Inspirational quotes with heady.
Love.Because of you, in gardens of blossomingFlowers I ache from the perfumes of spring.I have forgotten your face, I no longerRemember your hands; how did your lipsFeel on mine?Because of you, I love the white statuesDrowsing in the parks, the white statues thatHave neither voice nor sight.I have forgotten your voice, your happy voice;I have forgotten your eyes.Like a flower to its perfume, I am bound toMy vague memory of you. I live with painThat is like a wound; if you touch me, you willMake to me an irreperable harm.Your caresses enfold me, like climbingVines on melancholy walls.I have forgotten your love, yet I seem toGlimpse you in every window.Because of you, the heady perfumes ofSummer pain me; because of you, I againSeek out the signs that precipitate desires:Shooting stars, falling objects.
I was suffering the easily foreseeable consequences. Addiction is the hallmark of every infatuation-based love story. It all begins when the object of your adoration bestows upon you a heady, hallucinogenic dose of something you never dared to admit you wanted-an emotional speedball, perhaps, of thunderous love and roiling excitement. Soon you start craving that intense attention, with a hungry obsession of any junkie. When the drug is witheld, you promptly turn sick, crazy, and depleted (not to mention resentful of the dealer who encouraged this addiction in the first place but now refuses to pony up the good stuff anymore-- despite the fact that you know he has it hidden somewhere, goddamn it, because he used to give it to you for free). Next stage finds you skinny and shaking in a corner, certain only that you would sell your soul or rob your neighbors just to have 'that thing' even one more time. Meanwhile, the object of your adoration has now become repulsed by you. He looks at you like you're someone he's never met before, much less someone he once loved with high passion. The irony is,you can hardly blame him. I mean, check yourself out. You're a pathetic mess,unrecognizable even to your own eyes. So that's it. You have now reached infatuation's final destination-- the complete and merciless devaluation of self." - pg 20-21
A towel, [The Hitchhiker's Guide to the Galaxy] says, is about the most massively useful thing an interstellar hitchhiker can have. Partly it has great practical value. You can wrap it around you for warmth as you bound across the cold moons of Jaglan Beta; you can lie on it on the brilliant marble-sanded beaches of Santraginus V, inhaling the heady sea vapors; you can sleep under it beneath the stars which shine so redly on the desert world of Kakrafoon; use it to sail a miniraft down the slow heavy River Moth; wet it for use in hand-to-hand-combat; wrap it round your head to ward off noxious fumes or avoid the gaze of the Ravenous Bugblatter Beast of Traal (such a mind-boggingly stupid animal, it assumes that if you can't see it, it can't see you); you can wave your towel in emergencies as a distress signal, and of course dry yourself off with it if it still seems to be clean enough.
It called to him, a sweet heady beacon of femininity, fertility, and fuckability. His three favorite f-words.
A phrase began to beat in my ears with a sort of heady excitement: "There are only the pursued, the pursuing, the busy and the tired.
A number of years ago, when I was a freshly-appointed instructor, I met, for the first time, a certain eminent historian of science. At the time I could only regard him with tolerant condescension.I was sorry of the man who, it seemed to me, was forced to hover about the edges of science. He was compelled to shiver endlessly in the outskirts, getting only feeble warmth from the distant sun of science- in-progress; while I, just beginning my research, was bathed in the heady liquid heat up at the very center of the glow.In a lifetime of being wrong at many a point, I was never more wrong. It was I, not he, who was wandering in the periphery. It was he, not I, who lived in the blaze.I had fallen victim to the fallacy of the 'growing edge;' the belief that only the very frontier of scientific advance counted; that everything that had been left behind by that advance was faded and dead.But is that true? Because a tree in spring buds and comes greenly into leaf, are those leaves therefore the tree? If the newborn twigs and their leaves were all that existed, they would form a vague halo of green suspended in mid-air, but surely that is not the tree. The leaves, by themselves, are no more than trivial fluttering decoration. It is the trunk and limbs that give the tree its grandeur and the leaves themselves their meaning., 'it is because I have stood on the shoulders of giants.
Oh, September! It is so soon for you to lose your friends to good work and strange loves and high ambitions. The sadness of that is too grown-up for you. Like whiskey and voting, it is a dangerous and heady business, as heavy as years. If I could keep your little tribe together forever, I would. I do so want to be generous. But some stories sprout bright vines that tendril off beyond our sight, carrying the folk we love best with them, and if I knew how to accept that with grace, I would share the secret.
But the death of spirit goes by another name. It is usually called the birth of reason.The dreams of reason are, at this late date, everywhere to be seen, much like headstones in a cemetery. The inertia of a standard which prunes every tree to the dimensions of a utility pole will, with the same determination, core the heart out of the human personality. This fermenting mind, intoxicated by its heady sobriety, methodically slits its own throat, all the while mistaking the elongating wound for a smile.When the spirit is free, according to Nietzsche, the head will be the bowels of the heart. In these top heavy days that have turned life topsy-turvy the head has little appetite for freedom. Instead it has developed a taste for coprophagy.
She clutched the train ticket tighter and waited for the sense of escape to come over her as it had a dozen times before, that heady sensation of having just scooted through the clanging gate, of eluding the thrown net. It didn't come. She was running again, but she wasn't escaping. She'd been chased to ground a long, long time ago.
Rome was mud and smoky skies; the rank smell of the Tiber and the exotically spiced cooking fires of a hundred different nationalities. Rome was white marble and gilding and heady perfumes; the blare of trumpets and the shrieking of market-women and the eternal, sub-aural hum of more people, speaking more languages than Gaius had ever imagined existed, crammed together on seven hills whose contours had long ago disappeared beneath this encrustation if humanity. Rome was the pulsing heart of the world.
Some contemporary theology has been enamored with the heady idea of an imagined freedom that functions without any law or norm or rule of obligation. The technical name for this idea is antinomianism. This yen for freedoms other than Christ's freedom has compounded the problems in pastoral theology. Pastoral practice has at times been exceedingly ready to be guided by this antinomian tendency in theology that implies: if God loves you no matter what, then your own moral responses to God's absolute acceptance make little or no difference; God is going to love you anyway, so assert your individual interest, express yourself, do as you please, and above all do not repress any impulses. It is on the basis of this normless, egocentric relativism that much well-intended liberal pastoral practice has accommodated to naturalism, narcissism, and individualism. It has therefore steered consistently away from any notion of admonition, hoping to avoid 'guilt trips.' But ironically, guilt is more likely to be INCREASED by the lack of timely, caring admonition. For if there is no compassionate admonition, we tend to hide our guilt in ways that make it worse.
The ascendancy over men's minds of the ruins of the stupendous past, the past of history, legend and myth, at once factual and fantastic, stretching back and back into ages that can but be surmised, is half-mystical in basis. The intoxication, at once so heady and so devout, is not the romantic melancholy engendered by broken towers and mouldered stones; it is the soaring of the imagination into the high empyrean where huge episodes are tangled with myths and dreams; it is the stunning impact of world history on its amazed heirs.
Down the hill I went, and then,I forgot the ways of men,For night-scents, heady and damp and coolWakened ecstasy
Without thinking, I step a little closer, reaching out slowly to slide a fingertip over the largest petal of the lily tattoo on her lower back. Instantly a vibration moves up my arm, and I swear the mark on my hand burns against my skin.I clench my fingers into a fist, but I don’t step away.“Did you feel that?” she asks.I shake my head. “I don’t know.” I feel so much, always so much.She takes my hand and brings it to her side again, resting it on the violets. I look at thepurple flowers between my fingers and feel the heat of her skin, the way it slides beneath my palm, soft as silk. And that vibration moves through my arm again.Her breath quickens.I find myself moving closer as her blue eyes go wide with wonder. My heart stutters and my chest aches with some unknown need.“Are you doing this?” I ask. Is she making me want this?“No,” she breathes. The smell of her turns to spice, sharp and warm, and I know I’m sensing her now, even through the block in the house.We stand like that for an eternity, still as statues on the outside, but inside I’m running, running toward a place I’ve never been. I should be terrified. But all I feel is strength. Rightness.And then Kara moves, her hands skimming up my chest, testing the boundaries. Her palms slide to my shoulders, her fingers tracing the line of the muscles in my arms, down to my waist. She grips my shirt, stretching it a little, waiting for me to tell her to stop. But I watch her lift it, let her pull it up, raising my arms, and I even take the last of it off myself, dropping it to the floor.We breathe, staring at each other.The vibrations move between us. My left arm buzzes with them. I think she’s doing it. Whatever’s happening, it’s her.I reach up and brush my marked knuckles across her cheek, amazed at the feel of her, the way her eyes seem to see everything, the way she pulls me into her. I can’t seem to remember why I shouldn’t kiss her. And kiss her. And . . .I kiss her, taking her face in both hands, skimming my thumb over her jaw as she leans into the touch, reaching out to curl her fingers around the back of my neck. I have to remind myself to breathe. I need more of her. The emotions roll over me in a rush, a tangle of sensation and movement, heat and sugar and heady aromas.I grip her tighter.Her nails dig into my shoulders. My hands slide down her spine. The kiss deepens, goes on forever, until I can barely see sense. I explore her shape, the feel of her ribs, the textures and taste of her skin on my tongue as I kiss her neck, her shoulders, her chest. As I draw trembling gasps from her lips, she grips me so hard it hurts.Our bodies mesh. Our breath mingles in frenzied desperation. Nothing else exists except her. Her warmth. Her spice. Her.
There is a heady sense of manhood that comes from advancing from apathy to commitment, from timidity to courage, from passivity to aggressiveness. There is an intoxication that comes from standing up to the police at last.
Scholarly acumen sharpens taste and judgment, but we must never mistake criticism for art. Intellectual analysis, however heady, will not nourish the soul.
When it begins it is like a light in a tunnel, a rush of steel andsteam across a torn up life. It is a low rumble, an earthquake in theback of the mind. My spine is a track with cold black steel racing onit, a trail of steam and dust following behind, ghost like. It feelslike my whole life is holding its breath.By the time she leaves the room I am surprised that she can’t see thetrain. It has jumped the track of my spine and landed in my mothers’living room. A cold dark thing, black steel and redwood paneling. Itis the old type, from the western movies I loved as a kid.He throws open the doors to the outside world, to the dark ocean. Ifeel a breeze tugging at me, a slender finger of wind that catches atmy shirt. Pulling. Grabbing. I can feel the panic build in me, theneed to scream or cry rising in my throat.And then I am out the door, running, tumbling down the steps fallingout into the darkened world, falling out into the lifeless ocean. Outinto the blackness. Out among the stars and shadows.And underneath my skin, in the back of my head and down the back of myspine I can feel the desperation and I can feel the noise. I can feelthe deep and ancient ache of loudness that litters across my bones.It’s like an old lover, comfortable and well known, but unwelcome andinappropriate with her stories of our frolicking.And then she’s gone and the Conductor is closing the door. Thedarkness swells around us, enveloping us in a cocoon, pressing flatagainst the train like a storm. I wonder, what is this place?Those had been heady days, full and intense. It’s funny. I rememberthe problems, the confusions and the fears of life we all dealt with.But, that all seems to fade. It all seems to be replaced by images ofthe days when it was all just okay. We all had plans back then,patterns in which we expected the world to fit, how it was to bedeciphered.Eventually you just can’t carry yourself any longer, can’t keep youreyelids open, and can’t focus on anything but the flickering light ofthe stars. Hours pass, at first slowly like a river and then all in arush, a climax and I am home in the dorm, waking up to the ringing ofthe telephone.When she is gone the apartment is silent, empty, almost like a personsleeping, waiting to wake up. When she is gone, and I am alone, I curlup on the bed, wait for the house to eject me from its dying corpse.Crazy thoughts cross through my head, like slants of light in anattic.The Boston 395 rocks a bit, a creaking noise spilling in from theundercarriage. I have decided that whatever this place is, all thesenoises, sensations - all the train-ness of this place - is afabrication. It lulls you into a sense of security, allows you to feelas if it’s a familiar place. But whatever it is, it’s not a train, orat least not just a train.The air, heightened, tense against the glass. I can hear the squeak ofshoes on linoleum, I can hear the soft rattle of a dying man’sbreathing. Men in white uniforms, sharp pressed lines, run past,rolling gurneys down florescent hallways.
My heart broke a little at her unblemished view of life: She still believed in innocent secrets, the heady rush of a good mystery, and happily ever after... (I wasn't about to disabuse her of those sweet notions.)...Little girls should be allowed to dream.
It's a heady aphrodisiac being exposed to his unique voice when he adopts that tone. His voice reverbs on a bunch of notes simultaneously. It's the first thing you notice about Ryan, his voice sounds like an orchestra playing a symphony composed by angels. It's most distracting until you grow immune to it, and now I'm back to completely infected with the Ryan voice virus.
I had a heady dream of loving her, as if she were an actress on a stage of my own making; and as the night wore on, my imaginings wandered into make-believe, and died beyond the tent of the mosquito net, where Vincent was snoring, and the African stars were shining in through our lone window, and nothing was quite real.
This land, although not my native land,Will be remembered forever.And the sea's lightly iced,Unsalty water.The sand on the bottom is whiter than chalk,The air is heady, like wine,And the rosy body of the pinesIs naked in the sunset hour.And the sunset itself on such waves of etherThat I just can't comprehendWhether it is the end of the day, the end of the world,Or the mystery of mysteries in me again.
This is an education on seduction,” Delilah said in a reverent tone… Ariana let her gaze skim across the silk wall hangings and shrugged. “I’ve not ever kissed a man.” ... Truthfully, she had not. She’d been so fixed on her attempts to placate her parents in the hopes they might pay her the slightest bit of positive attention, she had not so much as considered kissing any man. Delilah’s fingers touched Ariana’s chin, feather light, and tilted her face toward hers. “It is the most delicious thing. Close your eyes and I will tell you of it.” Obediently, Ariana closed her eyes, hoping if she did as she was told, the lesson would end sooner. It was an awkward sensation to sit in the ridiculous pillow-laden room with one’s eyes closed. “Relax,” Delilah said in a velvety tone. “Listen.” Ariana let her muscles slacken. “Imagine a man, tall and lean with muscle.” Delilah’s voice was quietly intimate. Hypnotic. “He’s staring at you as if you were the only women he’d ever seen. Truly seen. The only woman he’s ever wanted. The desire for you burning in his eyes.” Hazel eyes rose to the forefront of Ariana’s mind, a sharp jaw shadowed with a day’s growth of beard. Connor. She swallowed. “His arms come around you,” Delilah continued. “So strong, so warm. They offer you a protection unlike anything you’ve ever felt and make you wish you could melt into his embrace for the rest of your life.” In Ariana’s mind, Connor’s arms wrapped around her. But she didn’t shy from his touch – she welcomed. It. The chill of the room ebbed into a pleasant heat. “Your eyes meet. His fingers touch your face and his breath whispers over your lips. He lowers his head and you close your eyes just as his mouth touches yours, warm and demanding.” Ariana’s heart quickened and her breathing went almost ragged. Her mouth was suddenly dry and she flicked her tongue over her lips. “His body is a wall of strength against you, holding you upright, as your knees feel as though they will buckle. Then his tongue strokes yours, velvet fire and heady seduction.” Ariana drew a shaky breath….
Thunderbird ascended on the heady currents of air that bore her high above the vast landscape of Túwaqachi. She stretched her broad wings, the heat lifting her through the silence, her glossy brown feathers shimmering in the sunlight.
Everything happens at night.The world changes, the shadows grow, there's secrecy and privacy in dark places. First kiss at night, by the monkey bars and the old swings that the children and their parents have vacated; second, longer kiss, by the bike stands, swirl of dust around feet in the dry summer air. Awkward words, like secrets just waiting to be broken, the struggle to find the right ones, the heady fear of exposure --- what if, what if --- the joy when the words are returned. Love, in the parkette, while the moon waxes and the clouds pass.Promises at night. Not first promises --- those are so old they can't be remembered --- but new promises, sharp and biting; they almost hurt to say, but it's a good hurt. Dreams at night, before sleep, and dreams during sleep.Everything, always, happens at night.
Every week seems to bring another luxuriantly creamy envelope, the thickness of a letter-bomb, containing a complex invitation – a triumph of paper engineering – and a comprehensive dossier of phone numbers, email addresses, websites, how to get there, what to wear, where to buy the gifts. Country house hotels are being block-booked, great schools of salmon are being poached, vast marquees are appearing overnight like Bedouin tent cities. Silky grey morning suits and top hats are being hired and worn with an absolutely straight face, and the times are heady and golden for florists and caterers, string quartets and Ceilidh callers, ice sculptors and the makers of disposable cameras. Decent Motown cover-bands are limp with exhaustion. Churches are back in fashion, and these days the happy couple are travelling the short distance from the place of worship to the reception on open-topped London buses, in hot-air balloons, on the backs of matching white stallions, in micro-lite planes. A wedding requires immense reserves of love and commitment and time off work, not least from the guests. Confetti costs eight pounds a box. A bag of rice from the corner shop just won’t cut it anymore.
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