A Quote by Patrick MacGill
There comes a moment on a journey when something sweet, something irresistible and charming as wine raised to thirsty lips, wells up in the traveller's being.
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A giant as we hoped, in truth, a dwarf; A barrel of slop that shines on Lethe's wharf', Which at first seemed a vessel with sweet wine For thirsty lips. So down the swift decline You went through sloven spirit, craven heart And cynic indolence. And here the art Of molding clay has caught you for the nonce And made your shame our shame ~ Your head in bronze!
'T is sweet to think that where'er we rove We are sure to find something blissful and dear; And that when we 're far from the lips we love, We 've but to make love to the lips we are near.
Unlike water or wine or even Coca-Cola, sweet tea means something. It is a tell, a tradition. Sweet tea isn't a drink, really. It's culture in a glass.
And her sweet red lips on these lips of mine Burned like the ruby fire set In the swinging lamp of a crimson shrine, Or the bleeding wounds of the pomegranate, Or the heart of the lotus drenched and wet With the spilt-out blood of the rose-red wine.
Stop being so..." "Charming?Attractive?Irresistible? "I'm going with arrogant.
When we speak, we want to say something sweet, but we don't say something sweet because something is ordering us from deep down to say something unkind. We want to open our hearts to people, but we can't do it, because we are being ordered around by the sufferings we have concealed deep in our consciousness.
I love taking something that is understood to be funny or charming or sweet or naive and instilling it with some degree of gravity.
If I do a portrait, I know what they can take. If somebody's a sweet, shy person, the photographs will be sweet and shy. Of course, you ask people to do something which they might not have done before, but that's the journey, the fun element.
There are two reasons for drinking wine...when you are thirsty, to cure it; the other, when you are not thirsty, to prevent it... prevention is better than cure.
This is really bad to admit but, you know, when you put your name in Google to see how many credits it's got by your name or something. So you put in 'Dolly Wells' and suddenly it goes 'Dolly Wells Feet' or something.
I say that is wine," Brett held up her glass. "We ought to toast something. 'Here's to royalty.'" "This wine is too good for toast-drinking, my dear. you don't want to mix emotions up with a wine like that. you lose the taste." Brett's glass was empty.
what he sought was always something lying ahead, and even if it was a matter of the past it was a past that changed gradually as he advanced on his journey, because the traveller's past changes according to the route he has followed: not the immediate past, that is, to which each day that goes by adds a day, but the more remote past. Arriving at each new city, the traveller finds again a past of his that he did not know he had: the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places.
I didn't want it to be one good memory that led to a lot of bad ones. I wanted it to stay what it was, one amazing moment, something that was strong and sweet enough to stand on its own. Something I could remember without any pain. - Kate
A Sufi manual, the Kashf-al-Mahjub, says that, towards the end of his journey, the dervish becomes the Way not the wayfarer, i.e. a place over which something is passing, not a traveller following his own free will.
Is that what the wine is for? To help you think?" "Oh, the wine. The wine, Costis, is to help hide the truth. It doesn't work. It never has, but I try it every once in a while just in case something in the nature of the wine might have changed.
Mud, raised by hurricanes, wells up in the noblest and purest of hearts.
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