Inspirational quotes with line.
Out of my thoughts! You are part of my existence, part of myself. You have been in every line I have ever read, since I first came here, the rough common boy whose poor heart you wounded even then. You have been in every prospect I have ever seen since – on the river, on the sails of the ships, on the marshes, in the clouds, in the light, in the darkness, in the wind, in the woods, in the sea, in the streets. You have been the embodiment of every graceful fancy that my mind has ever become acquainted with. The stones of which the strongest London buildings are made, are not more real, or more impossible to displace with your hands, than your presence and influence have been to me, there and everywhere, and will be. Estella, to the last hour of my life, you cannot choose but remain part of my character, part of the little good in me, part of the evil. But, in this separation I associate you only with the good, and I will faithfully hold you to that always, for you must have done me far more good than harm, let me feel now what sharp distress I may. O God bless you, God forgive you!
I imagine a line, a white line, painted on the sand and on the ocean, from me to you.
That was the only time, as I stood there, looking at that strange rubbish, feeling the wind coming across those empty fields, that I started to imagine just a little fantasy thing, because this was Norfolk after all, and it was only a couple of weeks since I’d lost him. I was thinking about the rubbish, the flapping plastic in the branches, the shore-line of odd stuff caught along the fencing, and I half-closed my eyes and imagined this was the spot where everything I'd ever lost since my childhood had washed up, and I was now standing here in front of it, and if I waited long enough, a tiny figure would appear on the horizon across the field, and gradually get larger until I'd see it was Tommy, and he'd wave, maybe even call. The fantasy never got beyond that --I didn't let it-- and though the tears rolled down my face, I wasn't sobbing or out of control. I just waited a bit, then turned back to the car, to drive off to wherever it was I was supposed to be.
We are the ones who take this thing called music and line it up with this thing called time. We are the ticking, we are the pulsing, we are underneath every part of this moment. And by making the moment our own, we are rendering it timeless. There is no audience. There are no instruments. There are only bodies and thoughts and murmurs and looks. It's the concert rush to end all concert rushes, because this is what matters. When the heart races, this is what it's racing towards.
The truth was...he was in love with her. Totally over-the-line, no-going-back, not-even-dead-would-he-part kind of shit.
The Quiet WorldIn an effort to get people to lookinto each other’s eyes more,and also to appease the mutes,the government has decidedto allot each person exactly one hundred and sixty-seven words, per day.When the phone rings, I put it to my ear without saying hello. In the restaurant I point at chicken noodle soup.I am adjusting well to the new way.Late at night, I call my long distance lover, I only used fifty-nine today. When she doesn’t respond,I know she’s used up all her words, thirty-two and a third times.After that, we just sit on the line and listen to each other breathe.
The bottom line is that we never fall for the person we're supposed to.
Better to put your heart on the line, risk everything, and walk away with nothing than play it safe. Love is a lot of things, but “safe” isn’t one of them.
I want you, Hank. I'm much more of an animal than you think. I wanted you from the first moment I saw you - and the only thing I'm ashamed of is that I did not know it. I did not know why, for two years, the brightest moments I found were the ones in your office, where I could lift my head to look up at you. I did not know the nature of what I felt in your presence, nor the reason. I know it now. That is all I want, Hank. I want you in my bed - and you are free of me for all the rest of your time. There's nothing you'll have to pretend - don't think of me, don't feel; don't care - I do not want your mind, your will, your being or your soul, so long as it's to me you will come for that lowest one of your desires. I am an animal who wants nothing but the sensation of pleasure which you despise - but I want it from you. You'd give up amy height of virtue for it , while I - I haven't any to give up. There's none I seek or wish to reach. I am so low that I would exchange the greatest sight of beauty in the world for the sight of your figure in the cab of a railroad engine. Amd seeing it, I would not be able to see it indifferently. You don't have to fear that you're now dependent on me. It's I who will depend on any whim of yours. You'll have me anytime you wish, anywhere, on any terms. Did you call it the obscenity of my talent? It's such that it gives you a safer hold on me than on any other property you own. You may dispose of me as you please - I'm not afraid to admit it - I have nothing to protect from you and nothing to reserve. You think that this is a threat to your achievement, but it is not to mine. I will sit at my desk, and work, and when the things around me get hard to bear, I will think that for my reward I will be in your bed that night. Did you call it depravity? I am much more depraved than you are: you hold it as your guilt, and I - as my pride. I'm more proud of it than anything I've done, more proud than of building the Line. If I'm asked to name my proudest attainment, I will say: I have slept with Hank Rearden. I had earned it.
You think I'm prettyWithout any make-up onYou think I'm funnyWhen I tell the puch line wrongI know you get meSo I'll let my walls come down, down
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.
Clary shut her eyes. You didn't say no to an angel, no matter what it had in mind. Her heart pounding, she sat floating in the darkness behind her eyelids, resolutely trying not to think of Jace. But his face appear against the blank screen of her closed eyelids anyway - not smiling at her but looking sidelong, and she could see the scar at his temple, the uneven curl at the corner of his mouth, and the silver line on his throat where Simon had bitten him - all the marks and flaws and imperfections that made up the person she loved most in the world. Jace. A bright light lit her vision to scarlet, and she fell back against the sand, wondering if she was going to pass out - or maybe she was dying - but she didn't want to die, not now that she could see Jace's face so clearly in front of her. She could almost hear his voice, too, saying her name, the way he'd whispered it at Renwick's, over and over again. Clary. Clary. Clary."Clary," Jace said. "Open your eyes.
Sought we the Scrivani word-work of SurthurLong-lost in ledger all hope forgotten.Yet fast-found for friendship fair the book-bringerHot comes the huntress Fela, flushed with findingBreathless her breast her high blood risingTo ripen the red-cheek rouge-bloom of beauty.“That sort of thing,” Simmon said absently, his eyes still scanning the pages in front of him.I saw Fela turn her head to look at Simmon, almost as if she were surprised to see him sitting there.No, it was almost as if up until that point, he’d just been occupying space around her, like a piece of furniture. But this time when she looked at him, she took all of him in. His sandy hair, the line of his jaw, the span of his shoulders beneath his shirt. This time when she looked, she actually saw him.Let me say this. It was worth the whole awful, irritating time spent searching the Archives just to watch that moment happen. It was worth blood and the fear of death to see her fall in love with him. Just a little. Just the first faint breath of love, so light she probably didn’t notice it herself. It wasn’t dramatic, like some bolt of lightning with a crack of thunder following. It was more like when flint strikes steel and the spark fades almost too fast for you to see. But still, you know it’s there, down where you can’t see, kindling.
...and you drink a little too much and try a little too hard. And you go home to a cold bed and think, 'That was fine'. And your life is a long line of fine.
Bet you can't even name one romantic movie you like," she teased.She felt smug when a few minutes went by and Oliver was still unable to name one romantic movie he could profess to enjoy.The Empire Strikes Back," Oliver finally declared, tapping his horn at a Prius that wandered over the line.The Empire Strikes Back? The Star Wars movie? That's not romantic!" Schuyler huffed, fiddling with the air conditioner controls.Au contraire, my dear, it's very romantic. The last scene, you know, when they're about to put Han in that freezing cryogenic chamber or whatever? Remember?"Schuyler mmm-hmmmed.And Leia leans over the ledge and says, 'I love you.'"That's cheesy, not romatic," Schuyler argued, although she did like that part.Let me explain. What's romantic is what Han says back. Remember what he says to her? After she says 'I love you'?"Schuyler grinned. Maybe Oliver had a point. "Han says, 'I know.'"Exactly," Oliver tapped the wheel. "He doesn't have to say anything so trite as 'I love you." Because that's already understood. And that's romantic.
Bottom line is, even if you see 'em coming, you're not ready for the big moments. No one asks for their life to change, not really. But it does. So what are we, helpless? Puppets? No. The big moments are gonna come. You can't help that. It's what you do afterwards that counts. That's when you find out who you are.
The best thing, though, in that museum was that everything always stayed right where it was. Nobody'd move. You could go there a hundred thousand times, and that Eskimo would still be just finished catching those two fish, the birds would still be on their way south, the deers would still be drinking out of that water hole, with their pretty antlers and they're pretty, skinny legs, and that squaw with the naked bosom would still be weaving that same blanket. Nobody's be different. The only thing that would be different would be you. Not that you'd be so much older or anything. It wouldn't be that, exactly. You'd just be different, that's all. You'd have an overcoat this time. Or the kid that was your partner in line the last time had got scarlet fever and you'd have a new partner. Or you'd have a substitute taking the class, instead of Miss Aigletinger. Or you'd heard your mother and father having a terrific fight in the bathroom. Or you'd just passed by one of those puddles in the street with gasoline rainbows in them. I mean you'd be different in some way—I can't explain what I mean. And even if I could, I'm not sure I'd feel like it.
I seem to have run in a great circle, and met myself again on the starting line.
I've crossed some kind of invisible line. I feel as if I've come to a place I never thought I'd have to come to. And I don't know how I got here. It's a strange place. It's a place where a little harmless dreaming and then some sleepy, early-morning talk has led me into considerations of death and annihilation.
Pulvis et umbra sumus. It's a line from Horace. 'We are dust and shadows'. Appropriate, don't you think?" Will said. "It's not a long life, killing demons; one tends to die young, and then they burn your body - dust to dust, in the literal sense. And then we vanish into the shadows of history, nary a mark on the page of a mundane book to remind the world that once we existed at all.
Life is not a straight line leading from one blessing to the next and then finally to heaven. Life is a winding and troubled road. Switchback after switchback. And the point of biblical stories like Joseph and Job and Esther and Ruth is to help us feel in our bones (not just know in our heads) that God is for us in all these strange turns. God is not just showing up after the trouble and cleaning it up. He is plotting the course and managing the troubles with far-reaching purposes for our good and for the glory of Jesus Christ.
Life should be a risk. It's more than a straight line that you can see clearly from one point to the other. It dips and curves and you never know what's around the bend sometimes until you get there. That scares a lot of people. But that's the beauty of it.
It would be perfect if everyone who makes love, is in love, but this is simply an unrealistic expectation. I'd say 75 percent of the population of people who make love, are not in love, this is simply the reality of the human race, and to be idealistic about this is to wait for the stars to aline and Jupiter to change color; for the Heavens to etch your names together in the sky before you make love to someone. But idealism is immaturity, and as a matter of fact, the stars may never aline, Jupiter may never change color, and the Heavens may never ever etch your names together in the sky for you to have the never-ending permission to make endless love to one another. And so the bottom line is, there really is no difference between doing something today, and doing something tomorrow, because today is what you have, and tomorrow may not turn out the way you expect it to. At the end of the day, sex is an animalistic, humanistic, passionate desire.
There is a very fine line between loving life and being greedy for it.
The straight line, a respectable optical illusion which ruins many a man.
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