A Quote by Stephen Crane
Tell her this And more,— That the king of the seas Weeps too, old, helpless man. The bustling fates Heap his hands with corpses Until he stands like a child With surplus of toys.
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Often a man can play the helpless child in front of a woman, but he can almost never bring it off when he feels most like a helpless child.
The king lifted a hand to her cheek and kissed her. It was not a kiss between strangers, not even a kiss between a bride and groom. It was a kiss between a man and his wife, and when it was over, the king closed his eyes and rested his forehead in the hollow of the queen's shoulder, like a man seeking respite, like a man reaching home at the end of the day.
A woman shaking in fear from demons in her mind, and the old man who loves her more deeply than life itself, crying softly in the corner, his face in his hands.
She reached out and touched the king’s face, cupping his cheek in her hand. “Just a nightmare,” he said, his voice still rough. The queen’s voice was cool. “How embarrassing,” she said, looking at his maimed arm. The king looked up then, and followed her gaze. If it was embarrassing to wake like a child screaming from a nightmare, how much more embarrassing to be the reason your husband woke screaming. A quick smile visited the king’s face. “Ouch,” he said, referring to more than the pain in his side. “Ouch,” he said again as the queen gathered him into her arms.
If she says goodbye perhaps adieu. Adieu - like those old time songs she sang. Always adieu (and all songs say it). If she too says it, or weeps, I'll take her in my arms, my lunatic. She's mad but mine, mine. What will I care for gods or devils or for Fate itself. If she smiles or weeps or both. For me.
He put his hands on her shoulders and kissed her full on the mouth. His skin was wet with rain. When she didn't pull away, he took her face between his hands and kissed her again, on her forehead, on her nose, on her mouth once more. "You will come, won't you? Promisse!" he whispered.
Peter curled his hands into fists at his sides. 'Kiss me,' he said. She leaned towards him slowly, until her face was too close to be in focus. Her hair fell over Peter's shoulder like a curtain and her eyes closed. She smelled like autumn-like apple cider and slanting sun and the snap of the coming cold. He felt his heart scrambling, caught inside the confines of his own body. Josie's lips landed just on the edge of his, almost his cheek and not quite his mouth. 'I'm glad I wasn't stuck in here alone,' she said shyly, and he tasted the words, sweet as mint on her breath.
As we grow older we think more and more of old persons and of old things and places. As to old persons, it seems as if we never know how much they have to tell until we are old ourselves and they have been gone twenty or thirty years. Once in a while we come upon some survivor of his or her generation that we have overlooked, and feel as if we had recovered one of the lost books of Livy or fished up the golden candlestick from the ooze of the Tiber.
Every time a man dies, a child dies too, and an adolescent and a young man as well; everyone weeps for the one who was dear to him.
Tell a man whose house is on fire to give a moderate alarm; tell him to moderately rescue his wife from the hands of the ravisher; tell the mother to gradually extricate her babe from the fire into which it has fallen - but urge me not to use moderation in a cause like the present.
At the other end of the spectrum, George Gideon Oliver King Rameses Osborne, the fourteen-year-old novelty Chancellor and future baronet of Ballentaylor and Ballylemon - a man so posh he probably weeps champagne.
If they were siblings, 'Hairless Toys' would be the nice child, and 'Take Her Up to Monto' is more of a problem child.
The boy should enclose and keep, as his life, the old child at the heart of him, and never let it go. He must still, to be a right man, be his mother's darling, and more, his father's pride, and more. The child is not meant to die, but to be forever fresh born.
Does he think to scare me? Arya kissed him where his nose should be and plucked the grave worm from his eye to eat it, but it melted like a shadow in her hand. The yellow skull was melting too, and the kindliest old man that she had ever seen was smiling down on her. "No one has ever tried to eat my worm before," he said. "Are you hungry, child?" Yes, she thought, but not for food.
The child's toys and the old man's reasons are the fruits of two seasons.
In a room sit three great men, a king, a priest, and a rich man with his gold. Between them stands a sellsword, a little man of common birth and no great mind. Each of the great ones bids him slay the other two. ‘Do it,’ says the king, ‘for I am your lawful ruler.’ ‘Do it,’ says the priest, ‘for I command you in the names of the gods.’ ‘Do it,’ says the rich man, ‘and all this gold shall be yours.’ So tell me—who lives and who dies?
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