A Quote by E. M. Forster

Outside the arch, always there seemed another arch. And beyond the remotest echo, a silence. — © E. M. Forster
Outside the arch, always there seemed another arch. And beyond the remotest echo, a silence.
Dark accurate plunger down the successive knell Of arch on arch, where ogives burst a red Reverberance of hail upon the dead Thunder like an exploding crucible!
The camera lens or the television camera is still just a proscenium arch. And as a great old character actor once said to me, wherever you're acting, you reach up and take hold of the proscenium arch, and you pull it down around your shoulders.
It seemed to take Sirius an age to fall: his body curved in a graceful arc as he sank backwards through the ragged veil hanging from the arch.
Molly wants to know her father's name," Arch said to them. "Why don't you give her a hint?" His first name with 'splatter,'" said Ripkins. And 'matter'," said Blister. Also 'fatter,'" said Ripkins. Likewise 'chatter'," added Blister. And his surname?" Arch asked. It rhymes with 'that again'," said Ripkins. And 'Flanagan," put in Blister. Also, um...'pad a fin'?" offered Ripkins. Arch and Blister looked at him. 'Pannikin!'" he said proudly. Shut up, shut up, shut up!" Molly screamed. "You don't know what you're talking about!
It's always good to have a story arch.
Egyptian pyramids or obelisks – seemed to be the basis of the great memorials that have kept their significance and dignity across time. Neither an obelisk nor a rectangular box nor a dome seemed right on this site or for this purpose. But here, at the edge of the Mississippi River, a great arch did seem right.
Behind the proscenium arch, you can't always hear what people in the audience are saying.
You say to a brick, 'What do you want, brick?' And brick says to you, 'I like an arch.' And you say to brick, 'Look, I want one, too, but arches are expensive and I can use a concrete lintel.' And then you say: 'What do you think of that, brick?' Brick says: 'I like an arch.'
Many of my short fictions use theatre as a metaphor for situations in which characters find themselves estranged from the larger, uncontrollable world that may or may not lie beyond the proscenium arch.
Khattam-Shud,' he said slowly, 'is the Arch-Enemy of all Stories, even of language itself. He is the Prince of Silence and the Foe of Speech. And because everything ends, because dreams end, stories end, life ends, at the finish of everything we use his name. "It's finished," we tell one another, "it's over. Khattam-Shud: The End.
To write is to make oneself the echo of what cannot cease speaking - and since it cannot, in order to become its echo I have, in a way, to silence it. I bring to this incessant speech the decisiveness, the authority of my own silence.
A word into the silence thrown always finds its echo somewhere where silence opens hidden lexicons.
Without stones there is no arch.
All experience is an arch, to build upon.
The archenemy is the arch stupid!
In some Mayan villages they even have a stage beyond the elder that they call the Echo Person. They say that when an Echo Person, whether a man or a woman, speaks, the words echo both in this world and in the other world. That's why they are called Echo People.
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