place in the line; and at last one morning the diffident and delaying dog-rose stepped delicately on the stage, and one knew, as if string-music had announced it in stately chords that strayed into a gavotte, that June at last was here.

In 1996 the Queen traveled to Toronto to catch Diahann Carroll playing the lead in a new staging of Sunset Boulevard. “She didn’t realize it wasn’t going to be freezing,” said Erma, “so she ordered up a mink coat from one of the better department stores. Because the coat was so enormous, she decided it required a ticket of its own. She and her coat sat together on the front row. It was hysterical.

But all of that is mostly invisible to me, an enchanting landscape painted on a see-through curtain in front of a stage where scenes of unspeakable horror play out. I can go for weeks without even seeing the beach, kept busy by emergency calls: fights, stabbings, shootings, burglaries, robberies, rapes, drunks, domestics, suicides. I spend more time in run-down housing projects and trailer parks than I do admiring sunsets. But they don’t pay me to enjoy the view

Slung on a stage over the gunwale of an old felucca, the Peri. A storm had just passed, rushing away toward the land in a great slope of clouds; already turning yellowish from the desert. The sea there is the color of Damascus plums; and how quiet. Sun was going down; not a beautiful sunset, more a gradual darkening of the air and that storm’s mountainside. The Peri had been damaged, we hove to alongside and hailed her master. No reply. Only the sailor—I never saw his face—one of your fellahin who abandon the land like a restless husband and then grumble for the rest of their term afloat. It’s the strongest marriage in the world. This one wore a kind of loincloth and a rag round his head for the sun which was almost gone. After we’d shouted in every dialect we had among us, he replied in Tuareg: ‘The master is gone, the crew is gone, I am here and I am painting the ship.’ It was true: he was painting the ship. She’d been damaged, not a load line in sight, and a bad list. ‘Come aboard,’ we told him, ‘night is nearly on us and you cannot swim to land.’ He never answered, merely continued dipping the brush in his earthen jar and slapping it smoothly on the Peri’s creaking sides. What color? It looked gray but the air was dark. This felucca would never again see the sun. Finally I told the helmsman to swing our ship round and continue on course. I watched the fellah until it was too dark: becoming smaller, inching closer to the sea with every swell but never slackening his pace. A peasant with all his uptorn roots showing, alone on the sea at nightfall, painting the side of a sinking ship.

All night the fighting had been furious, with no let-up. Fur and Freedom Fighters had battled against flaming shafts with their bare paws and sand. Four lay dead and three wounded. Smoke-grimed and bleary-eyed, they had plucked burning arrows from the wood, strung them on their bows and returned them to stick blazing in the gates of Marshank. The javelin supply was depleted, one shaft being retained for each creature in the event that paw-to-paw combat would be their final stand. There were still plenty of rocks to sling, Keyla and Tullgrew taking charge of the slingers whilst Ballaw managed a frugal breakfast. The hare sat wearily against one of the sandbanks that had been shorn up either side of the cart, Rowanoak slumped beside him. Both were singed and smoke-grimed. Rowanoak drank half her water, passing the rest on to Brome, who distributed it among the wounded. The badger wiped a sandy paw across her scorched muzzle. ‘Well, Ballaw De Quincewold, what’s to report?’ The irrepressible hare wiped dust from his half-scone ration and looked up at the sky. ‘Report? Er, nothin’ much really, except that it looks like being another nice sunny day, wot!’ A flaming arrow extinguished itself in the sand close by Rowanoak. She tossed it on to a pile of other shafts waiting to be shot. ‘A nice day indeed. D’you think we’ll be around to see the sunset?’ Without waiting for an answer, she continued, ‘I wonder if that owl – Boldred, wasn’t it – I wonder if she ever managed to get through to this Martin the Warrior creature.’ Ballaw picked dried blood from a wound on his narrow chest. ‘Doesn’t look like it, does it? No, old Rowan me badger oak, I think the stage is all ours and it’ll be our duty to give the best performance we can before the curtain falls for the last time.

Watch The Sky. Look how majestically it walks, it moves and shifts, it growls and screams, and sometimes sheds tears, like every drizzle or a rain droplet is a tear of either a deep melancholy or a mad ecstasy, like the clouds float along the sky drifting in a tune of their own, as if they are dancing in the Stage of this Magnificent Pathway, a string of Stars play hide and seek in its camouflage and while everything treads along this hurricane of a very Chaotic Forever Moving Wheel, there is this Calm, this innate Calm that is so breathable, so palpable, so tangible, as if the Whole Sky is a Magic weave of Something Eternal, something Extraordinarily Strangely Beautiful, something Simple yet Unfathomable, something that churns Hope and Despondency at the same time, something Smiling and Crying at the same time, something beyond our Understanding. Something that when we closely look in, we can just be, we can just float like those clouds and release the droplets of chaos from our mind in the very Silence of its mystical Majesticity, and slowly, perhaps very very distinctly in a snail's pace our Mind finally declutters its passing turmoil knowing how everything moves and shifts, growls and screams, but eventually finds a Silence of its own.

Imagine how the last presidential campaign would have turned out if instead of the marketing circus that we were treated to, we were just given a weekly round table discussion between Bush, Gore, and Nader for a couple months running up to the election. No staged rallies, no TV images with flags flowing in the sunset, no pollsters. No marketing. Bush would have been luck to get two percent. (from an interview in Attitude, 2002)

I've always thought that when it comes time for one day to end the sun makes its exit from the stage by showing off the most ravishing item of the day-- something of true beauty, something so friendly and large it terrifies me. My thoughts were confirmed on that day. I felt myself sink into the city. The essence felt pure white, drawing close to me from the western sky like the soft, rosy cheeks of a beloved wife. Every street in town shone with the brightness, and every face radiated the glow--that intense sunset shimming in its redness.

Dr John Nash Ott had reported improved health that an outdoor lifestyle can bring in his books. He believed it could cure prolonged illness. I had a similar experience. I had achieved what had been impossible during the previous decade, a return to the weight I was in my thirties. I had far more energy and far less days of chronic fatigue. I was mentally alert and suffered far less forgetfulness and confusion. I slept better on a two stage sleep cycle that Dr John Nash Ott had reported as an effect of the outdoor lifestyle. I would go to bed earlier, typically a couple of hours after sunset and wake up around 1-2 AM before falling asleep again until morning twilight. My body had automatically aligned with the twilight times. It was common in the morning to be awake in bed listening to the morning chorus of the birds and the “Cock-a-doodle-do!” of the roosters.

You won't freeze me in my tracks or put me on a string. I won't be made a puppet on a stage at leftwing. There are no strings to yank or closet skeletons to sell, and I will not walk the plank above your wishing well. You'll see me in the street. You'll hear me in the field. There will be no retreat or brake at the yield.

The sun doesn't set much paler or less glamorously if there's no one around watching it as the sun goes down! Always give your best performance on stage, with or without anyone watching or applauding you!

Unknowingly, I had set the stage to grieve. I did not have to answer to anyone, and I was alone to grieve. I went to bed. Waking up, it felt as if a big, fat child were sitting on me, pushing the life out of me, trying to squeeze me into a pancake. The pain had tentacles and they would grab my back, squeezing me. My back and chest were locked in a painful, vise-like grip. “Breathe, breathe,” I told myself. I couldn’t breathe, and hoped I would get very small and disappear. I am going to have a heart attack, I thought. “Take my heart out of my body, please God.” I prayed. “If not, then I will forget my body because this is too much to bear.” My heart feels like it is getting bigger. It is too big for my body. Surely it must explode. Big tears fall, just fall out, slowly and constantly. I don’t blink very often, there is no need. I can’t let anything in.

This passage, by the way, doesn't just give us the comparative negative of hell, but it translates well into a theology of suffering. With these words of Jesus in mind, I can now know that it is better never to hold my children, it is better never to run my fingers through my wife's hair, it is better not to be able to brush my own teeth, it is better never to be able to drive a car, it is better to be paralyzed and never feel anything from the neck down, and it is better to have stage III anaplastic oligondendroglioma than to find myself outside the kingdom of God. It is better never to see the sunset or the sunrise, never see the stars in the sky, never to see my daughter in her little dress-up clothes, never to see my son throw a ball - it is better never to have seen those things than to have seen those things and yet end up outside the kingdom of God. How horrible hell must be.

As John Dunne has suggested in The Way of All the Earth, we can in fact imagine the biological curve of our life metaphorically as a journey we all make between birth to death (see Figure 6.1). The journey, as the root meaning of the word suggests, is the distance we can walk in one day, from sunrise to sunset. If so, then the journey begins with birth in the early light of dawn and as the sun rises in the sky we make our way up the mountain, through the changing landscape of childhood and adolescence, and into adulthood and mid-life as we reach the top of the mountain at high noon. As we make this journey, more and more light is shed on our life; that is, our consciousness or self-awareness has grown and expanded with the tasks and stages of life. However, once we have reached the top of the mountain, we can see what lies on the other side for the first time.

and a woman walks to center stage. Her skin is the color of caramel, and her small, lithe body is wrapped in a sunset of silks. Gold rings adorn her ears and a diamond sparkles on her nostril. She spreads her arms wide and begins to sing.

If you're on stage, so is your smile.

Every day at sunset I would visit a grove of birch trees…and lie down and listen to the steady rhythmic heartbeat of the earth. This grove had all the power of an ancient shrine. As the light intensified and the sky awash in crimson flames, I learned a way of being in the world and transition. Something within me changed as the earth underwent its own transfiguration and as the day’s activity gave way to the long, slow respiration of the night. I understood the rhythm of existence through the interplay of light and shadow and the subtle changes of the air and climate. In winter…I came to know that darkness is a time for the migration of the soul; I saw then then what we hold in common with the roots and seeds- a stage of mute and invisible growth. I would feel the breakthrough of the spring as the windswept sky and a sudden movement of the clouds.

They were filmed inside the sound stages at the main lot at Sunset and Gower, as well as the outdoor sets at the Columbia Ranch, located in Burbank on Hollywood Way.

But you are not ungrateful, you never have been. Always, you could see the whirling constellation of wonders that makes up your life. God, there is just so much to love. Dust motes lit up by stage lights, the creak of a book’s binding when it’s opened for the first time, the ache in the back of your throat from singing too loud, the whirring noise of a light bulb as it’s flicked on, a warm blanket in a cold room, a kiss when you didn’t know you needed one, dark pencils, the wet snuffle of a dog’s nose, strangers who say ‘Bless you’ when you sneeze, mahogany, the dusty silk of flower petals, good lines in bad poems, the watercolour mess of sunset, snow, liquid-ink pens and more. So much more.

Wisdom is the last word of a dying civilization, the halo of historical sunsets, fatigue turned into a worldview, the final tolerance before the rise of fresher gods – and barbarism. It is also a vain attempt at melody amidst the wheezing of the end, which rises everywhere. For the Sage – the theorist of the untroubled death, the hero of indifference, and the symbol of the final stage of philosophy, of its degeneration and its emptiness – has solved the problem of his own death . . . and hence all other problems as well. Uniquely ridiculous, he is an extreme case, that one encounters in extreme times like an exceptional confirmation of the general pathology.

watch our loved ones go peacefully into the sunset. We need to ask ourselves what we can do to make the last chapter of life meaningful.