Waterloo Bridge Quotes

On Waterloo Bridge where we said our goodbyes, the weather conditions bring tears to my eyes. I wipe them away with a black woolly glove And try not to notice I've fallen in love On Waterloo Bridge I am trying to think: This is nothing. you're high on the charm and the drink. But the juke-box inside me is playing a song That says something different. And when was it wrong? On Waterloo Bridge with the wind in my hair I am tempted to skip. You're a fool. I don't care. the head does its best but the heart is the boss- I admit it before I am halfway across

Through the mist the sun was a wavering disc kissing the shadowy arches of Waterloo Bridge.

The movie Waterloo Bridge (1940), starring Vivien Leigh and Robert Taylor, was a stern defence of British decency and values.

It is seldom that any one says anything about it, and to see the hordes crossing Waterloo Bridge to catch the non-stop to Surbiton one might think that reason impelled them. No, no. It is the drums and trumpets.

A little while ago, I stood by the grave of the old Napoleon—a magnificent tomb of gilt and gold, fit almost for a dead deity—and gazed upon the sarcophagus of rare and nameless marble, where rest at last the ashes of that restless man. I leaned over the balustrade and thought about the career of the greatest soldier of the modern world. I saw him walking upon the banks of the Seine, contemplating suicide. I saw him at Toulon—I saw him putting down the mob in the streets of Paris—I saw him at the head of the army of Italy—I saw him crossing the bridge of Lodi with the tri-color in his hand—I saw him in Egypt in the shadows of the pyramids—I saw him conquer the Alps and mingle the eagles of France with the eagles of the crags. I saw him at Marengo—at Ulm and Austerlitz. I saw him in Russia, where the infantry of the snow and the cavalry of the wild blast scattered his legions like winter's withered leaves. I saw him at Leipsic in defeat and disaster—driven by a million bayonets back upon Paris—clutched like a wild beast—banished to Elba. I saw him escape and retake an empire by the force of his genius. I saw him upon the frightful field of Waterloo, where Chance and Fate combined to wreck the fortunes of their former king. And I saw him at St. Helena, with his hands crossed behind him, gazing out upon the sad and solemn sea. I thought of the orphans and widows he had made—of the tears that had been shed for his glory, and of the only woman who ever loved him, pushed from his heart by the cold hand of ambition. And I said I would rather have been a French peasant and worn wooden shoes. I would rather have lived in a hut with a vine growing over the door, and the grapes growing purple in the kisses of the autumn sun. I would rather have been that poor peasant with my loving wife by my side, knitting as the day died out of the sky—with my children upon my knees and their arms about me—I would rather have been that man and gone down to the tongueless silence of the dreamless dust, than to have been that imperial impersonation of force and murder, known as 'Napoleon the Great.

The changing of the seasons, the cold slicing winds, the falling leaves, sunlight on green grass, snow on the land, London particular. Oh what it is and where it is and why it is, no one knows, but to have said: ‘I walked on Waterloo Bridge,’ ‘I rendezvoused at Charing Cross,’ ‘Piccadilly Circus is my playground,’ to say these things, to have lived these things, to have lived in the great city of London, centre of the world. To one day lean against the wind walking up the Bayswater Road (destination unknown), to see the leaves swirl and dance and spin on the pavement (sight unseeing), to write a casual letter home beginning: ‘Last night, in Trafalgar Square …

What has been Extinction Rebellion’s magic? It boils down to values, processes, role modelling, positivity and fast learning. Most importantly for me, XR has been a loud advocate of the three core values I call for in this book. In the London protests of April 2019, you could hear the tannoys reminding supporters to respect everyone: the authorities; the government; the public; each other; the oil companies; EVERYONE. In surreal scenes on Waterloo Bridge, the police were caught visibly off balance by the tide chanting: ‘To the police, we love you. We’re doing this for your children’, as the police carried people away to their vans. Of course, as XR’s name suggests, they stand overtly for the preservation of all species. And they made a very strong call for truth. At its best, XR gave us a taste of a better world. They

Others, faced with Turner's competitiveness were less contented. C.R. Leslie was on hand when Turner's Helvoetsluys, to start with "a grey pictre, beautiful and true, but with no positive colour in any part of it", was hung next to Constable's Opening of Waterloo Bridge Leslie wrote that Constable's painting looked as if painted with liquid gold and silver, and Turner came several times into the room while Constable was heightening with vermilion and lake the decorations and flags of the city barges. Turner stood behind Constable, looking from "Waterloo" to his own picture, and at last went and got his palette from the Great Room where he had been touching another picture. He then put a round daub of red lead, "somewhat bigger than a shilling, on his grey sea, [and] went away without saying a word. The intensity of the red lead, made more vivid by the coolness of his picture, caused even the vermilion and lake of Constable to look weak. I came into the room just as Turner left it. "He as been here," Said Constable, "and fired a gun.

The General knew he would probably die, for infantry took pleasure in killing cavalry and he would be the leading horseman in the attack on the bridge, but the General was a soldier and he had long learned that a soldier’s real enemy is the fear of death. Beat that fear and victory was certain, and victory brought glory and fame and medals and money and, best of all, sweetest of all, most glorious and wondrous of all, the modest teasing grin of a short black-haired Emperor who would pat the Dragoon General as though he was a faithful dog, and the thought of that Imperial favour made the General quicken his horse and raise his battered sword.

Alec’s.

I ordered a third pint, skillfully avoiding eye contact with the barman when Ange arrived. It had been four months since I last saw her. Four months since she'd got the phone call from the police. I'd been gone a week, and had ended up under Waterloo Bridge, apparently trying to find a building site I thought I was managing. I'd been out of work for a year. Without a word she drove me to a cheap hotel in Worthing, a few miles from home. She'd already dumped my clothes inside. In the Green Man, Ange's blonde hair was longer than I remembered. I wanted to tell her she looked pretty but she curled her lip when she saw me, as if I smelt bad, and she didn't look pretty anymore.

When I play ‘Waterloo Sunset’ I see us walking over Waterloo Bridge and her turning to me and saying, ‘I never knew a man so well that I didn’t know at all.’ She shouldn’t mind about that. No one knows. Not even the PK and Bill and I’m with them every day. That’s all right. What I show people and what I am – those are two separate things. Isn’t it the same for everyone?

I told him I wanted to wait until he came back to do things properly.’ She was choking up and Evelyn fished a hanky from her pocket. ‘Not for the dress, or the cake or the toast and speeches. Not for the ring or the honeymoon. For Dad.

Rome was taken by the Allies

You got nowhere running around Inner Circle. Instead, I dodged shoppers and strollers all the way down Southampton Row, onto Kingsway, a right onto Aldwych and over the Strand; then it was a race with the shadows of the double-deckers crossing Waterloo Bridge and a few bounces down the steps of Southbank to fall in with the ferries and barges, all of us purposefully gliding.

John Vernall lifted up his head, the milk locks that had given him his nickname stirring in the third floor winds, and stared with pale grey eyes out over Lambeth, over London. Snowy's dad had once explained to him and his young sister Thursa how by altering one's altitude, one's level on the upright axis of this seemingly three-planed existence, it was possible to catch a glimpse of the elusive fourth plane, the fourth axis, which was time. Or was at any rate, at least in Snowy's understanding of their father's Bedlam lectures, what most people saw as time from the perspective of a world impermanent and fragile, vanished into nothingness and made anew from nothing with each passing instant, all its substance disappeared into a past that was invisible from their new angle and which thus appeared no longer to be there. For the majority of people, Snowy realised, the previous hour was gone forever and the next did not exist yet. They-were trapped in their thin, moving pane of Now: a filmy membrane that might fatally disintegrate at any moment, stretched between two dreadful absences. This view of life and being as frail, flimsy things that were soon ended did not match in any way with Snowy Vernall's own, especially not from a glorious vantage like his current one, mucky nativity below and only reefs of hurtling cloud above. His increased elevation had proportionately shrunken and reduced the landscape, squashing down the buildings so that if he were by some means to rise higher still, he knew that all the houses, churches and hotels would be eventually compressed in only two dimensions, flattened to a street map or a plan, a smouldering mosaic where the roads and lanes were cobbled silver lines binding factory-black ceramic chips in a Miltonic tableau. From the roof-ridge where he perched, soles angled inwards gripping the damp tiles, the rolling Thames was motionless, a seam of iron amongst the city's dusty strata. He could see from here a river, not just shifting liquid in a stupefying volume. He could see the watercourse's history bound in its form, its snaking path of least resistance through a valley made by the collapse of a great chalk fault somewhere to the south behind him, white scarps crashing in white billows a few hundred feet uphill and a few million years ago. The bulge of Waterloo, off to his north, was simply where the slide of rock and mud had stopped and hardened, mammoth-trodden to a pasture where a thousand chimneys had eventually blossomed, tarry-throated tubeworms gathering around the warm miasma of the railway station. Snowy saw the thumbprint of a giant mathematic power, untold generations caught up in the magnet-pattern of its loops and whorls. On the loose-shoelace stream's far side was banked the scorched metropolis, its edifices rising floor by floor into a different kind of time, the more enduring continuity of architecture, markedly distinct from the clock-governed scurry of humanity occurring on the ground. In London's variously styled and weathered spires or bridges there were interrupted conversations with the dead, with Trinovantes, Romans, Saxons, Normans, their forgotten and obscure agendas told in stone. In celebrated landmarks Snowy heard the lonely, self-infatuated monologues of kings and queens, fraught with anxieties concerning their significance, lives squandered in pursuit of legacy, an optical illusion of the temporary world which they inhabited. The avenues and monuments he overlooked were barricades' against oblivion, ornate breastwork flung up to defer a future in which both the glorious structures and the memories of those who'd founded them did not exist.