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Gus is the Cat at the Theatre Door. His name, as I ought to have told you before, Is really Asparagus. That's such a fuss To pronounce, that we usually call him just Gus. His coat's very shabby, he's thin as a rake, And he suffers from palsy that makes his paw shake. Yet he was, in his youth, quite the smartest of Cats — But no longer a terror to mice or to rats. For he isn't the Cat that he was in his prime; Though his name was quite famous, he says, in his time. And whenever he joins his friends at their club (which takes place at the back of the neighbouring pub) He loves to regale them, if someone else pays, With anecdotes drawn from his palmiest days. For he once was a Star of the highest degree — He has acted with Irving, he's acted with Tree. And he likes to relate his success on the Halls, Where the Gallery once gave him seven cat-calls. But his grandest creation, as he loves to tell, Was Firefrorefiddle, the Fiend of the Fell. ↗
You're so sweet . . . Cinda ... I knew you would feel like this ... I knew it would be this way. Put your arms around me . . . ah, Cin. . . ↗
Just remember that the only question in a house is who is to rule. The rest is only dancing around that, trying not to look it in the eye. ↗
#love #relationships #romance #love
She followed the melting flakes, revelling in the thickness, the softness of his hair, which he wore long. She had loved to run her fingers through it before. Tug at it in mounting pleasure. Snuggle into it in the shared intimacy of their loving. ↗
I’m going to cut you,” Georgiana murmured. “I’m going to mark that face of yours and show him what I’m capable of.” “He’d still love me,” Elizabeth whispered. “It’s a concept you could never understand, Georgiana. ↗
What is so sweet as to awake from a troubled dream and behold a beloved face smiling upon you? I love to believe that such shall be our awakening from earth to heaven. My faith never wavers that each dear friend I have “lost” is a new link between this world and the happier land beyond the morn. My soul is for the moment bowed down with grief when I cease to feel the touch of their hands or hear a tender word from them; but the light of faith never fades from the sky, and I take heart again, glad they are free. I cannot understand why anyone should fear death…Suppose there are a million chances against that one that my loved ones who have gone on are alive. What of it? I will take that one chance and risk mistake, rather than let any doubts sadden their souls, and find out afterward. Since there is that one chance of immortality, I will endeavor not to cast a shadow on the joy of the departed…Certainly it is one of our sweetest experiences that when we are touched by some noble affection or pure joy, we remember the dead most tenderly, and feel more powerfully drawn to them. ↗
What appears most disquieting to me in isolation is the dilemma of how to use time. There is either too much or too little of it; we either live inside painfully contracting horizons, or feel ourselves isolated in the vastness of space. I seem to have lived with the palm of my hand balanced on the tip of a knife, writing what in theory I would call the Preface to a Future Book. And the relation of time to creation should always appear like that, a ratio that describes the fullness of energy brought to a particular stage of one's life, so that each work is a preface to a stage at which one has still to arrive, the logical extension of which is death. I live for the blaze of metaphor that unites incongruities. The red wine-stain on my page is like an intoxicant to the dance of words. It is a little ritual I undertake, this sprinkling of wine-spots on paper. ↗
[W]hen I put Jorge in the library I did not yet know he was the murderer. He acted on his own, so to speak. And it must not be thought that this is an 'idealistic' position, as if I were saying that the characters have an autonomous life and the author, in a kind of trance, makes them behave as they themselves direct him. That kind of nonsense belongs in term papers. The fact is that the characters are obliged to act according to the laws of the world in which they live. In other words, the narrator is the prisoner of his own premises. ↗
