Quotes with columns

With a chaste heart With pure eyes I celebrate your beautyHolding the leash of bloodSo that it might leap out and trace your outline Where you lie down in my Ode As in a land of forests or in surfIn aromatic loam, or in sea musicBeautiful nudeEqually beautiful your feetArched by primeval tap of wind or soundYour ears, small shellsOf the splendid American seaYour breasts of level plentitudeFulfilled by living lightYour flying eyelids of wheatRevealing or enclosingThe two deep countries of your eyesThe line your shoulders have divided into pale regionsLoses itself and blends into the compact halves of an apple Continues separating your beauty down into two columns ofBurnished goldFine alabasterTo sink into the two grapes of your feetWhere your twin symmetrical tree burns again and risesFlowering fireOpen chandelierA swelling fruit Over the pact of sea and earth From what materialsAgate?Quartz?Wheat?Did your body come together?Swelling like baking bread to signal silvered hills The cleavage of one petal Sweet fruits of a deep velvet Until alone remainedAstonished The fine and firm feminine form It is not only light that falls over the world spreading inside your bodyYet suffocate itselfSo much is clarity Taking its leave of youAs if you were on fire within The moon lives in the lining of your skin.

Well, Mr. Frankel, who started this program, began to suffer from the computer disease that anybody who works with computers now knows about. It's a very serious disease and it interferes completely with the work. The trouble with computers is you *play* with them. They are so wonderful. You have these switches - if it's an even number you do this, if it's an odd number you do that - and pretty soon you can do more and more elaborate things if you are clever enough, on one machine.After a while the whole system broke down. Frankel wasn't paying any attention; he wasn't supervising anybody. The system was going very, very slowly - while he was sitting in a room figuring out how to make one tabulator automatically print arc-tangent X, and then it would start and it would print columns and then bitsi, bitsi, bitsi, and calculate the arc-tangent automatically by integrating as it went along and make a whole table in one operation.Absolutely useless. We *had* tables of arc-tangents. But if you've ever worked with computers, you understand the disease - the *delight* in being able to see how much you can do. But he got the disease for the first time, the poor fellow who invented the thing.

Beautiful building,” Phoebe said. Sam nodded. “Classical Revival,” he said. It was yet another display of his seemingly unending knowledge that both made her proud and made her feel very small. Maybe if she had gone to college she would have learned about building styles and understand what Classical Revival meant. They could have intelligent discussions about things like rooflines and columns.

I thought I was getting away from politics for a while. But I now realise that the vuvuzela is to these World Cup blogs what Julius Malema is to my politics columns: a noisy, but sadly unavoidable irritant. With both Malema and the vuvuzela, their importance is far overstated. Malema: South Africa's Robert Mugabe? I think not. The vuvuzela: an archetypal symbol of 'African culture?' For African civilisation's sake, I seriously hope not.Both are getting far too much airtime than they deserve. Both have thrust themselves on to the world stage through a combination of hot air and raucous bluster. Both amuse and enervate in roughly equal measure. And both are equally harmless in and of themselves — though in Malema's case, it is the political tendency that he represents, and the right-wing interests that lie behind his diatribes that is dangerous. With the vuvu I doubt if there are such nefarious interests behind the scenes; it may upset the delicate ears of the middle classes, both here and at the BBC, but I suspect that South Africa's democracy will not be imperilled by a mass-produced plastic horn.

There is a love for structure in them that I recognize, and a desire to worship correctness that I know and I share. When I look at them, I think: to prize traditionalism above all else in a church that began in revolution is to do a great violence to it. But I feel that same ache for the past in myself: to uphold the columns of literature, grammar, the Western tradition. The English language began as an upheaval; I am not protecting it when I try to guard it against change. The Jesus Christ of it, Chaucer, walked across the water telling dirty jokes, made twenty stories stretch to feed a million people, spelled the word "cunt" five ways, performed miracles. Any innovation I put down on paper is an attempt to remind myself of this. I am not modern. I was not born to blaze new paths or bring down walls. I break form against my nature to tell myself that revolution, too, is a tradition that must be upheld.

But I don’t understand. Why do you want me to think that this is great architecture? He pointed to the picture of the Parthenon.That, said the Dean, is the Parthenon.- So it is.- I haven’t the time to waste on silly questions.- All right, then. - Roark got up, he took a long ruler from the desk, he walked to the picture. - Shall I tell you what’s rotten about it?- It’s the Parthenon! - said the Dean.- Yes, God damn it, the Parthenon!The ruler struck the glass over the picture.- Look,- said Roark. - The famous flutings on the famous columns – what are they there for? To hide the joints in wood – when columns were made of wood, only these aren’t, they’re marble. The triglyphs, what are they? Wood. Wooden beams, the way they had to be laid when people began to build wooden shacks. Your Greeks took marble and they made copies of their wooden structures out of it, because others had done it that way. Then your masters of the Renaissance came along and made copies in plaster of copies in marble of copies in wood. Now here we are, making copies in steel and concrete of copies in plaster of copies in marble of copies in wood. Why?

From the olive-strewn forum, one could see the village down below. Not a sound came from it; wisps of smoke rose in the limpid air. The sea also lay silent, as if breathless beneath the unending shower of cold, glittering light. From the Chenoua, a distant cock crow alone sang the fragile glory of the day. Across the ruins, as far as one could see, there were nothing but pitted stones and absinthe plants, trees and perfect columns in the transparence of the crystal air. It was as if the morning stood still, as if the sun had stopped for an immeasurable moment. In this light and silence, years of night and fury melted slowly away. I listened to an almost forgotten sound within myself, as if my heart had long been stopped and was now gently beginning to beat again.

A man [Joyce] whose earliest stories appeared next to the manure prices in the Irish Homestead knew that columns of prose, like columns of shit, could both recultivate the earth.

Elijah is inexplicably moved by the broken columns and fragmented floors. He cannot help but find a meaning and a message in their poverty of stature. This is what remains, he thinks. It seems a valuable lesson on a day when card catalogs are dying, communications are deleted, and buildings crumble under the weight of society’s expectations.

I see the last two millennia as laid out in columns, like a reverse ledger sheet. It's as if I'm standing at the top of the twenty-first century looking downwards to 2000. Future centuries float as a gauzy sheet stretching over to the left. I also see people, architecture and events laid out chronologically in the columns. When I think of the year 1805, I see Trafalgar, women in the clothes of that era, famous people who lived then, the building, etc. The sixth to tenth centuries are very green, the Middle Ages are dark with vibrant splashes of red and blue and the sixteenth and seventeenth centuries are brown with rich, lush colours in the furniture and clothing.

My father once made us," she began, "keep a diary, in two columns; on one side we were to put down in the morning what we thought would be the course and events of the coming day, and at night we were to put down on the other side what really had happened. It would be to some people rather a sad way of telling their lives," (a tear dropped upon my hand at these words) - "I don't mean that mine has been sad, only so very different to what I expected.

Enormous oak trees towered over the boulevard, which boasted homes with fine woodwork, wraparound porches, and moss on the sidewalks. 'There’s nothing like a house in New Orleans. Would you look at those balconies and columns?' He rolled his window down to take in the sounds of life in New Orleans.

Every feeling I ever knew was up in that sky: Twinkling joyous sunlight; airy, giggling cloud wisps; blinding columns of sun. Orbs of gold, pink, flesh, utterly cheesy in their luminosity. Gigantic puffy clouds, welcoming, forgiving, repeating infinitely across the horizon as if between mirrors; and slices of rain, pounding wet misery in the distance now, but soon on us, and in another part of the sky, a black stain, rainless.