Tree Trunk Short Quotes

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Some species of trees spread root systems underground that interconnect the individual trunks and weave the individual trees into a more stable whole that can’t so easily be blown down in the wind. Stories and conversations are like those roots. (“A Short History of Silence”)
Rebecca Solnit (The Mother of All Questions)
When you measure water pressure in trees, you find it is highest shortly before the leaves open up in the spring. At this time of year, water shoots up the trunk with such force that if you place a stethoscope against the tree, you can actually hear it.
Peter Wohlleben (The Hidden Life of Trees: What They Feel, How They Communicate — Discoveries from a Secret World)
FOR WE ARE like tree trunks in the snow . In appearance they lie sleekly and a light push should be enough to set them rolling . No , it can’t be done, for they are firmly wedded to the ground. But see, even that is only appearance.   Unhappiness
Franz Kafka (Selected Short Stories)
With the gun which was too big for him, the breech-loader which did not even belong to him but to Major de Spain and which he had fired only once, at a stump on the first day to learn the recoil and how to reload it with the paper shells, he stood against a big gum tree beside a little bayou whose black still water crept without motion out of a cane-brake, across a small clearing and into the cane again, where, invisible, a bird, the big woodpecker called Lord-to-God by negroes, clattered at a dead trunk. It was a stand like any other stand, dissimilar only in incidentals to the one where he had stood each morning for two weeks; a territory new to him yet no less familiar than that other one which after two weeks he had come to believe he knew a little--the same solitude, the same loneliness through which frail and timorous man had merely passed without altering it, leaving no mark nor scar, which looked exactly as it must have looked when the first ancestor of Sam fathers' Chickasaw predecessors crept into it and looked about him, club or stone axe or bone arrow drawn and ready, different only because, squatting at the edge of the kitchen, he had smelled the dogs huddled and cringing beneath it and saw the raked ear and side of the bitch that, as Sam had said, had to be brave once in order to keep on calling herself a dog, and saw yesterday in the earth beside the gutted log, the print of the living foot. He heard no dogs at all. He never did certainly hear them. He only heard the drumming of the woodpecker stop short off, and knew that the bear was looking at him. he did not move, holding the useless gun which he knew now he would never fire at it, now or ever, tasting in his saliva that taint of brass which he had smelled in the huddled dogs when he peered under the kitchen.
William Faulkner (Go Down, Moses)
BOWLS OF FOOD Moon and evening star do their slow tambourine dance to praise this universe. The purpose of every gathering is discovered: to recognize beauty and love what’s beautiful. “Once it was like that, now it’s like this,” the saying goes around town, and serious consequences too. Men and women turn their faces to the wall in grief. They lose appetite. Then they start eating the fire of pleasure, as camels chew pungent grass for the sake of their souls. Winter blocks the road. Flowers are taken prisoner underground. Then green justice tenders a spear. Go outside to the orchard. These visitors came a long way, past all the houses of the zodiac, learning Something new at each stop. And they’re here for such a short time, sitting at these tables set on the prow of the wind. Bowls of food are brought out as answers, but still no one knows the answer. Food for the soul stays secret. Body food gets put out in the open like us. Those who work at a bakery don’t know the taste of bread like the hungry beggars do. Because the beloved wants to know, unseen things become manifest. Hiding is the hidden purpose of creation: bury your seed and wait. After you die, All the thoughts you had will throng around like children. The heart is the secret inside the secret. Call the secret language, and never be sure what you conceal. It’s unsure people who get the blessing. Climbing cypress, opening rose, Nightingale song, fruit, these are inside the chill November wind. They are its secret. We climb and fall so often. Plants have an inner Being, and separate ways of talking and feeling. An ear of corn bends in thought. Tulip, so embarrassed. Pink rose deciding to open a competing store. A bunch of grapes sits with its feet stuck out. Narcissus gossiping about iris. Willow, what do you learn from running water? Humility. Red apple, what has the Friend taught you? To be sour. Peach tree, why so low? To let you reach. Look at the poplar, tall but without fruit or flower. Yes, if I had those, I’d be self-absorbed like you. I gave up self to watch the enlightened ones. Pomegranate questions quince, Why so pale? For the pearl you hid inside me. How did you discover my secret? Your laugh. The core of the seen and unseen universes smiles, but remember, smiles come best from those who weep. Lightning, then the rain-laughter. Dark earth receives that clear and grows a trunk. Melon and cucumber come dragging along on pilgrimage. You have to be to be blessed! Pumpkin begins climbing a rope! Where did he learn that? Grass, thorns, a hundred thousand ants and snakes, everything is looking for food. Don’t you hear the noise? Every herb cures some illness. Camels delight to eat thorns. We prefer the inside of a walnut, not the shell. The inside of an egg, the outside of a date. What about your inside and outside? The same way a branch draws water up many feet, God is pulling your soul along. Wind carries pollen from blossom to ground. Wings and Arabian stallions gallop toward the warmth of spring. They visit; they sing and tell what they think they know: so-and-so will travel to such-and-such. The hoopoe carries a letter to Solomon. The wise stork says lek-lek. Please translate. It’s time to go to the high plain, to leave the winter house. Be your own watchman as birds are. Let the remembering beads encircle you. I make promises to myself and break them. Words are coins: the vein of ore and the mine shaft, what they speak of. Now consider the sun. It’s neither oriental nor occidental. Only the soul knows what love is. This moment in time and space is an eggshell with an embryo crumpled inside, soaked in belief-yolk, under the wing of grace, until it breaks free of mind to become the song of an actual bird, and God.
Rumi (Jalal ad-Din Muhammad ar-Rumi) (The Soul of Rumi: A New Collection of Ecstatic Poems)
DURING the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was; but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveler upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled luster by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodeled and inverted images of the gray sedge, and the ghastly tree stems, and the vacant and eye-like windows.
Edgar Allan Poe (The Best Short Stories of Edgar Allan Poe)
But it were folly to lay any stress on stories of this kind, which are sure to spring up around such an event as that now related, and which, as in the present case, sometimes prolong themselves for ages afterwards, like the toadstools that indicate where the fallen and buried trunk of a tree has long since mouldered into the earth.
Nathaniel Hawthorne (The Complete Works of Nathaniel Hawthorne: Novels, Short Stories, Poetry, Essays, Letters and Memoirs)
Geralt looked around, and quickly and easily found what he was hunting for. A second, identical arrow, lodged in the trunk of a pine tree, around six paces behind the corpse. He knew what had happened. The boy had not understood the warning, and hearing the whistle and thud of the arrow had panicked and begun to run the wrong way. Towards the one who had ordered him to stop and withdraw at once. The hissing, venomous, feathered whistle and the short thud of the arrowhead cutting into the wood. Not a step further, man, said that whistle and that thud. Begone, man, get out of Brokilon at once. You have captured the whole world, man, you are everywhere. Everywhere you introduce what you call modernity, the era of change, what you call progress. But we want neither you nor your progress here. We do not desire the changes you bring. We do not desire anything you bring. A whistle and a thud. Get out of Brokilon! Get out of Brokilon, thought Geralt. Man. No matter that you are fifteen and struggling through the forest, insane with fear, unable to find your way home. No matter that you are seventy and have to gather brushwood, because otherwise they will drive you from the cottage for being useless, they will stop giving you food. No matter that you are six and you were lured by a carpet of little blue flowers in a sunny clearing. Get out of Brokilon! A whistle and a thud. Long ago, thought Geralt, before they shot to kill, they gave two warnings. Even three. Long ago, he thought, continuing on his way. Long ago. Well, that’s progress.
Andrzej Sapkowski (Sword of Destiny (The Witcher, #0.7))
They reached the eastern outskirts of the Dimmerskog on the afternoon of the next day. Although the forest was covered in a thick blanket of white snow, it nevertheless seemed, as Binabik had named it, a place of shadows. The company did not pass beneath its eaves, and might have chosen not to even had their path lain that way, so thick with foreboding was the wood’s atmosphere. The trees, despite their size—and some of them were huge indeed—seemed dwarfish and twisted, as though they squirmed bitterly beneath their burden of needled branches and snow. The open spaces between the contorted trunks seemed to bend away crazily like tunnels dug by some huge and drunken mole, leading at last to dangerous, secretive depths. Passing in near silence, his horse’s hooves crunching softly in the snow, Simon imagined following the gaping pathways into the bark-pillared, white-roofed halls of Dimmerskog, coming at last to—who could guess? Perhaps to the dark, malicious heart of the forest, a place where the trees breathed together and passed endless rumors with the scaly rub of branch on branch, or the malicious exhalation of wind through twigs and frozen leaves. They camped that night in the open again, even though the Dimmerskog crouched only a short distance away like a sleeping animal. None of them wanted to spend a night beneath the forest’s branches—especially Sludig, who had been raised on stories of the ghastly things that stalked the wood’s pale corridors. The Sithi did not seem to care, but Jiriki spent part of the evening oiling his dark witchwood sword. Again the company huddled around a naked fire, and the east wind razored past them all the long evening, sending great powdery spouts of snow whirling all around, and sporting among the Dimmerskog’s upper reaches. When they lay down that night to sleep it was to the sound of the forest creaking, and the wind-ridden branches sawing one against the other.
Tad Williams (The Dragonbone Chair (Memory, Sorrow, and Thorn, #1))
The fox barked at her, one sharp, short sound. Without expecting to, Irène laughed. "What?" she said aloud. The fox's mouth opened, showing its white teeth, and its tongue lolled, laughing with her. A sense of recognition tingled in Irène's bones and throbbed in her forehead. Her laughter died. She came to her feet, facing the creature. It scrambled down from the tree trunk, its lithe body weaving through the branches as easily as a stream of water might. It stood on the opposite bank. Its tail arced above its back, a plume of red and black. Its unblinking gaze fixed itself on her. Irène whispered, "Are you here for me?" Again the fox's mouth opened in its grin, and its tail waved once, twice, before it leaped the little brook as easily as if it could fly. Irène stood very still as the fox stepped toward her on narrow black feet as dainty as a dancer's. It---he, she could see now---pressed his cold black nose against the back of her hand, and, when she turned it, nosed her palm. She thrilled at the touch, though the touch of so many other beasts disgusted her. He was different, this fox. It was not just that he was beautiful, and graceful. It was more, much more. Her soul knew him. Her power flared in his presence. He took a step back, his eyes never leaving hers, then whirled and leaped back over the brook to disappear into the forest on the other side. The last thing she saw was that lush red-and-black tail, switching back and forth as he faded into the dimness of the woods. Irène brought her palm to her nose and sniffed the toasty smell of him. She knew what he was, and she knew what it meant. Her mother had Aramis. Her grandmother, Ursule had told her, had had an ugly gray cat. And she---now, surely, a witch in full possession of her power---had a glorious vulpine creature like no other. She had her fox. She would see him again.
Louisa Morgan (A Secret History of Witches)
By the time Bond had taken in these details, he had come to within fifty yards of the two men. He was reflecting on the ranges of various types of weapon and the possibilities of cover when an extraordinary and terrible scene was enacted. Red-man seemed to give a short nod to Blue-man. With a quick movement Blue-man unslung his blue camera case. Blue-man, and Bond could not see exactly as the trunk of a plane-tree beside him just then intervened to obscure his vision, bent forward and seemed to fiddle with the case. Then with a blinding flash of white light there was the ear-splitting crack of a monstrous explosion and Bond, despite the protection of the tree-trunk, was slammed down to the pavement by a solid bolt of hot air which dented his cheeks and stomach as if they had been made of paper. He lay, gazing up at the sun, while the air (or so it seemed to him) went on twanging with the explosion as if someone had hit the bass register of a piano with a sledgehammer. When, dazed and half-conscious, he raised himself on one knee, a ghastly rain of pieces of flesh and shreds of blood-soaked clothing fell on him and around him, mingled with branches and gravel. Then a shower of small twigs and leaves. From all sides came the sharp tinkle of falling glass. Above in the sky hung a mushroom of black smoke which rose and dissolved as he drunkenly watched it. There was an obscene smell of high explosive, of burning wood, and of, yes, that was it – roast mutton. For fifty yards down the boulevard the trees were leafless and charred. Opposite, two of them had snapped off near the base and lay drunkenly across the road. Between them there was a still smoking crater. Of the two men in straw hats, there remained absolutely nothing. But there were red traces on the road, and on the pavements and against the trunks of the trees, and there were glittering shreds high up in the branches. Bond felt himself starting to vomit. It was Mathis who got to him first, and by that time Bond was standing with his arm round the tree which had saved his life.
Ian Fleming (Casino Royale (James Bond, #1))
The Rabbit The rabbit wanted to grow. God promised to increase his size if he would bring him the skins of a tiger, of a monkey, of a lizard, and of a snake. The rabbit went to visit the tiger. “God has let me into a secret,” he said confidentially. The tiger wanted to know it, and the rabbit announced an impending hurricane. “I’ll save myself because I’m small. I’ll hide in some hole. But what’ll you do? The hurricane won’t spare you.” A tear rolled down between the tiger’s mustaches. “I can think of only one way to save you,” said the rabbit. “We’ll look for a tree with a very strong trunk. I’ll tie you to the trunk by the neck and paws, and the hurricane won’t carry you off.” The grateful tiger let himself be tied. Then the rabbit killed him with one blow, stripped him, and went on his way into the woods of the Zapotec country. He stopped under a tree in which a monkey was eating. Taking a knife, the rabbit began striking his own neck with the blunt side of it. With each blow of the knife, a chuckle. After much hitting and chuckling, he left the knife on the ground and hopped away. He hid among the branches, on the watch. The monkey soon climbed down. He examined the object that made one laugh, and he scratched his head. He seized the knife and at the first blow fell with his throat cut. Two skins to go. The rabbit invited the lizard to play ball. The ball was of stone. He hit the lizard at the base of the tail and left him dead. Near the snake, the rabbit pretended to be asleep. Just as the snake was tensing up, before it could jump, the rabbit plunged his claws into its eyes. He went to the sky with the four skins. “Now make me grow,” he demanded. And God thought, “The rabbit is so small, yet he did all this. If I make him bigger, what won’t he do? If the rabbit were big, maybe I wouldn’t be God.” The rabbit waited. God came up softly, stroked his back, and suddenly caught him by the ears, whirled him about, and threw him to the ground. Since then the rabbit has had big ears, short front feet from having stretching them out to break his fall, and pink eyes from panic. (92)
Eduardo Galeano (Genesis (Memory of Fire Book 1))
No matter what level of instruction Marlboro Man gave me, no matter how many pointers, a horse trot for me meant a repeated and violet Slap! Slap! Slap! on the seat of my saddle. My feet were fine--they’d stay securely in the stirrups. But I just couldn’t figure out how to use the muscles in my legs correctly, and I hadn’t yet learned how to post. It was so unpleasant, the whole riding-a-horse business: my bottom would slap, my torso would stiffen, and I’d be sore for days--not to mention that I looked like a complete freak while riding--kind of like a tree trunk with red, stringy hair. Short of taking the rectal temperatures of cows, I’d never felt more out of place doing anything in my life. All of this rushed to the surface when I saw Marlboro Man walking toward me with two of his horses, one of which was clearly meant for me. Where’s my Jeep? I thought. Where’s my torch? I don’t want a horse. My bottom can’t take it. Where’s my Jeep? I’d never wanted to drive a Jeep so much. “Hey,” I said, walking toward him and smiling, trying to appear not only calm but also totally unconcerned about the reality that faced me. “Uh…I thought we were going burning.” I clearly sounded out the g. It was a loud, clanging cymbal. “Oh, we are,” he said, smiling. “But we’ve got to get to some areas the Jeep can’t reach.” My stomach lurched. For more than a couple of seconds, I actually considered feigning illness so I wouldn’t have to go. What can I say? I wondered. That I feel like I’m going to throw up? Or should I just clutch my stomach, groan, then run behind the barn and make dramatic retching sounds? That could be highly effective. Marlboro Man will feel sorry for me and say, “It’s okay…you just go on up to my house and rest. I’ll be back later.” But I don’t think I can go through with it; vomiting is so embarrassing! And besides, if Marlboro Man thinks I vomited, I might not get a kiss today… “Oh, okay,” I said, smiling again and trying to prevent my face from betraying the utter dread that plagued me. I hadn’t noticed, through all my inner torture and turmoil, that Marlboro Man and the horses had been walking closer to me. Before I knew it, Marlboro Man’s right arm was wrapped around my waist while his other hand held the reins of the two horses. In another instant, he pulled me toward him in a tight grip and leaned in for a sweet, tender kiss--a kiss he seemed to savor even after our lips parted. “Good morning,” he said sweetly, grinning that magical grin. My knees went weak. I wasn’t sure if it was the kiss itself…or the dread of riding.
Ree Drummond (The Pioneer Woman: Black Heels to Tractor Wheels)
Before I even saw him in shorts, I knew his legs would probably be like tree trunks. When I finally saw them, I was like, ‘Whoa!
Shawna Richer (The Kid: A Season with Sidney Crosby and the New NHL)
President Woodruff told of an experience of being prompted by the Spirit. He was sent by the First Presidency to “gather all the Saints of God in New England and Canada and bring them to Zion” (in Conference Report, April 1898, 30). He stopped at the home of one of the brethren in Indiana and put his carriage in the yard, where he and his wife and one child went to bed while the rest of the family slept in the house. Shortly after he had retired for the night, the Spirit whispered, warning him, “Get up, and move your carriage.” He got up and moved the carriage a distance from where it had stood. As he was returning to bed, the Spirit spoke to him again: “Go and move your mules away from that oak tree.” He did this and then retired once again to bed. Not more than thirty minutes later, a whirlwind caught the tree to which his mules had been tied and broke it off at the ground. It was carried a hundred yards through two fences. The enormous tree, which had a trunk five feet in circumference, fell exactly upon the spot where his carriage had been parked. By listening to the promptings of the Spirit, Elder Woodruff had saved his life and the lives of his wife and child (see Wilford Woodruff, Leaves from My Journal [1881], 88). That same
Boyd K. Packer (Truths Most Worth Knowing)
Star’s sore wings collapsed at his sides. Frightened, he turned in a slow circle. Thousands of pegasi faced him, their expressions fierce and their feathers vibrating. The Mountain Herd steeds were short, with wide faces and thick legs like tree trunks. Star swallowed as fear washed over him. He wished he had not gone into the woods to practice flying alone. At the same time he thought how strange it was that this fierce herd was afraid of him.
Jennifer Lynn Alvarez (Starfire (The Guardian Herd #1))
On our return from the bush, we went straight back to work at the zoo. A huge tree behind the Irwin family home had been hit by lightning some years previously, and a tangle of dead limbs was in danger of crashing down on the house. Steve thought it would be best to take the dead tree down. I tried to lend a hand. Steve’s mother could not watch as he scrambled up the tree. He had no harness, just his hat and a chainsaw. The tree was sixty feet tall. Steve looked like a little dot way up in the air, swinging through the tree limbs with an orangutan’s ease, working the chainsaw. Then it was my turn. After he pruned off all the limbs, the last task was to fell the massive trunk. Steve climbed down, secured a rope two-thirds of the way up the tree, and tied the other end to the bull bar of his Ute. My job was to drive the Ute. “You’re going to have to pull it down in just the right direction,” he said, chopping the air with his palm. He studied the angle of the tree and where it might fall. Steve cut the base of the tree. As the chainsaw snarled, Steve yelled, “Now!” I put the truck in reverse, slipped the clutch, and went backward at a forty-five-degree angle as hard as I could. With a groan and a tremendous crash, the tree hit the ground. We celebrated, whooping and hollering. Steve cut the downed timber into lengths and I stacked it. The whole project took us all day. By late in the afternoon, my back ached from stacking tree limbs and logs. As the long shadows crossed the yard, Steve said four words very uncharacteristic of him: “Let’s take a break.” I wondered what was up. We sat under a big fig tree in the yard with a cool drink. We were both covered in little flecks of wood, leaves, and bark. Steve’s hair was unkempt, a couple of his shirt buttons were missing, and his shorts were torn. I thought he was the best-looking man I had ever seen in my life. “I am not even going to walk for the next three days,” I said, laughing. Steve turned to me. He was quiet for a moment. “So, do you want to get married?” Casual, matter-of-fact. I nearly dropped the glass I was holding. I had twigs in my hair an dirt caked on the side of my face. I’d taken off my hat, and I could feel my hair sticking to the sides of my head. My first thought was what a mess I must look. My second, third, and fourth thoughts were lists of every excuse in the world why I couldn’t marry Steve Irwin. I could not possibly leave my job, my house, my wildlife work, my family, my friends, my pets--everything I had worked so hard for back in Oregon. He never looked concerned. He simply held my gaze. As all these things flashed through my mind, a little voice from somewhere above me spoke. “Yes, I’d love to.” With those four words my life changed forever.
Terri Irwin (Steve & Me)
grove,” but its primary meaning for more than 1,000 years has remained the same. It is a small grouping of trees that bind themselves together over time, both above ground and below it. The trees’ branches become intertwined with one another, providing stability to the grove in severe storms. The trees’ roots also grow together, strengthening the stature of every individual trunk.
James Beran (The Biggest Short Guy: The Amazing Untold Story of Walter Beran, The CPA Who Changed LA)
When we lived in England for a short while, we experienced one of the most violent windstorms that had ever hit England. More than 750 thousand trees were felled in one night. Some days later we were walking in the parks past huge trees that had been completely uprooted by the wind. My wife noticed how shallow the root systems were on some of those massive trees. When we mentioned this to someone, they pointed out that in England the water table is so close to the surface that the roots of the trees do not have to penetrate deep for nourishment. As a result, the trunk grows in disproportion to the roots. When a severe storm hits, these gigantic trees are uprooted because there is nothing to anchor them. What an illustration that is of a life without prayer. You can be sure that in every marriage the storms will hit. It is in your deep immersion into the Word that your roots will be able to hold the home together. The Word should be the foundation of your home. It is not at all surprising that as the Church has become illiterate in the Scriptures, it has resembled the world more in its behavior, uprooted by every new fanciful philosophy and fad.
Ravi Zacharias (I, Isaac, Take Thee, Rebekah: Moving from Romance to Lasting Love)
For the vast majority of our time on earth, our species did not buy its food or its clothing or its shelter or its education or its medical healing. We chased down our food, skinned rabbits and deer and buffalo for clothing, found caves and built shelters of buffalo hides attached to tree trunks, and carved limbs and even buffalo bones, and sought out plants that heal. Our elders told the important stories around camp-fires, healers studied plants for their powers and chanted to the heavens for theirs. In short, for 98 percent of our existence as hunter-gatherers, we did not consume. We created. Ten thousand years ago, in a creative discovery that has proven to be a mixed blessing indeed, we started to plant things. We no longer imitated the prairie in the way it seeded itself patiently each year: We hurried the process along and chose to do our own planting. We called this “agriculture.” Agriculture was not a moment of “pure progress” for humankind. It looked like a good deal—we could choose our diets no matter what the game were doing in our neighborhoods; we could stay home more and wander less; we could even have some people do the seeding and growing while others gathered in villages and then cities and were fed by the growers. But we paid a great price for this. Wes
Matthew Fox (Creativity)
Another bullet hit Hajji Murad in the left side. He lay down in the ditch and again pulled some cotton wool out of his beshmet and plugged the wound. This wound in the side was fatal and he felt that he was dying. Memories and pictures succeeded one another with extraordinary rapidity in his imagination. now he saw the powerful Abu Nutsal Khan, dagger in hand and holding up his severed cheek as he rushed at his foe; then he saw the weak, bloodless old Vorontsov with his cunning white face, and heard his soft voice; then he saw his son Yusuf, his wife Sofiat, and then the pale, red-bearded face of his enemy Shamil with its half-closed eyes. All these images passed through his mind without evoking any feeling within him -- neither pity nor anger nor any kind of desire: everything seemed so insignificant in comparison with what was beginning, or had already begun, within him. Yet his strong body continued the thing that he had commenced. Gathering together his last strength he rose from behind the bank, fired his pistol at a man who was just running towards him, and hit him. The man fell. Then Hajji Murad got quite out of the ditch, and limping heavily went dagger in hand straight at the foe. Some shots cracked and he reeled and fell. Several militiamen with triumphant shrieks rushed towards the fallen body. But the body that seemed to be dead suddenly moved. First the uncovered, bleeding, shaven head rose; then the body with hands holding to the trunk of a tree. He seemed so terrible, that those who were running towards him stopped short. But suddenly a shudder passed through him, he staggered away from the tree and fell on his face, stretched out at full length like a thistle that had been mown down, and he moved no more. He did not move, but still he felt. When Hajji Aga, who was the first to reach him, struck him on the head with a large dagger, it seemed to Hajji Murad that someone was striking him with a hammer and he could not understand who was doing it or why. That was his last consciousness of any connection with his body. He felt nothing more and his enemies kicked and hacked at what had no longer anything in common with him. Hajji Aga placed his foot on the back of the corpse and with two blows cut off the head, and carefully -- not to soil his shoes with blood -- rolled it away with his foot. Crimson blood spurted from the arteries of the neck, and black blood flowed from the head, soaking the grass. Karganov and Hajji Aga and Akhmet Khan and all the militiamen gathered together -- like sportsmen round a slaughtered animal -- near the bodies of Hajji Murad and his men (Khanefi, Khan Mahoma, and Gamzalo they bound), and amid the powder-smoke which hung over the bushes they triumphed in their victory. the nightingales, that had hushed their songs while the firing lasted, now started their trills once more: first one quite close, then others in the distance. It was of this death that I was reminded by the crushed thistle in the midst of the ploughed field.
Leo Tolstoy (Hadji Murád)
Reaching for air and light the beech trees had grown very tall. One’s eyes traveled up and up the immense height of the silver trunks, past the various platforms of green leaves to where the blue of the upper air showed through them. The final platforms were so high that the blue of the blue-green pattern seemed no further away in space than the green; but one tree had decided to be content with a lowly position, had grown only a short height on a slender silver stem and then spread out her arms and wings like a dancing fairy. Below on the floor of the wood the colors showed jewel-bright above the warm russet of the beechmast. The cushions of moss about the roots of the trees were emerald and there were clumps of small bright purple toadstools, and others rose-colored on top and quilted white satin underneath.
Elizabeth Goudge (The White Witch)
I fetched a pair of metal tweezers from my pack and carefully plucked a leaf from the frost. It was lovely, segmented like a maple and white as the trunk and boughs, though it also had a coating of short white hairs, like some sort of beast. I placed the leaf within a small metal box I habitually use to collect such samples, many of which have found their place in the Museum of Dryadology and Ethnofolklore at Cambridge.
Heather Fawcett (Emily Wilde's Encyclopaedia of Faeries (Emily Wilde, #1))
The Time of the Lime Trees There are lime trees lining the Highway leading from Jeszkotle to the Kielce road. They looked the same at the beginning, and they will look the same at the end. They have thick trunks and roots that reach deep into the earth, where they meet the foundations of everything that lives. In winter their mighty boughs cast sharp shadows onto the snow and measure the hours of the short day. In spring the lime trees put out millions of green leaves that bring sunlight down to the earth. In summer their fragrant flowers attract swarms of insects. In autumn the lime trees add red and brown to the whole of Primeval. Like all plants, the lime trees live an eternal dream, whose origin lies in the tree's seeds. The dream does not grow or develop along with it, but is always exactly the same. The trees are trapped in space, but not in time. They are liberated from time by their dream, which is eternal. Feelings do not grow in it, as they do in animals' dreams, nor do images appear in it, as they do in people's dreams. Trees lives thanks to matter, by absorbing juices that flow from deep in the ground and by turning their leaves to the sunlight. The tree's soul rests after going through many existences. The tree only experiences the world thanks to matter. For a tree, a storm is a warm-and-cold, idle-and-violent stream. When it gathers, the whole world becomes a storm. For the tree there is no world before or after the storm. In the fourfold changes of the seasons the tree is unaware that time exists and that the seasons come in succession. For the tree all four qualities exist at once. Winter is part of summer, and autumn is part of spring. Cold is part of hot, and death is part of birth. Fire is part of water, and earth is part of air. To trees people seem eternal -- they have always been walking through the shade of the lime trees on the Highway, neither frozen still nor in motion. For trees people exist eternally, but that means just the same as if they had never existed. The crash of axes and the rumble of thunder disturb the trees' eternal dream. What people call their death is just a temporary disruption of the dream. What people call the death of trees involves coming closer to the anxious existence of animals. For the clearer and stronger consciousness becomes, the more fear there is in it. But the trees never reach the kingdom of anxiety occupied by animals and people. When a tree dies, its dream that has no meaning or impression is taken over by another tree. That is why trees never die. IN ignorance of their own existence, they are liberated from time and death.
Olga Tokarczuk (Primeval and Other Times)
I want to express the tree’s inner beauty. So I am watching the way that the trunk and branches move,” said bonsai artist Kunio Kobayashi.
Grant Faulkner (The Art of Brevity: Crafting the Very Short Story)
Frank sighed from weariness and disappointment. “Let’s take a short cut across the square.” They headed for the small park which lay in the center of Bayport. Various municipal buildings, including the town hall with its large illuminated clock, outlined the four sides. Frank and Joe reached the square and took a diagonal path through it. The place seemed empty. Part way across, Joe suddenly said, “I just saw someone dodge behind that big tree ahead.” “We’d better wait,” Frank answered. The Hardys jumped back of a wide-trunked maple. When no one ventured toward them, the boys peered out, looking in opposite directions for a possible attacker.
Franklin W. Dixon (What Happened at Midnight (Hardy Boys, #10))
pants, or “huggable” velvet hangers, rather than cheap wire ones, will keep clothing in top-notch shape and avoid tangles. It’s okay to use more than one kind of hanger to help clothing keep its shape. For example, padded hangers should be used for any hanging sweaters, but other kinds of shirts would be fine with tube or huggable hangers. Just keep them consistent in each section of the closet. And always hang clothes in the same direction. This will help reduce visual clutter and allow you to review your clothes at a glance. For shoes, there are a multitude of storage options. Inexpensive clear plastic shoe boxes keep shoes dust-free and easily viewed. Or use overdoor shoe bags, hanging canvas shoe bags, or a neat tiered shoe rack or shoe tree on the floor. Make sure to use ALL closet space. Underneath short- hanging garments, place a low trunk full of sweaters, a set of plastic drawers, or a simple wooden dresser filled with lingerie, swimsuits, and socks. 6. CLEAN UP & MAINTAIN Put the donation boxes in the car or near the exit so they leave the home immediately. Take out the trash. Grab the relocation box and redistribute all of its contents appropriately. Review the contents of the fix-it box and determine if the cost of the repairs is worth saving the items. If so, make a plan to get them to the
Sara Pedersen (Learn to Organize: A Professional Organizer’s Tell-All Guide to Home Organizing)
ferryman’s hefty Africans pace short reciprocating arcs on the deck, sweeping and shoveling the black water of the Charles Basin with long stanchion-mounted oars, minting systems of vortices that fall to aft, flailing about one another, tracing out fading and flattening conic sections that Sir Isaac could probably work out in his head. The Hypothesis of Vortices is pressed with many difficulties. The sky’s a matted reticule of taut jute and spokeshaved tree-trunks. Gusts make the anchored ships start and jostle like nervous horses hearing distant guns.
Neal Stephenson (Quicksilver (The Baroque Cycle #1))
He was undersized; though witily powerful and as lithe as a panther. His coat, which should have been wavily abundant, was as short and as thick as a chow’s. It was not unlike a chow’s in texture and growth. His bushy tail was three inches too short. His head was broad where it should have been chiseled into classic lines. His muzzle was not long enough for the rest of his head. The “‘stop’”’ above it was too prominent. His glowing dark eyes were round; not almondshaped or slanted as called for in the “Standard of the Breed.” In brief, he was not a true type of collie; though of royally pure lineage. He was a throwback;—a throwback almost to the ancestral wolves which form the trunk and roots of the collie family-tree. It was this queer outward resemblance to a young timber-wolf which gave him his name.
Albert Payson Terhune (Wolf)