Inspirational quotes with viola.
His noise is getting quieter, but I can still see it there still-See how he feels the skin of my hand against his, see how he wants to take it and press it against his mouth, how he wants to breathe in the smell of me and how beautiful I look to him, how strong after all that illness, and how he wants to just lightly touch my neck, just there, and how he wants to take me in his arms and-"Oh, God," he says, looking away suddenly. "Viola, I'm sorry, I didn't mean-"But I just put my hand to the back of his neck-And he says, "Viola-?"And I pull myself towards him-And I kiss him.And it feels like, finally.
You won't," says the Mayor, smiling again. "Everyone knows you aren't a killer, Todd."He pushes Viola forward again -She calls out from the pain of it -Viola, I think - -I grit my teeth and raise the rifle -I cock it -And I say what's true -"I would kill to save her," I say.
Viola to Duke Orsino: 'I'll do my best To woo your lady.'[Aside.] 'Yet, a barful strife! Whoe'er I woo, myself would be his wife.
She knew half of the correspondents had broken under the excruciating pressure. And the other half who said they had made it, simply lied. She also knew there was a good chance she would too. But it was still worth it. Because if Viola wanted anything approaching a deeper meaning, she knew it existed in moments filled with injustice and cruelty. That’s where true human nature lay for her. Not because of the ferocity itself but because of what came with it, true human heart and compassion.
As long as you have any floor space at all, you have room for books! Just make two stacks of books the same height, place them three or four feet apart, lay a board across them, and repeat. Viola! Bookshelves!
Life is a chain of choices. Making the correct one is never easy.”“That’s for sure,” agreed Rocky.“But if we didn’t make difficult choices, right or wrong,” said Mr. Veraldi, “we wouldn’t learn anything worth knowing." Rocky Ryan and his viola teacher, Mr. Veraldi, in Bully at Ambush Corner.
Viva fui in silvis sum dura occisa securi dum vixi tacui mortua dulce cano” is inscribed on the fingerboard of a 16th-century viola da gamba made by Kaspar Tieffenbrucker. It translates, “I was alive in the woods; I was cut down by the cruel axe. While I lived I was silent; In death I sweetly sing.
Inscribed on the fingerboard of a viola da gamba by Kaspar Tieffenbrucker: "Viva fui in silvis sum dura occisa securi dum vixi tacui mortua dulce cano." (I was alive in the woods; I was cut down by the cruel axe. While I lived I was silent; In death I sweetly sing.)
The viola and the clarinet made for an interesting pairing: we had to imagine the accompaniment of other instruments, ideally a violin and a cello.
The clock had been Sylvie's, and her mother's before that. It had gone to Ursula on Sylvie's death and Ursula had left it to Teddy, and so it had zigzagged its way down the family tree......The clock was a good one, made by Frodsham and worth quite a bit, but Teddy knew if he gave it to Viola she would sell it or misplace it or break it and it seemed important to him that it stayed in the family. An heirloom. ('Lovely word,' Bertie said.) He liked to think that the little golden key that wound it, a key that would almost certainly be lost by Viola, would continue to be turned by the hand of someone who was part of the family, part of his blood. The red thread.
Her breast was young, the nipples rosy. Cosimo just grazed it with his lips, before Viola slid away over the branches as if she were flying, with him clambering after her, and that skirt of hers always in his face
And with a massive roar the fifth wall comes down and the house of fiction falls, taking Viola and Sunny and Bertie with it. They melt into thin air and disappear. Pouf!
You won't," says the Mayor, smiling again. "Everyone knows you aren't a killer, Todd."He pushes Viola forward again -She calls out from the pain of it -Viola, I t
Deep down, Story Easton knew what would happen if she attempted to off herself—she would fail It was a matter of probability. This was not a new thing, failure. She was, had always been, a failure of fairy-tale proportion. Quitting wasn’t Story’s problem. She had tried, really tried, lots of things during different stages of her life—Girl Scours, the viola, gardening, Tommy Andres from senior year American Lit—but zero cookie sales, four broken strings, two withered azalea bushes, and one uniquely humiliating breakup later, Story still had not tasted success, and with a shriveled-up writing career as her latest disappointment, she realized no magic slippers or fairy dust was going to rescue her from her Anti-Midas Touch. No Happily Ever After was coming. So she had learned to find a certain comfort in failure. In addition to her own screw-ups, others’ mistakes became cozy blankets to cuddle, and she snuggled up to famous failures like most people embrace triumph. The Battle of Little Bighorn—a thing of beauty. The Bay of Pigs—delicious debacle. The Y2K Bug—gorgeously disappointing fuck-up. Geraldo’s anti-climactic Al Capone exhumation—oops! Jaws III—heaven on film. Tattooed eyeliner—eyelids everywhere, revolting. Really revolting. Fat-free potato chips—good Lord, makes anyone feel successful.
Orsino: For, boy, however we do praise ourselves,Our fancies are more giddy and unfirm,More longing, wavering, sooner lost and won,Than women's are. ...For women are as roses, whose fair flow'rBeing once display'd doth fall that very hour.Viola: And so they are; alas, that they are so!To die, even when they to perfection grow!
And I know I’ve lost.Everything is lost.Everything is over.“As the newly appointed President of this fair planet of ours,” the Mayor says, holding out his hands as if to show me the world for the first time,” let me be the very first to welcome you to its new capital city.”“Todd?” Viola whispers, her eyes closed.I hold her tightly to me.“I’m sorry,” I whisper to her. “I’m so sorry.”We’ve run right into a trap.We’ve run right off the end of the world.“Welcome,” says the Mayor,” to the New Prentisstown.
Scarlett activated the viola and it came down like short shimmering curtain that covered her eyes with a band of violet light. It dilated her eyes, increasing her binocular summation so that everything in her field of vision was magnified and clear. It also protected her retinas from any sort of laser fire or plasma flash.
A sematary," I say. "A what?" Viola says, looking round at all the square stones marking out their graves. Must be a hundred, maybe two, in orderly rows and well-kept grass. Settler life is hard and it's short and lotsa New World people have lost the battle."It's a place for burying dead folk,"
It is a measure of a nation their cunning! It is a measure of a nation their strength! And it is a measure of a nation," I leaned forward and screeched, "their mercy!" I leaned back and surveyed the crowd and for some bizarre reason kept right on shouting. The condemned you see before you have been tried justly and meet their sentence fairly. They have done wrong and they will pay for it. But I am not the Winter Princess of a nation who does not see that even the condemned deserve to be treated with respect as they face death. You may think they do not deserve it but it is your duty as Lunwynians to rise above their actionsnot fall to their depths. They will hang for their crimes and you will watch this sentence carried out.How could that not be enough for you?"I tore my eyes away from the now whispering crowd as those close sent my words far,feeling Frey’s arm still tight around my middle but I ignored it and looked down at the scaffold.Bring her to her feet,” I ordered the guardstanding around Viola and they shifted andstared up at me in stupefaction so I snapped,“ Bring her to her feet!”They jumped toward Viola who I avoidedlooking at as they helped her up and movedher to her noose. Instead, I looked back tothe crowd and, yep, you guessed it, kept right on shouting."Today, you witness something infinitely sad. Three people who have gone wrong somewhere in their lives, done wrong be-cause of it and therefore are paying the ulti-mate price. Do not stand there shouting and jeering, demonstrating that they were right to move against this great nation, those for-tunate enough to inhabit her ice-bound earth and those privileged to wear her crowns.Stand there and, as the Lunwynians I know you to be, stand strong, stand proud and stand filled with mercy.
In her fantastic mood she stretched her soft, clasped hands upward toward the moon. 'Sweet moon,' she said in a kind of mock prayer, 'make your white light come down in music into my dancing-room here, and I will dance most deliciously for you to see". She flung her head backward and let her hands fall; her eyes were half closed, and her mouth was a kissing mouth. 'Ah! sweet moon,' she whispered, 'do this for me, and I will be your slave; I will be what you will.'Quite suddenly the air was filled with the sound of a grand invisible orchestra. Viola did not stop to wonder. To the music of a slow saraband she swayed and postured. In the music there was the regular beat of small drums and a perpetual drone. The air seemed to be filled with the perfume of some bitter spice. Viola could fancy almost that she saw a smoldering campfire and heard far off the roar of some desolate wild beast. She let her long hair fall, raising the heavy strands of it in either hand as she moved slowly to the laden music. Slowly her body swayed with drowsy grace, slowly her satin shoes slid over the silver sand.The music ceased with a clash of cymbals. Viola rubbed her eyes. She fastened her hair up carefully again. Suddenly she looked up, almost imperiously."Music! more music!" she cried.Once more the music came. This time it was a dance of caprice, pelting along over the violin-strings, leaping, laughing, wanton. Again an illusion seemed to cross her eyes. An old king was watching her, a king with the sordid history of the exhaustion of pleasure written on his flaccid face. A hook-nosed courtier by his side settled the ruffles at his wrists and mumbled, 'Ravissant! Quel malheur que la vieillesse!' It was a strange illusion. Faster and faster she sped to the music, stepping, spinning, pirouetting; the dance was light as thistle-down, fierce as fire, smooth as a rapid stream. The moment that the music ceased Viola became horribly afraid. She turned and fled away from the moonlit space, through the trees, down the dark alleys of the maze, not heeding in the least which turn she took, and yet she found herself soon at the outside iron gate. ("The Moon Slave")
The months passed away. Slowly a great fear came over Viola, a fear that would hardly ever leave her. For every month at the full moon, whether she would or no, she found herself driven to the maze, through its mysterious walks into that strange dancing-room. And when she was there the music began once more, and once more she danced most deliciously for the moon to see. The second time that this happened she had merely thought that it was a recurrence of her own whim, and that the music was but a trick that the imagination had chosen to repeat. The third time frightened her, and she knew that the force that sways the tides had strange power over her. The fear grew as the year fell, for each month the music went on for a longer time - each month some of the pleasure had gone from the dance. On bitter nights in winter the moon called her and she came, when the breath was vapor, and the trees that circled her dancing-room were black, bare skeletons, and the frost was cruel. She dared not tell anyone, and yet it was with difficulty that she kept her secret. Somehow chance seemed to favor her, and she always found a way to return from her midnight dance to her own room without being observed. Each month the summons seemed to be more imperious and urgent. Once when she was alone on her knees before the lighted altar in the private chapel of the palace she suddenly felt that the words of the familiar Latin prayer had gone from her memory. She rose to her feet, she sobbed bitterly, but the call had come and she could not resist it. She passed out of the chapel and down the palace gardens. How madly she danced that night! ("The Moon Slave")
Sunset’s the best time to take a stroll down Mouffetard, the ancient Via Mons Cetardus. The buildings along it are only two or three stories high. Many are crowned with conical dovecotes. Nowhere in Paris is the connection, the obscure kinship, between houses very close to each other more perceptible to the pedestrian than in this street.Close in age, not location. If one of them should show signs of decrepitude, if its face should sag, or it should lose a tooth, as it were, a bit of cornicing, within hours its sibling a hundred metres away, but designed according to the same plans and built by the same men, will also feel it’s on its last legs.The houses vibrate in sympathy like the chords of a viola d’amore. Like cheddite charges giving each other the signal to explode simultaneously.
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