Veil Emma Quotes

She’d read all of Jane Austen that year—Austen was good, but when you told people you liked Pride and Prejudice, they expected you to be all sunshine and wedding veils, and Sylvia preferred the rainy moors. The Brontës weren’t afraid to let someone die of consumption, which Sylvia respected.

The way we see the world is not actually the world in itself. What we see is our idea of it. The truth is, we have no notion of what the world is other than through the veils of our perception.

He likes to recycle, doesn’t he?’ It takes me a beat to identify this as a thinly veiled dig at his and Emma’s reconciliation.

But then her formality quickly melted away, the veil of adulthood she wore temporarily as a costume."-p. 273

Though one of the greatest love stories in world literature, Anna Karenin is of course not just a novel of adventure. Being deeply concerned with moral matters, Tolstoy was eternally preoccupied with issues of importance to all mankind at all times. Now, there is a moral issue in Anna Karenin, though not the one that a casual reader might read into it. This moral is certainly not that having committed adultery, Anna had to pay for it (which in a certain vague sense can be said to be the moral at the bottom of the barrel in Madame Bovary). Certainly not this, and for obvious reasons: had Anna remained with Karenin and skillfully concealed from the world her affair, she would not have paid for it first with her happiness and then with her life. Anna was not punished for her sin (she might have got away with that) nor for violating the conventions of a society, very temporal as all conventions are and having nothing to do with the eternal demands of morality. What was then the moral "message" Tolstoy has conveyed in his novel? We can understand it better if we look at the rest of the book and draw a comparison between the Lyovin-Kitty story and the Vronski-Anna story. Lyovin's marriage is based on a metaphysical, not only physical, concept of love, on willingness for self-sacrifice, on mutual respect. The Anna-Vronski alliance was founded only in carnal love and therein lay its doom. It might seem, at first blush, that Anna was punished by society for falling in love with a man who was not her husband. Now such a "moral" would be of course completely "immoral," and completely inartistic, incidentally, since other ladies of fashion, in that same society, were having as many love-affairs as they liked but having them in secrecy, under a dark veil. (Remember Emma's blue veil on her ride with Rodolphe and her dark veil in her rendezvous at Rouen with Léon.) But frank unfortunate Anna does not wear this veil of deceit. The decrees of society are temporary ones ; what Tolstoy is interested in are the eternal demands of morality. And now comes the real moral point that he makes: Love cannot be exclusively carnal because then it is egotistic, and being egotistic it destroys instead of creating. It is thus sinful. And in order to make his point as artistically clear as possible, Tolstoy in a flow of extraordinary imagery depicts and places side by side, in vivid contrast, two loves: the carnal love of the Vronski-Anna couple (struggling amid their richly sensual but fateful and spiritually sterile emotions) and on the other hand the authentic, Christian love, as Tolstoy termed it, of the Lyovin-Kitty couple with the riches of sensual nature still there but balanced and harmonious in the pure atmosphere of responsibility, tenderness, truth, and family joys.

when you put that blanket over her, you suffocate the rest of her being. The detail and clarity of every moment of her life are covered by the veil of suffering.

you are back in your grandmother’s attic looking at photographs of people you don’t know, ladies in floral print dresses, wearing feathered and veiled hats; men with cigarettes, leaning against automobiles, thumbs through their belt loops; an empty railroad depot, the tracks heading away to a landscape of bare trees, the rail yard littered with handcarts and piles of sooty snow, and you hear your mother calling you to lunch, but you are curious about this missing snapshot, the four triangular corner mounts forming a dark rectangle. Who removed the photo from the album and why? And who is the purloined ghost? And at that moment you realize that secrets lie all around you, that the world is so much larger than you had imagined, and that you are a part of it, and that this is a world of loss, and that all of these people whose names are penned on the borders of the photographs, whose smiles and shadows have been preserved, these people named Eustache and Marie, Walter, Pamille, Theona, Grace, Emma, Cousin Butchie, Big Fred, Little Fred, that all of them were tillers in the garden where the flower of you now blooms.

He was known for his innovation, but his favorite was always the classic gâteau Saint-Honoré." "Will you make it for me?" He knew what I was doing. But he simply gave me a sly look. "You're constantly trying to taste my creams, aren't you, Emma?" He was teasing, clearly wanting to make me blush and stammer. But I couldn't erase the image of licking cream off every delectable inch of him. God, I wanted that. So much so my mouth was in danger of watering. I returned his look with equal measure. "Careful there, honey pie. One day, I just might call your bluff on all your thinly veiled cream innuendos." To my surprise, he flushed a dusky pink across the high crests of his cheeks. But he held my gaze. "Maybe that's what I'm aiming for.