Strings Break Quotes

I always thought of it like you said, that all the strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships sink, or maybe we’re grass—our roots so interdependent that no one is dead as long as someone is alive. We don’t suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters. If you choose the strings, then you’re imagining a world in which you can become irreparably broken. If you choose the grass, you’re saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications. Do you know what I mean?

If you are an approval addict, your behaviour is as easy to control as that of any other junkie. All a manipulator need do is a simple two-step process: Give you what you crave, and then threaten to take it away. Every drug dealer in the world plays this game.

But there are a thousand ways to look at it: maybe the strings break, or maybe our ship s sink, or maybe we're grass--our roots so interdependent that no one is dead as long as someone is still alive. We don't suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters.

Waiting for the fish to bite or waiting for wind to fly a kite. Or waiting around for Friday night or waiting perhaps for their Uncle Jake or a pot to boil or a better break or a string of pearls or a pair of pants or a wig with curls or another chance. Everyone is just waiting.

The longer I live, the more I realize the impact of attitude on life. Attitude, to me, is more important than facts. It is more important than the past, than education, than money, than circumstances, than failures, than successes, than what other people think or say or do. It is more important than appearance, giftedness or skill. It will make or break a company...a church....a home. The remarkable thing is we have a choice every day regarding the attitude we will embrace for that day. We cannot change our past...we cannot change the fact that people will act in a certain way. We cannot change the inevitable. The only thing we can do is play on the one string we have, and that is our attitude...I am convinced that life is 10% what happens to me and 90% how I react to it. And so it is with you...we are in charge of our attitudes.

The longer I live, the more I realize the impact of attitude on life. Attitude, to me, is more important than facts. It is more important than the past, the education, the money, than circumstances, than failure, than successes, than what other people think or say or do. It is more important than appearance, giftedness or skill. It will make or break a company... a church... a home. The remarkable thing is we have a choice everyday regarding the attitude we will embrace for that day. We cannot change our past... we cannot change the fact that people will act in a certain way. We cannot change the inevitable. The only thing we can do is play on the one string we have, and that is our attitude. I am convinced that life is 10% what happens to me and 90% of how I react to it. And so it is with you... we are in charge of our attitudes.

The universe is a complete unique entity. Everything and everyone is bound together with some invisible strings. Do not break anyone’s heart; do not look down on weaker than you. One’s sorrow at the other side of the world can make the entire world suffer; one’s happiness can make the entire world smile.

Mortals are fragile," I say. "Not you," he says in a way that sounds a little like a lament. "You never break." Which is ridiculous, as hurt as I am. I feel like a constellation of wounds, held together with string and stubbornness. Still, I like hearing it. I like everything he's saying all too well. That boy is your weakness.

Each of our passions, even love, has a stomach that must not be overloaded. We must in everything write the word 'finis' in time; we must restrain ourselves, when it becomes urgent; we must draw the bolt on the appetite, play a fantasia on the violin, then break the strings with our own hand. The Wise man is he who knows when and how to stop.

When I've thought about him dying - which admittedly isn't that much - I always thought of it like you said, that all strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships think, or maybe we're grass - our roots are so interdependent that no one is dead as long as soneone is still alive. We don't suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters. If you choose the strings, then you're imagining a world in which you can become irreparably broken. If you choose grass, you're saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications... I like the strings, I always have. Because that's how it feels. But the strings make pain seem more fatal than it is...We are not as frail as the strings would make us believe. And I like the grass, too. The grass got me to you, helped me imagine you as an actual person. But we're not different sprouts from the same plant. I can't be you. You can't be me. You can imagine another well- but not quite perfectly, you know? "Maybe, it's more like you said before, all of us being cracked open. Like each of us starts out as a watertight vessel. And these things happen-these people leave us, or don't love us, or don't get us, or we don't get them, and we lose and fail and hurt one another. And the vessel starts to crack open in places. And I mean, yeah, once the vessel cracks open, the end becomes inevitable...But there is all this time between when the cracks start to open up and when we finally fall apart. And it's only in that time that we can see each other, because we see out of ourselves through our cracks and into others through theirs. When did we see each other face-to-face? Not until you saw into my cracks and I saw into yours. Before that we were just looking at ideas of each other, like looking at your window shade but never looking inside. But once the vessel cracks, the like can get in. The like can get out.

My little girls can break my heart. They can make me cry just looking at them eating their string beans.

You cannot ask things to do what they are not meant to do. Eventually, they will break.

Conflict can and should be handled constructively; when it is, relationships benefit. Conflict avoidance is *not* the hallmark of a good relationship. On the contrary, it is a symptom of serious problems and of poor communication.

Sometimes when things break, you can hold them together for a while with string or glue or tape. Sometimes, nothing will hold what’s broken, and the pieces fly all over, and though you think you might be able to find them all again, one or two will always be missing. I flew apart. I broke. I shattered like a crystal vase dropped on a concrete floor, and pieces of me scattered all over. Some of them I was glad to see go. Some I never wanted to see again.

When a family breaks you don't hear the crack of the breaking. You don't hear a sound.

Conversion is not the smooth, easy-going process some men seem to think... It is wounding work, this breaking of the hearts, but without wounding there is no saving... Where there is grafting there will always be a cutting, the graft must be let in with a wound; to stick it onto the outside or to tie it on with a string would be of no use. Heart must be set to heart and back to back or there will be no sap from root to branch. And this, I say, must be done by a wound, by a cut.

Some rabbis say that, at birth, we are each tied to God with a string, and that every time we sin, the string breaks. To those who repent of their sins, especially in the days of Rosh Hashanah, God sends the angel Gabriel to make knots in the string, so that the humble and contrite are once again tied to God. Because each one of us fails, because we all lose our way on the path to righteousness from time to time, our strings are full of knots. But, the rabbis like to say, a string with many knots is shorter than one without knots. So the person with many sins but a humble heart is closer to God.

All the lines that held me to my life were sliced apart in swift cuts, like clipping the strings of a bunch of balloons. Everything that made me who I was - my love for the dead girl upstairs, my love for my father, my loyalty to my new pack, the love for my other brothers, my hatred for my enemies, my home, my name, my self - disconnected from me in that second - snip, snip, snip - and floated up into space.

The Skin Horse had lived longer in the nursery than any of the others. He was so old that his brown coat was bald in patches and showed the seams underneath, and most of the hairs in his tail had been pulled out to string bead necklaces. He was wise, for he had seen a long succession of mechanical toys arrive to boast and swagger, and by-and-by break their mainsprings and pass away, and he knew that they were only toys, and would never turn into anything else. For nursery magic is very strange and wonderful, and only those playthings that are old and wise and experienced like the Skin Horse understand all about it. "What is REAL?" asked the Rabbit one day, when they were lying side by side near the nursery fender, before Nana came to tidy the room. "Does it mean having things that buzz inside you and a stick-out handle?" "Real isn't how you are made," said the Skin Horse. "It's a thing that happens to you. When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real." "Does it hurt?" asked the Rabbit. "Sometimes," said the Skin Horse, for he was always truthful. "When you are Real you don't mind being hurt." "Does it happen all at once, like being wound up," he asked, "or bit by bit?" "It doesn't happen all at once," said the Skin Horse. "You become. It takes a long time. That's why it doesn't happen often to people who break easily, or have sharp edges, or who have to be carefully kept. Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand." "I suppose you are real?" said the Rabbit. And then he wished he had not said it, for he thought the Skin Horse might be sensitive. But the Skin Horse only smiled. "The Boy's Uncle made me Real," he said. "That was a great many years ago; but once you are Real you can't become unreal again. It lasts for always.

No, you're not free," he said. "The string you're tied to is perhaps no longer than other people's. That's all. You're on a long piece of string, boss; you come and go, and think you're free, but you never cut the string in two. And when people don't cut that string . . ." "I'll cut it some day!" I said defiantly, because Zorba's words had touched an open wound in me and hurt. "It's difficult, boss, very difficult. You need a touch of folly to do that; folly, d'you see? You have to risk everything! But you've got such a strong head, it'll always get the better of you. A man's head is like a grocer; it keeps accounts: I've paid so much and earned so much and that means a profit of this much or a loss of that much! The head's a careful little shopkeeper; it never risks all it has, always keeps something in reserve. It never breaks the string. Ah no! It hangs on tight to it, the bastard! If the string slips out of its grasp, the head, poor devil, is lost, finished! But if a man doesn't break the string, tell me, what flavor is left in life? The flavor of camomile, weak camomile tea! Nothing like rum-that makes you see life inside out!

Kaz had rescued her from that hopelessness, and their lives had been a series of rescues ever since, a string of debts that they never tallied as they saved each other again and again. Lying in the dark, she realized that for all her doubts, she’d believed he would rescue her once more, that he would put aside his greed and his demons and come for her. Now she wasn’t so sure. Because it was not just the sense in the words she’d spoken that had stilled Van Eck’s hand but the truth he’d heard in her voice. He’ll never trade if you break me. She could not pretend those words had been conjured by strategy or even animal cunning. The magic they’d worked had been born of belief. An ugly enchantment.

Long Time. The famous seventeenth-century Ming painter Chou Yung relates a story that altered his behavior forever. Late one winter afternoon he set out to visit a town that lay across the river from his own town. He was bringing some important books and papers with him and had commissioned a young boy to help him carry them. As the ferry neared the other side of the river, Chou Yung asked the boatman if they would have time to get to the town before its gates closed, since it was a mile away and night was approaching. The boatman glanced at the boy, and at the bundle of loosely tied papers and books—“Yes,” he replied, “if you do not walk too fast.” As they started out, however, the sun was setting. Afraid of being locked out of the town at night, prey to local bandits, Chou and the boy walked faster and faster, finally breaking into a run. Suddenly the string around the papers broke and the documents scattered on the ground. It took them many minutes to put the packet together again, and by the time they had reached the city gates, it was too late. When you force the pace out of fear and impatience, you create a nest of problems that require fixing, and you end up taking much longer than if you had taken your time.

Life is short break the rules. forgive quickly, kiss slowly love truly. Laugh uncontrollably and never regret anything that makes you smile...

I want to understand the strings that are tied between me and certain other people and if they really can stretch through infinite time and space without ever breaking. Are soul mates real, and is my life ever going to make sense?

Sometimes when you break things, you can hold them together for a while with string or glue or tape. Sometimes, nothing will hold what's broken, and the pieces fly all over, and though you think you might be able to find them all again, one or two will always be missing

it it strange, suddenly having a memory come back out of nowhere. you think you're going crazy; you wonder where this recollection has been hiding all your life. you try to push it away, because you think you've hammered out the whole timeline of your life, but then you see that one extra moment, and suddendly you are breaking apart what you though was a solid segment, and seeing it for what it is: just a string of events, shoulder to shoulder, and a gap where there is room for one more.

I [Music] was born in the open air, in the breaks of waves and the whistling of sandstorms, the hoots of owls and the cackles of tui birds. I travel in echoes. I ride the breeze. I was forged in nature, rugged and raw. Only man shapes my edges to make me beautiful. [Chapter 2]

Instead of resisting to changes, surrender. Let life be with you, not against you. If you think ‘My life will be upside down’ don’t worry. How do you know down is not better than upside? A good man complains of no one; he does not look to faults. A life without love is of no account. Don't ask yourself what kind of love you should seek, spiritual or material, divine or mundane, eastern or western…divisions only lead to more divisions. Love has no labels, no definitions. It is what it is, pure and simple. Love is the water of life. And a lover is a soul of fire! The universe turns differently when fire loves water. The universe is a complete unique entity. Everything and everyone is bound together with some invisible strings. Do not break anyone’s heart; do not look down on weaker than you. One’s sorrow at the other side of the world can make the entire world suffer; one’s happiness can make the entire world smile. Most of conflicts and tensions are due to language. Don't pay so much attention to the words. In love’s country, language doesn't have its place. Love's mute

Behind many a successful person lies a string of lucky breaks that we have no inkling about.

Everyone joins a band in this life. One way or another, the band breaks up.

You string people along long enough, the string withers, then it breaks - Seamus

It’s all as if words, phrases, images, syntax were small glass beads from a necklace which was wrenched from some neck and spilled on the floor and down the sides of sofa cushions and armchairs and under bookshelves and maybe swallowed by the cat. I’ve got to find all the glass pieces before I can even reorder the color sequence, and restring it and tie it tighter than before. There’s always a splendor in beginning all over. Even if it means getting on one’s knees to search beneath that bookshelf or prospecting through years of lint and ashes beneath those cushions. Even if it means breaking open that cat’s shit, which it conveniently has deposited in a plastic box, more orderly than any secretary could ever hope to be. Then I’ll appreciate the value of each bead – rather, each word and image – that much more, never wasting another. And I will, I swear to myself, get it all back in time, string it all together, tighter, as I said, than before.

EVERYONE JOINS A BAND IN THIS LIFE. You are born into your first one. Your mother plays the lead. She shares the stage with your father and siblings. Or perhaps your father is absent, an empty stool under a spotlight. But he is still a founding member, and if he surfaces one day, you will have to make room for him. As life goes on, you will join other bands, some through friendship, some through romance, some through neighborhoods, school, an army. Maybe you will all dress the same, or laugh at your own private vocabulary. Maybe you will flop on couches backstage, or share a boardroom table, or crowd around a galley inside a ship. But in each band you join, you will play a distinct part, and it will affect you as much as you affect it. And, as is usually the fate with bands, most of them will break up—through distance, differences, divorce, or death.

All June, I bound the rose in sheaves. Now, rose by rose, I strip the leaves, And strew them where Pauline may pass. She will not turn aside? Alas! Let them lie. Suppose they die? The chance was they might take her eye. How many a month I strove to suit These stubborn fingers to the lute! To-day I venture all I know. She will not hear my music? So! Break the string -- fold music's wing. Suppose Pauline had bade me sing! My whole life long I learned to love. This hour my utmost art I prove And speak my passion. -- Heaven or hell? She will not give me heaven? 'Tis well! Lose who may -- I still can say, Those who win heaven, blest are they.

And then,” Steris said softly, “perhaps I came along because of the way it feels.…” Marasi looked sharply back at her sister. “Like the whole world has been upended,” Steris said, looking toward the ceiling. “Like the laws of nature and man no longer hold sway. They’re suddenly flexible, like a string given slack. We’re the spheres.… I love the idea that I can break out of it all—the expectations, the way I’m regarded, the way I regard myself—and soar. “I saw it in his eyes, first. That hunger, that fire. And then I found it in myself. He’s a flame, Waxillium is, and fire can be shared. When I’m out here, when I’m with him, I burn, Marasi. It’s wonderful.” Marasi’s jaw dropped, and she gawked at her sister. Had those words left Steris’s mouth? Careful, monotonous, boring Steris? She glanced toward Marasi and blushed. “You actually love him, don’t you?” Marasi asked. “Well, love is a strong emotion, one that requires careful deliberation to—” “Steris.” “Yes.” She looked down at her notebook. “It’s foolish, isn’t it?” “Of course it is,” Marasi said. “Love is always a foolish emotion. That’s what makes it work.

When I've thought about him dying - which admittedly isn't that much - I always thought of it like you said, that all the strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships sink, or maybe we're grass - our roots are interdependent that no one is dead as long as someone is still alive.

And, as is usually the fate with bands, most of them will break up—through distance, differences, divorce, or death.

When the string breaks while working, there is still the rope. When the oars wear out, there is still the tree, " she recited. "You feel you can't go on, but you will.

Each generation was a rehearsal of the one before, so that that family gradually formed the repetitive pattern of a Greek fret, interrupted only once in two centuries by a nine-year-old boy who had taken a look at his prospects, tied a string around his neck with a brick to the other end, and jumped from a footbridge into two feet of water. Courage aside, he had that family's tenacity of purpose, and drowned, a break in the pattern quickly obliterated by the calcimine of silence.

If love is under siege, it is because it threatens the very essence of commercial civilization. Everything is designed to make us forget that love is our most vivid manifestation and the most common power of life that is in us. Shouldn't we wonder how the lights that glimmer in the eye can blow a fuse for a time, even as barriers of oppression break and jam our passions? Yet despite a life stunted and distorted by mediated Spectacle, nothing has ever managed to strip love of its primal force. Although the heart's music fails to overwhelm the cacophony of profit efficiency, bit by bit it composes our destinies, according to tones, chords, and dissonances which render us happy if only we learn to harmonize the scattered notes that string emotions together.

Everything has a breaking point. A string of guitar, a heart, when no longer loved; Ropes of anchors holding ships tied, shell of an egg when bringing new life. Breakage is always a path to freedom. Even when falling into stygian gloom.

You string people along enough, the string withers, then it breaks - Seamus

As for the bracelet Mom wore to the funeral, what I did was I converted Dad’s last voice message into Morse code, and I used sky-blue beads for silence, maroon beads for breaks between letters, violet beads for breaks between words, and long and short pieces of string between the beads for long and short beeps, which are actually called blips, I think, or something. Dad would have known.

As Lynn writes: "What angers me is the loss of control. At any moment someone could come to me, be dressed the right way and use the right code, and I no longer have free will. I will do anything that person requests. I hate them for that. Nothing else is as bad as known that I am always out of control; knowing that I am still a laboratory experiment, a puppet whose strings are hidden from ever but my handlers, and I don't yet know how to break free. p216

The number two, he thought, was an ominous number. Two is a reflection or duplication of one, the most perfect of the natural numbers. Two is all echo and counterpoise; two is the beginning of multiplicity, the way the universal oneness differentiates itself and breaks apart into strings and quarks and photons, all the separate and component pieces of life. Two is a symbol of becoming as opposed to pure being...

But you who walk facing the sun, what images drawn on the earth can hold you? You who travel with the wind, what weathervane shall direct your course? What man's law shall bind you if you break your yoke but upon no man's prison door? What laws shall you fear if you dance but stumble against no man's iron chains? And who is he that shall bring you to judgment if you tear off your garment yet leave it in no man's path? People of Orphalese, you can muffle the drum, and you can loosen the strings of the lyre, but who shall command the skylark not to sing?

I mention all this to make the point that if you were designing an organism to look after life in our lonely cosmos, to monitor where it is going and keep a record of where it has been, you wouldn't choose human beings for the job. But here's an extremely salient point: we have been chosen, by fate or Providence or whatever you wish to call it. It's an unnerving thought that we may be living the universe's supreme achievement and its worst nightmare simultaneously. Because we are so remarkably careless about looking after things, both when alive and when not, we have no idea-- really none at all-- about how many things have died off permanently, or may soon, or may never, and what role we have played in any part of the process. In 1979, in the book The Sinking Ark, the author Norman Myers suggested that human activities were causing about two extinctions a week on the planet. By the early 1990s he had raised the figure to about some six hundred per week. (That's extinctions of all types-- plants, insects, and so on as well as animals.) Others have put the figure ever higher-- to well over a thousand a week. A United Nations report of 1995, on the other hand, put the total number of known extinctions in the last four hundred years at slightly under 500 for animals and slightly over 650 for plants-- while allowing that this was "almost certainly an underestimate," particularly with regard to tropical species. A few interpreters think most extinction figures are grossly inflated. The fact is, we don't know. Don't have any idea. We don't know when we started doing many of the things we've done. We don't know what we are doing right now or how our present actions will affect the future. What we do know is that there is only one planet to do it on, and only one species of being capable of making a considered difference. Edward O. Wilson expressed it with unimprovable brevity in The Diversity of Life: "One planet, one experiment." If this book has a lesson, it is that we are awfully lucky to be here-- and by "we" i mean every living thing. To attain any kind of life in this universe of ours appears to be quite an achievement. As humans we are doubly lucky, of course: We enjoy not only the privilege of existence but also the singular ability to appreciate it and even, in a multitude of ways, to make it better. It is a talent we have only barely begun to grasp. We have arrived at this position of eminence in a stunningly short time. Behaviorally modern human beings-- that is, people who can speak and make art and organize complex activities-- have existed for only about 0.0001 percent of Earth's history. But surviving for even that little while has required a nearly endless string of good fortune. We really are at the beginning of it all. The trick, of course, is to make sure we never find the end. And that, almost certainly, will require a good deal more than lucky breaks.

A kite can't really fly free,that's just an expression. In order to soar high in the sky the string of a kite needs to be anchored. If the string breaks the kite drops back to the ground. The kite's freedom depends on it not being as free as he thinks it is.

Each of our passions, even love, has a stomach that must not be overloaded. We must in all things write the word finis in time; we must restrain ourselves, when it becomes urgent, draw the bolt on the appetite, play a fantasia on the violin, then break the strings with our own hand.

The thick baffling blades of false world customs rip off my views and ideas,like breaking every string of my aesthetic thoughts in disdain and jealousy;pain pain enough your tigrine roars before I die.

The universe is a complete unique entity. Everything and everyone is bound together with some invisible strings. Do not break anyone’s heart; do not look down on weaker than you. One’s sorrow at the other side of the world can make the entire world suffer; one’s happiness can make the entire world smile.

And then I realized that love is like a helium balloon. You know the one which flies away into the sky if you don’t hold it by its strings? No matter how much I tried to break my string, the balloon always remained there. Know why? Because maybe unknown to yourself, you were holding a couple of strings as well

These two discoveries, of relativity and of the quantum, each required us to break definitively with Newtonian physics. However, in spite of great progress over the century, they remain incomplete. Each has defects that point to a deeper theory. But the main reason each is incomplete is the existence of the other.

Though parted from all his soul held dear, and though often yearning for what lay beyond, still was he never positively and consciously miserable; for, so well is the harp of human feeling strung, that nothing but a crash that breaks every string can wholly mar its harmony; and, on looking back to seasons which in review appear to us as those of deprivation and trial, we can remember that each hour, as it glided, brought its diversions and alleviations, so that, though not happy wholly, we were not, either, wholly miserable.

But there are a thousand ways to look at it: maybe the strings break, or maybe our ships sink, or maybe we're grass__our roots so interdependent that no one is dead as long as someone is still alive. We don't suffer from a shortage of metaphors, is what I mean. But you have to be careful with metaphor you choose, because it matters. If you choose the strings, then you're imagining a world in which you can become irreparably broken. If you choose the grass, you're saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications

The Red String of Fate is an old East-Asian belief. It is said the heavens tie a red cord around the little fingers of those ordained to be together. It is an invisible thread that connects those who are destined to meet, regardless of time, place or circumstance. The thread may stretch or tangle, but it will never break.

The rain set early in tonight, The sullen wind was soon awake, It tore the elm-tops down for spite, And did its worst to vex the lake: I listened with heart fit to break. When glided in Porphyria; straight She shut the cold out and the storm, And kneeled and made the cheerless grate Blaze up, and all the cottage warm; Which done, she rose, and from her form Withdrew the dripping cloak and shawl, And laid her soiled gloves by, untied Her hat and let the damp hair fall, And, last, she sat down by my side And called me. When no voice replied, She put my arm about her waist, And made her smooth white shoulder bare, And all her yellow hair displaced, And, stooping, made my cheek lie there, And spread, o'er all, her yellow hair, Murmuring how she loved me — she Too weak, for all her heart's endeavor, To set its struggling passion free From pride, and vainer ties dissever, And give herself to me forever. But passion sometimes would prevail, Nor could tonight's gay feast restrain A sudden thought of one so pale For love of her, and all in vain: So, she was come through wind and rain. Be sure I looked up at her eyes Happy and proud; at last l knew Porphyria worshiped me: surprise Made my heart swell, and still it grew While I debated what to do. That moment she was mine, mine, fair, Perfectly pure and good: I found A thing to do, and all her hair In one long yellow string l wound Three times her little throat around, And strangled her. No pain felt she; I am quite sure she felt no pain. As a shut bud that holds a bee, I warily oped her lids: again Laughed the blue eyes without a stain. And l untightened next the tress About her neck; her cheek once more Blushed bright beneath my burning kiss: I propped her head up as before, Only, this time my shoulder bore Her head, which droops upon it still: The smiling rosy little head, So glad it has its utmost will, That all it scorned at once is fled, And I, its love, am gained instead! Porphyria's love: she guessed not how Her darling one wish would be heard. And thus we sit together now, And all night long we have not stirred, And yet God has not said aword!

His consciousness was like a small helium balloon, loosely tied to the top of his head. It had no weight, no strength. It just kept expanding, getting lighter and lighter. He knew that soon it would either burst or the string would break, and his life would float away.

Yimello,' said Bernard finally, breaking the silence. 'Gesundheit?' I asked. 'It's a name for one of the colors that's invisible to us. Yimello," said Bernard. "There could also be glowl and novaly and replitz." 'Yes.' I nodded, stunned the kid could actually string together so many words at once. 'And, uh, don't forget the beautiful grynn, the luminous dulloff, or the subtle winooze.' Bernard's face lit up. He stood and started pacing the room, speaking quickly. 'Or salty, and insomnia, and carefree, and talkative, and lonely, and burnt, and punctual.' 'Some of my favorite colors,' I agreed, nodding. 'We could paint this room whisper. Or zigzag. Or maybe a nice shade of ignored and invisible.

An amusing story? She jabs the call button as if poking an eye. She doesn’t want an amusing story, she wants change, a break, not anecdotes. Her life has been stuffed with anecdotes, an endless string of the bastards, now she wants something to right for once. She wants success, or at least the hope of it.

The traditions of . . . bygone times, even to the smallest social particular, enable one to understand more clearly the circumstances with contributed to the formation of character. The daily life into which people are born, and into which they are absorbed before they are well aware, forms chains which only one in a hundred has moral strength enough to despise, and to break when the right time comes - when an inward necessity for independent individual action arises, which is superior to all outward conventionalities. Therefore it is well to know what were the chains of daily domestic habit which were the natural leading-strings of our forefathers before they learnt to go alone.

two nutmegs hung upon a string around the neck until the string breaks will cure heart murmurs,

May the strings that bind us never break May our wild asses forever shake May our unquenchable fire keep our dreams awake

Puppets go to sleep the moment they break free from their strings.

Their other hands flipped up, palm to palm, and Merik’s only consolation as he and the domna slid into the next movement of the dance was that her chest heaved as much as his did. Merik’s right hand gripped the girl’s, and with no small amount of ferocity, he twisted her around to face the same direction as he before wrenching her to his chest. His hand slipped over her stomach, fingers splayed. Her left hand snapped up—and he caught it. Then the real difficulty of the dance began. The skipping of feet in a tide of alternating hops and directions. The writhing of hips countered the movement of their feet like a ship upon stormy seas. The trickling tap of Merik’s fingers down the girl’s arms, her ribs, her waist—like the rain against a ship’s sail. On and on, they moved to the music until they were both sweating. Until they hit the third movement. Merik flipped the girl around to face him once more. Her chest slammed against his—and by the Wells, she was tall. He hadn’t realized just how tall until this precise moment when her eyes stared evenly into his and her panting breaths fought against his own. Then the music swelled once more, her legs twined into his, and he forgot all about who she was or what she was or why he had begun the dance in the first place. Because those eyes of hers were the color of the sky after a storm. Without realizing what he did, his Windwitchery flickered to life. Something in this moment awoke the wilder parts of his power. Each heave of his lungs sent a breeze swirling in. It lifted the girl’s hair. Kicked at her wild skirts. She showed no reaction at all. In fact, she didn’t break her gaze from Merik, and there was a fierceness there—a challenge that sent Merik further beneath the waves of the dance. Of the music. Of those eyes. Each leap backward of her body—a movement like the tidal tug of the sea against the river—led to a violent slam as Merik snatched her back against him. For each leap and slam, the girl added in an extra flourishing beat with her heels. Another challenge that Merik had never seen, yet rose to, rose above. Wind crashed around them like a growing hurricane, and he and this girl were at its eye. And the girl never looked away. Never backed down. Not even when the final measures of the song began—that abrupt shift from the sliding cyclone of strings to the simple plucking bass that follows every storm—did Merik soften how hard he pushed himself against this girl. Figuratively. Literally. Their bodies were flush, their hearts hammering against each other’s rib cages. He walked his fingers down her back, over her shoulders, and out to her hands. The last drops of a harsh rain. The music slowed. She pulled away first, slinking back the required four steps. Merik didn’t look away from her face, and he only distantly noticed that, as she pulled away, his Windwitchery seemed to settle. Her skirts stopped swishing, her hair fluttered back to her shoulders. Then he slid backward four steps and folded his arms over his chest. The music came to a close. And Merik returned to his brain with a sickening certainty that Noden and His Hagfishes laughed at him from the bottom of the sea.

Between them all the poor little Rabbit was made to feel himself very insignificant and commonplace, and the only person who was kind to him at all was the Skin Horse. The Skin Horse had lived longer in the nursery than any of the others. He was so old that his brown coat was bald in patches and showed the seams underneath, and most of the hairs in his tail had been pulled out to string bead necklaces. He was wise, for he had seen a long succession of mechanical toys arrive to boast and swagger, and by-and-by break their mainsprings and pass away, and he knew that they were only toys, and would never turn into anything else. For nursery magic is very strange and wonderful, and only those playthings that are old and wise and experienced like the Skin Horse understand all about it. "What is REAL?" asked the Rabbit one day, when they were lying side by side near the nursery fender, before Nana came to tidy the room. "Does it mean having things that buzz inside you and a stick-out handle?" "Real isn't how you are made," said the Skin Horse. "It's a thing that happens to you. When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real." "Does it hurt?" asked the Rabbit. "Sometimes," said the Skin Horse, for he was always truthful. "When you are Real you don't mind being hurt." "Does it happen all at once, like being wound up," he asked, "or bit by bit?" "It doesn't happen all at once," said the Skin Horse. "You become. It takes a long time. That's why it doesn't happen often to people who break easily, or have sharp edges, or who have to be carefully kept. Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand." "I suppose you are real?" said the Rabbit. And then he wished he had not said it, for he thought the Skin Horse might be sensitive. But the Skin Horse only smiled.

When they were only a few yards from the stone hull, Inej halted and watched the mists wreathing the branches. “He was going to break by legs,” she said. “Smash them with a mallet so they’d never heal….” She took a shaky breath. The words came like a string of gunshots, rapid-fire, as if she resented the very act of speaking them. “I didn’t know if you would come.” Kaz couldn’t blame Van Eck for that. Kaz has built that doubt in her with every cold word and small cruelty. “We’re your crew, Inej. We don’t leave our own at the mercy of merch scum.” It wasn’t the answer he wanted to give. It wasn’t the answer she wanted. When she turned to him, her eyes were bright with anger. “He was going to break my legs,” she said, her chin held high, the barest quaver in her voice. “Would you have come for me then, Kaz? When I couldn’t scale a wall or walk a tightrope? When I wasn’t the Wraith anymore?” Dirtyhands would not. The boy who could get them through this, get their money, keep them alive, would do her the courtesy of putting her out of her misery, then cut his losses and move on. “I would come for you,” he said, and when he saw the wary look she shot him, he said it again. “I would come for you. And if I couldn’t walk, I’d crawl to you, and no matter how broken we were, we’d fight our way out together—knives drawn, pistols blazing. Because that’s what we do. We never stop fighting.” The wind rose. The boughs of the willows whispered, a sly, gossiping sound. Kaz held her gaze, saw the moon reflected there, twin scythes of light. She was right to be cautious. Even of him. Especially of him. Cautious was how you survived. At last she nodded, the smallest dip of her chin.

if you don’t strain the strings, and then try to break them, you’ll find it a difficult job; but strain a string to its very utmost, and the mere weight of one finger on the strained string will snap it.

Feeders (A Narc in Love): They'll feed off your energy, Soak up your adoration, Seem perfect in your eyes, As the love-bombing ignites the manipulation They will never truly love you, They do not love themselves, But they'll break you down from the inside-out And demolish your sense of self And then when they see they cannot control you, They'll shout, and shut the door, As you elevate from the ashes, Gone, is the backing down you had displayed before Then, they'll drop you, And from a shaky, fantastical ivory tower you'll fall, Because they've realised, They cannot keep you on their puppet-strings anymore

Cardan gazes at a rosebush with petals so black and glossy they look like patent leather. 'It was terrifying,' he says, 'watching you fall. I mean, you're generally terrifying, but I am unused to fearing for you. And then, I was furious. I am not sure I have ever been that angry before.' 'Mortals are fragile,' I say. 'Not you,' he says in a way that sounds a little like a lament. 'You never break.' Which is ridiculous, as hurt as I am. I feel like a constellation of wounds, held together with string and stubbornness. Still, I like hearing it. I like everything he's saying all too well. That boy is your weakness.

Everything I’ve previously attempted in my life was child’s play compared to this. The pathway I’m walking is not just riddled with all manner of uncertainty; it’s also excruciatingly difficult to follow through! How do I know this is the right path for me, when it’s been costing me every ounce of willpower just to stay on track? How do I tell what my purpose is?’ ‘THIS is how you know it, Mario. This moment right here!’ Amanita had told him. ‘If the path you are walking feels back-breaking and steep, know you are climbing the Mountain of Purpose. The more you sacrifice on your journey, the more valuable its end reward.

The Heart is a Harp The heart is a harp. If the strings are too loose, the love is flat; If they're too high strung, the heart can break. But if the strings are perfectly tuned, it can speak in the voices of angels and summon sweet heaven to earth.

I skipped between the dancers, twirling my skirts. The seated, masked musicians didn’t look up at me as I leaped before them, dancing in place. No chains, no boundaries—just me and the music, dancing and dancing. I wasn’t faerie, but I was a part of this earth, and the earth was a part of me, and I would be content to dance upon it for the rest of my life. One of the musicians looked up from his fiddling, and I halted. Sweat gleamed on the strong column of his neck as he rested his chin upon the dark wood of the fiddle. He’d rolled up the sleeves of his shirt, revealing the cords of muscle along his forearms. He had once mentioned that he would have liked to be a traveling minstrel if not a warrior or a High Lord—now, hearing him play, I knew he could have made a fortune from it. “I’m sorry, Tam,” Lucien panted, appearing from nowhere. “I left her alone for a little at one of the food tables, and when I caught up to her, she was drinking the wine, and—” Tamlin didn’t pause in his playing. His golden hair damp with sweat, he looked marvelously handsome—even though I couldn’t see most of his face. He gave me a feral smile as I began to dance in place before him. “I’ll look after her,” Tamlin murmured above the music, and I glowed, my dancing becoming faster. “Go enjoy yourself.” Lucien fled. I shouted over the music, “I don’t need a keeper!” I wanted to spin and spin and spin. “No, you don’t,” Tamlin said, never once stumbling over his playing. How his bow did dance upon the strings, his fingers sturdy and strong, no signs of those claws that I had come to stop fearing … “Dance, Feyre,” he whispered. So I did. I was loosened, a top whirling around and around, and I didn’t know who I danced with or what they looked like, only that I had become the music and the fire and the night, and there was nothing that could slow me down. Through it all, Tamlin and his musicians played such joyous music that I didn’t think the world could contain it all. I sashayed over to him, my faerie lord, my protector and warrior, my friend, and danced before him. He grinned at me, and I didn’t break my dancing as he rose from his seat and knelt before me in the grass, offering up a solo on his fiddle to me.

The problem is a survivor never knows when the next warm and fuzzy experience will happen, or when the next episode of abuse is coming through the door. Intermittent reinforcement is a powerful emotional string abusers like to pull. Never knowing what will happen next can be intoxicating for a survivor who is not fully aware of the game being played. Intermittent reinforcement causes adrenaline rushes in the body and stress hormones to be produced. It creates a biochemical shift in the survivor that becomes addicting and from which is hard to break free.

You begin to experiment with fragmentation. Maybe “experiment” is a generous word; you’re really just unable to focus enough to string together a proper plot. Every narrative you write is smashed into pieces and shoved into a constraint, an Oulipian’s wet dream—lists and television episode synopses and one with the scenes shattered and strung backward. You feel like you can jump from one idea to the next, searching for a kind of aggregate meaning. You know that if you break them and reposition them and unravel them and remove their gears you will able to access their truths in a way you couldn’t before

He was more relaxed this time, more confident. He kept one hand on her waist and the other on the side of her neck. She wanted him to envelop her, to engulf her. She wanted to feel his body all around her, all over her. She wanted to get inside his clothes, inside his body and inside his mind. She wanted him, there was no doubt about it. There was no doubt about him wanting her either. His kisses were passionate and hungry but still had that carefulness about them, as if he worried she might break under his touch or evaporate into thin air. She was more concerned that the lack of his touch might make her implode.

The clock had been Sylvie's, and her mother's before that. It had gone to Ursula on Sylvie's death and Ursula had left it to Teddy, and so it had zigzagged its way down the family tree... ...The clock was a good one, made by Frodsham and worth quite a bit, but Teddy knew if he gave it to Viola she would sell it or misplace it or break it and it seemed important to him that it stayed in the family. An heirloom. ('Lovely word,' Bertie said.) He liked to think that the little golden key that wound it, a key that would almost certainly be lost by Viola, would continue to be turned by the hand of someone who was part of the family, part of his blood. The red thread.

When the creation was new and all the stars shone in their first splendour, the gods held their assembly in the sky and sang `Oh, the picture of perfection! the joy unalloyed!' But one cried of a sudden---`It seems that somewhere there is a break in the chain of light and one of the stars has been lost.' The golden string of their harp snapped, their song stopped, and they cried in dismay---`Yes, that lost star was the best, she was the glory of all heavens!' From that day the search is unceasing for her, and the cry goes on from one to the other that in her the world has lost its one joy! Only in the deepest silence of night the stars smile and whisper among themselves---`Vain is this seeking! unbroken perfection is over all!

Many kids would hit the streets at about 4 a.m., though early birds got started even earlier; the first calls regarding disorderly behavior usually reached the police by 2 a.m. Celebrants of Luilak (which means “lazybones”) would ring doorbells, beat drums, blow horns, crash pot lids together, scream “Luilak!,” sing a Luilak song, drag strings of empty tin cans behind their bikes, overturn garbage cans, bang windows, break windows, light bonfires, ignite fireworks, drink bottles of milk left out by the milkman, set buckets of water over doorways and trigger false fire alarms. They did anything and everything to annoy sleeping adults. This yearly debauchery—particular to Amsterdam and a few surrounding towns and with unknown origins—was centuries old.*

The use of spontaneous symmetry breaking in a fundamental theory was to have profound consequences, not just for the laws of nature but for the larger question of what a law of nature is. Before this, it was thought that the properties of the elementary particles are determined directly by eternally given laws of nature. But in a theory with spontaneous symmetry breaking, a new element enters, which is that the properties of the elementary particles depend in part on history and environment. The symmetry may break in different ways, depending on conditions like density and temperature. More generally, the properties of the elementary particles depend not just on the equations of the theory but on which solution to those equations applies to our universe.

Off in the distance big white cruise ships had pulled into port, glistening beneath the Mexican sun. Vacationers for whom murder was not on the itinerary. Throngs of young college kids on break, males and females looking to party and get laid without strings or consequence. They'd be wearing T-shirts with captions uttered by some inconsequential reality television personality, or worse, an Obama logo. They'd smoke as much cannabis as they could procure and maybe experiment with some stronger stuff. What happened in Mexico would stay in Mexico; literally for some, who would not be able to remember much of what they had done or let others do while in a stupor borne of tequila body-shots and Ecstasy. Old enough to vote, too stupid to realize the consequences.

When I’ve thought about him dying — which admittedly isn’t that much — I always thought of it like you said, that all the strings inside him broke. But there are a thousand ways to look at it: maybe the strings break, or maybe our ships sink, or maybe we’re grass — our roots so interdependent that no one is dead as long as someone is still alive. We don’t suffer from a shortage of metaphors, is what I mean. But you have to be careful which metaphor you choose, because it matters. If you choose the strings, then you’re imagining a world in which you can become irreparably broken. If you choose the grass, you’re saying that we are all infinitely interconnected, that we can use these root systems not only to understand one another but to become one another. The metaphors have implications. Do you know what I mean?

It throbbed and pulsed, channeled by elemental forces of fear, love, hope, and sadness. The bow stabbed and flitted across the strings in a violent whorl of creation; its hairs tore and split until it seemed the last strands would sever in a scrape of dissonance. Those who saw the last fragile remnants held their breath against the breaking. The music rippled across the ship like a spirit, like a thing alive and eldritch and pregnant with mystery. The song held. More than held, it deepened. It groaned. It resounded in the hollows of those who heard. Then it softened into tones long, slow, and patient and reminded men of the faintest stars trembling dimly in defiance of a ravening dark. At the last, when the golden hairs of the bow had given all the sound they knew, the music fled in a whisper. Fin was both emptied and filled, and the song sighed away on the wind.

All the sentences in Madame Bovary could be examined with wonder, but there is one in particular that always stops me in admiration. Flaubert has just shown us Emma at the piano with Charles watching her. He says, “She struck the notes with aplomb and ran from top to bottom of the keyboard without a break. Thus shaken up, the old instrument, whose strings buzzed, could be heard at the other end of the village when the window was open, and often the bailiff’s clerk, passing along the highroad, bareheaded and in list slippers, stopped to listen, his sheet of paper in his hand.” The more you look at a sentence like that, the more you can learn from it. At one end of it, we are with Emma and this very solid instrument “whose strings buzzed,” and at the other end of it we are across the village with this very concrete clerk in his list slippers. With regard to what happens to Emma in the rest of the novel, we may think that it makes no difference that the instrument has buzzing strings or that the clerk wears list slippers and has a piece of paper in his hand, but Flaubert had to create a believable village to put Emma in. It’s always necessary to remember that the fiction writer is much less immediately concerned with grand ideas and bristling emotions than he is with putting list slippers on clerks.

The Turtle breaks from the blue-black skin of the water, dragging her shell with its mossy scutes across the shallows and through the rushes and over the mudflats, to the uprise, to the yellow sand, to dig with her ungainly feet a nest, and hunker there spewing her white eggs down into the darkness, and you think of her patience, her fortitude, her determination to complete what she was born to do— and then you realize a greater thing— she doesn't consider what she was born to do. She's only filled with an old blind wish. It isn't even hers but came to her in the rain or the soft wind, which is a gate through which her life keeps walking. She can't see herself apart from the rest of the world or the world from what she must do every spring. Crawling up the high hill, luminous under the sand that has packed against her skin. she doesn't dream she knows she is a part of the pond she lives in, the tall tress are her children, the birds that swim above her are tied to her by an unbreakable string.

Something dangerous is beginning: I am coming late to my own self. I made an appointment with my thoughts- the thoughts were snatched from me. I made an appointment with Faulkner- but they made me go to a banquet. I made an appointment with history, but a grass-widow dragged me into bed. Worse than barbed wire are birthday parties, mine and others', and roasted suckling pigs hold me like a sprig of parsley between their teeth! Led away for good to a life absolutely not my own, everything that I eat, eats me, everything that I drink, drinks me. I made an appointment with myself, but they invite me to feast on my own spareribs. I am garlanded from all sides not by strings of bagels, but by the holes of bagels, and I look like an anthology of zeros. Life gets broken into hundreds of lifelets, that exhaust and execute me. In order to get through to myself I had to smash my body against others', and my fragments, my smithereens, are trampled by the roaring crowd. I am trying to glue myself together, but my arms are still severed. I'd write with my left leg, but both the left and the right have run off, in different directions. I don't know- where is my body? And soul? Did it really fly off, without a murmured 'good-bye! '? How do I break through to a faraway namesake, waiting for me in the cold somewhere? I've forgotten under which clock I am waiting for myself. For those who don't know who they are, time does not exist. No one is under the clock. On the clock there is nothing. I am late for my appointment with me. There is no one. Nothing but cigarette butts. Only one flicker- A lonely, dying, spark...

You know those particular stand out beauties you see once in a blue moon walking by themselves down the high street on a Saturday afternoon or sitting on a park bench all alone during their lunch break in the middle of summer, who immediately catch your eye, looking utterly bored out of their minds and just begging for some single handsome stranger to come and distract them away for twenty minutes or so from their mundane and repetitive daily worlds. That special girl who right away tugged so hard on your heart strings that your blood turned to ice and your soul melted to its very core because you knew she was completely your type without even having spoken to her. All you had to go on was a gut feeling and that special crazy something about her that spoke to every inch of your fibre and being and said this girl is the one for you, my friend, if you would only step up to the damn plate, put all your fears of public rejection, humiliation and inhibitions behind you and gather the courage, will power and determination to go and get her. That rare, radiant and beautiful Angel who caught a glimpse of you, too, and smiled back at you in turn while you were within their proximity but, alas, you had absolutely nothing to say to them in that moment. Nothing. No simple magic words, no charming chat up line, just a blank frozen mind and a stuttering tongue. But in reality, just to say one word, utter one stupid, tiny, silly little insignificant syllable would surely have been a million times better than saying nothing at all and living a life full of regret of not acting in the moment. And then poof, just like that, she's gone forever, out of sight, but never out of your mind.

He knew everything. He knew at least a thousand Hungarian folk songs, all the words and tunes, he could handle Gypsies, give them instructions and keep them in order, check their familiarity with the flicker of an eyelid, then win their affection with a lordly, condescending, and yet fraternal-playful sidelong glance, he could call 'acsi' perfectly, shout at the first violin when he didn't strike up Csendesen, csak csendesen quietly enough and the cimbalonist when the padded sticks didn't make the steel strings thunder and rumble sufficiently in Hullamzo Balaton, he could kiss the viola player's pock-marked face, give the double bass a kick, break glasses and mirrors, drink wine, beer and marc brandy for three days on end out of tumblers, smack his lips at the site of cabbage soup and cold pork stew, take ages inspecting his cards (with relish, one eye closed), dance a quick csardas for a whole half-hour, urging and driving himself on to stamp and shout and toss his partner high in the air and catch her, light as a feather, with one arm: so, as I said, he could do everything that raises Man from his animal condition and makes him truly Man.

Word from the outside, whether it arrived in a mail sack or a news report, seldom overshadowed the facts of our lives. We talked in facts -- work and weather, the logistics of this fence, that field -- but stories were how we spoke. A good story rose to the surface of a conversation like heavy cream, a thing to be savored and served artfully. Stored in dry wit, wrapped in dark humor, tied together with strings of anecdote, these stories told the chronology of a family, the history of a piece of land, the hardships of a certain year or a span of years, a series of events that led without pause to the present. If the stories were recent, they filtered through the door to my room late at night, voices hushed around the kitchen table as they sorted out this day and held it against others, their laughter sharp and sad and slow to come. Time was the key. Remember the time...and something in the air caught like a whisper. Back when. Back before a summer too fresh and real to talk about, a year's work stripped in a twenty-minute hailstorm; a man's right hand mangled in the belts of a combine, first day of harvest; an only son buried alive in a grain bin, suffocated in a red avalanche of wheat.

Once I made weapons carved from stone, I tied the weight to a wooden handle, a club to break the bones of my enemy. Then I became wiser... and sharpened the stone to a point and then fastened it to a stick; my arrow. I bent wood and hitched string to it; my bow. I kill my enemy with skill Then I became wiser... and made weapons forged from steel and took care to sharpen the blade of my sword. I kill my enemy with a stroke. Then I became wiser... and made the rifle that would, by exploding gunpowder, shoot balls of lead faster than the eye could see. I kill my enemy with but the pull of a trigger. Then I became wiser... and I built flying machine that could transport bombs to drop over the homes of my enemy. I kill my enemy from the sky. Then I became wiser... and created the drone, now I can guide a plane by remote control from one country and kill my enemy in another. I am a proficient killer Then I became wiser...  and I found a way to split the atom and found the power of God hidden within. I kill the ground, scorch the sky, pollute the wind and kill my enemy with the push of a button. Then I became wiser... And I found that there is nothing more foolish than a "Wise Man of War

In this way, as it seems to me, he said: "One might make the same argument about harmony, lyre and strings, that a harmony is something invisible, without body, beautiful and divine in the attuned lyre, whereas the lyre itself and its strings are physical, bodily, composite, earthy and akin to what is mortal. Then if someone breaks the lyre, cuts or breaks the strings and then insists, using the same argument as you, that the harmony must still exist and is not destroyed because it would be impossi- ble for the lyre and the strings, which are mortal, still to exist when the strings are broken, and for the harmony, which is akin and of the same nature as the divine and immortal, to be destroyed before that which is mortal; he would say that the harmony itself still must exist and that the wood and the strings must rot before the harmony can suffer. And indeed Socrates, I think you must have this in mind, that we really do suppose the soul to be something of this kind; as the body is stretched and held together by the hot and the cold, the dry and the moist and other such things, and OUR soul is a mixture and harmony of those things when they are mixed with each other rightly and in due measure.

In so many ways, his family’s life feels like a string of accidents, unforeseen, unintended, one incident begetting another. It had started with his father’s train wreck, paralyzing him at first, later inspiring him to move as far as possible, to make a new life on the other side of the world. There was the disappearance of the name Gogol’s great-grandmother had chosen for him, lost in the mail somewhere between Calcutta and Cambridge. This had led, in turn, to the accident of his being named Gogol, defining and distressing him for so many years. He had tried to correct that randomness, that error. And yet it had not been possible to reinvent himself fully, to break from that mismatched name. His marriage had been something of a misstep as well. And the way his father had slipped away from them, that had been the worst accident of all, as if the preparatory work of death had been done long ago, the night he was nearly killed, and all that was left for him was one day, quietly, to go. And yet these events have formed Gogol, shaped him, determined who he is. They were things for which it was impossible to prepare but which one spent a lifetime looking back at, trying to accept, interpret, comprehend. Things that should never have happened, that seemed out of place and wrong, these were what prevailed, what endured, in the end.

Well, after this man had come to believe that no more ways of forming tones could possibly exist- after having observed, in addition to all the things already mentioned, a variety of organs, trumpets, fifes, stringed instruments, and even that little tongue of iron which is placed between the teeth and which makes strange use of the oral cavity for sounding box and of the breath for vehicle of sound when, I say, this man believed he had seen everything, he suddenly found himself once more plunged deeper into ignorance and bafflement than ever. For having captured in his hands a cicada, he failed to diminish its strident noise either by closing its mouth or stopping its wings, yet he could not see it move the scales that covered its body, Or any other thing. At last be lifted up the armor of its chest and there he saw some thin hard ligaments beneath; thinking the sound might come from their vibration, he decided to break them in order to silence it. But nothing happened until his needle drove too deep, and transfixing the creature be took away its life with its voice, so that he was still unable to determine whether the song had originated in those ligaments. And by this experience his knowledge was reduced to diffidence, so that when asked how sounds were created be used to answer tolerantly that although he knew a few ways, he was sure that many more existed which were not only unknown but unimaginable.

I was just settling into the salons of Austenian Bath when Gabriel muttered, "This is strange." I looked up to see him pulling a long blue-gray thread from between the nearly translucent pages. My jaw dropped, and I was kneeling on the chaise in a flash. "Is the binding coming loose? No, don't pull it! I can take it to my book doctor tomorrow night." "Stop hyperventilating, sweetheart. I think it's a bookmark," he said, pulling on the thread until he stretched it to my hand. "Here." I wound the thread around my finger. "What passage was it marking?" He scanned the page and lifted an eye. "It's an Edward and Jane scene. I know how you love those. Edward's saying, 'I sometimes have a queer feeling with regard to you---especially when you are near me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame.'" I was so caught up in watching his lips as they formed the words that I barely noticed the sudden tension on the fiber wound around my finger. I realized now that Gabriel had slipped a ring onto the thread and was sliding it toward me. I watched as the respectable diamond twinkled in the light of the oil lamp. "I'm not Edward, " Gabriel promised. "I'm not afraid the thread will break and leave me bleeding. Our thread's already been tested. And it will hold up. I'm asking you to make the link permanent. Please, marry me.

I remember." I nod. Wanting to say: I remember everything-all of it-the question is: Do you? But instead, I stare down at my feet, smiling stupidly. Everything I do around him is stupid. Some Seeker I've turned out to be. Attempting to redeem myself,say something normal,not let on that I already know he's employed here-thanks to the raven who allowed me to spy on him earlier,I say, "So,I guess you hang out here a lot then?" He pushes a hand through his hair, as his eyes-the color of aquamarines-glide down the length of me.And damn if I can't feel their trajectory. It's like showering in a stream of warm, molten honey-dripping from the top of my forehead all the way down to my feet. "I guess you could say that," he says,voicelow and deep. "More than most, anyway." He waves a damp towel, tugs on the string of his apron, and I blush in reply. The sight of it reminding me of what I saw in the alleyway-watching him lean against the wall,his face so soft anddreamy I longed to touch him-kiss him-like I did in the dream. I study him closely,seeking traces of recognition, remembrance-some small token of evidence to assure me that, as odd as it seems,that kiss in the cave was as real as it felt-but coming up empty. "So,how long have you worked here?" I ask, returning to the topic at hand. My gaze drifting over the black V-necked T-shirt skimming the sinuous line of his body-telling myself it's all part of my reconnaissance,my need to gather as uch information as I can about him and his kin. But knowing that's not really it.The truth is,I like looking at him, being near him. "I guess you could say somewhere between too long and not long enough-depending on the state of my wallet." His laugh is good-natured and easy-the kid that starts at the belly and trips all the way up. "It's pretty much the only decent game in town." He shrugs. "One way or another,you end up working for the Richters,and believe me, this is one of the better gigs." I peer at him closely,remembering what Cade said when I was here via the raven. How he referred to him by another name. "You're not a Richter?" I ask,holding my breath in my cheeks.Despite what Paloma told me, I need to hear it from him,confirm that he doesn't identify with their clan. "I go by Whitefeather," he says,gaze steady and serious. "I was raised by my mom,didn't even know the Richters when I was a kid." Despite getting the answer I wanted, I frown in return. His being a Richter was a good reason to avoid him-without it,I'm out of excuses. "Is that okay?" He dips his head toward mine,his mouth tugging at the side. "You seem a little upset by the news." I shake my head,break free of my reverie, and say, "No-not at all. Believe me,it's more like a relief." I meet his gaze,seeing the way it narrows in question. "Guess I'm not a big fan of your brother," I add,watching as he throws his head back and laughs,the sight of that long,glorious column of neck forcing me to look away,it's too much to take. "If it makes you feel any better, most of the time I'd have to agree." He returns to me,the warmth of his gaze solely reponsible for the wave of comfort that flows through me.

This is the work of a lifetime, here on earth: To invent the astral body, to create it. giving it our consciousness. Thus one will survive death. One could also die when one chooses… And on dying, not lose the awareness 'from here.' What has happened to you is a detachment of your astral body while your physical body sleeps. This occurs to vîras; it's an automatic unconscious process. Sometimes, by simple chance, a glimmer of consciousness reaches this fine body and then, on suddenly awakening or the next day, one gets the impression of experiencing something much more real than physical reality. The deja-vu of psychologists has its explanation in this phenomena of detachment. Have you seen those children who elevate a kite and send messages with little rolls of paper that go slowly up to the kite? So it is, more or less, with that other. The astral body breaks away, still attached to the physical body by a string which has been called a 'silver cord' that is only cut at death. Thanks to this cord we can go immeasurable distances without losing the connection with our physical bodies. It always returns. So it reaches consciousness, like those messages of children with their kite. Yes, we must become like children to enter into the Kingdom of Heaven… with our astral bodies. Pay attention to this other analogy: As a child finds itself joined to its mother by the umbilical cord, so the astral body is joined to its father, the physical body, by a silver cord. The child cries and despairs at birth, when the cord connecting him to his mother is cut. He thinks this is death, but it is a new life. The same befalls the vîra when he dies; when the silver cord is cut he enters into another life. Death is a new life. All this is archetypal. Only those events expressing archetypes have ontological reality.

Kestrel came often. One day, when she knew from Sarsine that Arin had returned home but she had not yet seen him, she went to the suite. She touched one of his violins, reaching furtively to pluck the highest string of the largest instrument. The sound was sour. The violin was ruined--no doubt all of them were. That is what happens when an instrument is left strung and uncased for ten years. A floorboard creaked somewhere in one of the outer chambers. Arin. He entered the room, and she realized that she had expected him. Why else had she come here so frequently, almost every day, if she hadn’t hoped that someone would notice and tell him to find her there? But even though she admitted to wanting to be here with him in his old rooms, she hadn’t imagined it would be like this. With her caught touching his things. Her gaze dropped. “I’m sorry,” she murmured. “It’s all right,” he said. “I don’t mind.” He lifted the violin off its nails and set it in her hands. It was light, but Kestrel’s arms lowered as if the violin’s hollowness were terribly heavy. She cleared her throat. “Do you still play?” He shook his head. “I’ve mostly forgotten how. I wasn’t good at it anyway. I loved to sing. Before the war, I worried that gift would leave me, the way it often does with boys. We grow, we change, our voices break. It doesn’t matter how well you sing when you’re nine years old, you know. Not when you’re a boy. When the change comes you just have to hope for the best…that your voice settles into something you can love again. My voice broke two years after the invasion. Gods, how I squeaked. And when my voice finally settled, it seemed like a cruel joke. It was too good. I hardly knew what to do with it. I felt so grateful to have this gift…and so angry, for it to mean so little. And now…” He shrugged, a self-deprecating gesture. “Well, I know I’m rusty.” “No,” Kestrel said. “You’re not. Your voice is beautiful.” The silence after that was soft.

Madrid. It was that time, the story of Don Zana 'The Marionette,' he with the hair of cream-colored string, he with the large and empty laugh like a slice of watermelon, the one of the Tra-kay, tra-kay, tra-kay, tra-kay, tra-kay, tra on the tables, on the coffins. It was when there were geraniums on the balconies, sunflower-seed stands in the Moncloa, herds of yearling sheep in the vacant lots of the Guindalera. They were dragging their heavy wool, eating the grass among the rubbish, bleating to the neighborhood. Sometimes they stole into the patios; they ate up the parsley, a little green sprig of parsley, in the summer, in the watered shade of the patios, in the cool windows of the basements at foot level. Or they stepped on the spread-out sheets, undershirts, or pink chemises clinging to the ground like the gay shadow of a handsome young girl. Then, then was the story of Don Zana 'The Marionette.' Don Zana was a good-looking, smiling man, thin, with wide angular shoulders. His chest was a trapezoid. He wore a white shirt, a jacket of green flannel, a bow tie, light trousers, and shoes of Corinthian red on his little dancing feet. This was Don Zana 'The Marionette,' the one who used to dance on the tables and the coffins. He awoke one morning, hanging in the dusty storeroom of a theater, next to a lady of the eighteenth century, with many white ringlets and a cornucopia of a face. Don Zana broke the flower pots with his hand and he laughed at everything. He had a disagreeable voice, like the breaking of dry reeds; he talked more than anyone, and he got drunk at the little tables in the taverns. He would throw the cards into the air when he lost, and he didn't stoop over to pick them up. Many felt his dry, wooden slap; many listened to his odious songs, and all saw him dance on the tables. He liked to argue, to go visiting in houses. He would dance in the elevators and on the landings, spill ink wells, beat on pianos with his rigid little gloved hands. The fruitseller's daughter fell in love with him and gave him apricots and plums. Don Zana kept the pits to make her believe he loved her. The girl cried when days passed without Don Zana's going by her street. One day he took her out for a walk. The fruitseller's daughter, with her quince-lips, still bloodless, ingenuously kissed that slice-of-watermelon laugh. She returned home crying and, without saying anything to anyone, died of bitterness. Don Zana used to walk through the outskirts of Madrid and catch small dirty fish in the Manzanares. Then he would light a fire of dry leaves and fry them. He slept in a pension where no one else stayed. Every morning he would put on his bright red shoes and have them cleaned. He would breakfast on a large cup of chocolate and he would not return until night or dawn.

Kestrel came often. One day, when she knew from Sarsine that Arin had returned home but she had not yet seen him, she went to the suite. She touched one of his violins, reaching furtively to pluck the highest string of the largest instrument. The sound was sour. The violin was ruined--no doubt all of them were. That is what happens when an instrument is left strung and uncased for ten years. A floorboard creaked somewhere in one of the outer chambers. Arin. He entered the room, and she realized that she had expected him. Why else had she come here so frequently, almost every day, if she hadn’t hoped that someone would notice and tell him to find her there? But even though she admitted to wanting to be here with him in his old rooms, she hadn’t imagined it would be like this. With her caught touching his things. Her gaze dropped. “I’m sorry,” she murmured. “It’s all right,” he said. “I don’t mind.” He lifted the violin off its nails and set it in her hands. It was light, but Kestrel’s arms lowered as if the violin’s hollowness were terribly heavy. She cleared her throat. “Do you still play?” He shook his head. “I’ve mostly forgotten how. I wasn’t good at it anyway. I loved to sing. Before the war, I worried that gift would leave me, the way it often does with boys. We grow, we change, our voices break. It doesn’t matter how well you sing when you’re nine years old, you know. Not when you’re a boy. When the change comes you just have to hope for the best…that your voice settles into something you can love again. My voice broke two years after the invasion. Gods, how I squeaked. And when my voice finally settled, it seemed like a cruel joke. It was too good. I hardly knew what to do with it. I felt so grateful to have this gift…and so angry, for it to mean so little. And now…” He shrugged, a self-deprecating gesture. “Well, I know I’m rusty.” “No,” Kestrel said. “You’re not. Your voice is beautiful.” The silence after that was soft. Her fingers curled around the violin. She wanted to ask Arin a question yet couldn’t bear to do it, couldn’t say that she didn’t understand what had happened to him the night of the invasion. It didn’t make sense. The death of his family was what her father would call a “waste of resources.” The Valorian force had had no pity for the Herrani military, but it had tried to minimize civilian casualties. You can’t make a dead body work. “What is it, Kestrel?” She shook her head. She set the violin back on the wall. “Ask me.” She remembered standing outside the governor’s palace and refusing to hear his story, and was ashamed once more. “You can ask me anything,” he said. Each question seemed the wrong one. Finally, she said, “How did you survive the invasion?” He didn’t speak at first. Then he said, “My parents and sister fought. I didn’t.” Words were useless, pitifully useless--criminal, even, in how they could not account for Arin’s grief, and could not excuse how her people had lived on the ruin of his. Yet again Kestrel said, “I’m sorry.” “It’s not your fault.” It felt as if it was. Arin led the way out of his old suite. When they came to the last room, the greeting room, he paused before the outermost door. It was the slightest of hesitations, no longer than if the second hand of a clock stayed a beat longer on its mark than it should. But in that fraction of time, Kestrel understood that the last door was not paler than the others because it had been made from a different wood. It was newer. Kestrel took Arin’s battered hand in hers, the rough heat of it, the fingernails still ringed with carbon from the smith’s coal fire. His skin was raw-looking: scrubbed clean and scrubbed often. But the black grime was too ingrained. She twined her fingers with his. Kestrel and Arin walked together through the passageway and the ghost of its old door, which her people had smashed through ten years before.

Daoist Ordination – Receiving a valid “Lu” 收录 Register Since returning to the US, and living in Los Angeles, many (ie, truly many) people have come to visit my office and library, asking about Daoist "Lu" 录registers, and whether or not they can be purchased from self declared “Daoist Masters” in the United States. The Daoist Lu register and ordination ritual can only be transmitted in Chinese, after 10+ years of study with a master, learning how to chant Zhengyi or Quanzhen music and liturgy, including the Daoist drum, flute, stringed instruments, and mudra, mantra, and visualization of spirits, where they are stored in the body, how they are summoned forth, for which one must be able to use Tang dynasty pronunciation of classical Chinese texts, ie “Tang wen” 唐文, to be effective and truly transmitted. Daoist meditation and ritual 金录醮，黄录斋 must all be a part of one's daily practice before going to Mt Longhu Shan and passing the test, which qualifies a person for one of the 9 grades of ordination (九品) the lowest of which is 9, highest is 1; grades 6 and above are never taught at Longhu Shan, only recognized in a "test", and awarded an appropriate grade ie rank, or title. Orthodox Longhu Shan Daoists may only pass on this knowledge to one offspring, and one chosen disciple, once in a lifetime, after which they must "pass on" (die) or be "wafted to heaven." Longmen Quanzhen Daoists, on the other hand, allow their knowledge to be transmitted and practiced, in classical Chinese, after living in a monastery and daily practice as a monk or nun. “Dao for $$$” low ranking Daoists at Longhu Shan accept money from foreign (mostly USA) commercial groups, and award illegitimate "licenses" for a large fee. Many (ie truly many) who have suffered from the huge price, and wrongful giving of "documents" have asked me this question, and shown me the documents they received. In all such cases, it is best to observe the warning of Confucius, "respect demonic spirits but keep a distance" 敬鬼神而遠之. One can study from holy nuns at Qingcheng shan, and Wudangshan, but it is best to keep safely away from “for profit” people who ask fees for going to Longhu Shan and receiving poorly translated English documents. It is a rule of Daoism, Laozi Ch 67, to respect all, with compassion, and never put oneself above others. The reason why so many Daoist and Buddhist masters do not come to the US is because of this commercial ie “for profit” instead of spiritual use, made from Daoist practices which must never be sold, or money taken for teaching / practicing, in which case true spiritual systems become ineffective. The ordination manual itself states the strict rule that the highly secret talisman, drawn with the tongue on the hard palate of the true Daoist, must never be drawn out in visible writing, or shown to anyone. Many of the phony Longhu Shan documents shown to me break this rule, and are therefore ineffective as well as law breaking. Respectfully submitted, 敬上 3-28-2015