165
" But, for all that, there is a Beyond, and he who has once caught a glance of it, is like a man who has gazed at the sun —wherever he looks, everywhere he sees the image of the sun. Speak to him of finite things, and he will tell you that the Finite is impossible and meaningless without the Infinite. Speak to him of death, and he will call it birth ; speak to him of time, and he will call it the mere shadow of eternity. To us the senses seem to be the organs, the tools, the most powerful engines of knowledge ; to him they are, if not actually deceivers, at all events heavy fetters, checking the flight of the spirit. To us this earth, this life, all that we see, and hear, and touch is certain. Here, we feel, is our home, here lie our duties, here our pleasures. To him this earth is a thing that once was not, and that again will cease to be ; this life is a short dream from which we shall soon awake. Of nothing he professes greater ignorance than of what to others seems to be most certain, namely what we see, and hear, and touch ; and as to our home, wherever that may be, he knows that certainly it is not here. "
― F. Max Müller , India: What it Can Teach Us
168
" The hour of spring was dark at last,
sensuous memories of sunlight past,
I stood alone in garden bowers
and asked the value of my hours.
Time was spent or time was tossed,
Life was loved and life was lost.
I kissed the flesh of tender girls,
I heard the songs of vernal birds.
I gazed upon the blushing light,
aware of day before the night.
So let me ask and hear a thought:
Did I live the spring I’d sought?
It's true in joy, I walked along,
took part in dance,
and sang the song.
and never tried to bind an hour
to my borrowed garden bower;
nor did I once entreat
a day to slumber at my feet.
Yet days aren't lulled by lyric song,
like morning birds they pass along,
o'er crests of trees, to none belong;
o'er crests of trees of drying dew,
their larking flight, my hands, eschew
Thus I’ll say it once and true...
From all that I saw,
and everywhere I wandered,
I learned that time cannot be spent,
It only can be squandered. "
― Roman Payne , Rooftop Soliloquy
171
" I was now blinded by a flood of light, but when I realised how many countless numbers of angels were imprisoned in Bardo’s dismal prison, it took my breath away.
“Gabriel!” I shouted to my leader with all my might, but he gave no sign of hearing me.
“Gabriel!” I said, trying again, and it seemed that the handsome face reacted just a little.
At that moment, a band of goblins reached the hall with a terrible ruckus. I had to flee. I grabbed the chains binding Gabriel and cried one last time .
“Gabriel!”
…the angel’s emerald green eyes looked up. He gazed deep into my eyes, .
“Please forgive me,” I whispered. My chest felt like it would burst with pain from the guilt burning inside me. “I swear I’ll atone for my sin and get you out of here!” .
Gabriel gave no reply, but just looked at me sadly. I would have been less tortured if he had screamed at me or come at me, but he simply let me sink into my guilt. "
― A.O. Esther , Elveszett lelkek (Összetört glóriák, #1)
174
" Old Hubert must have had a premonition of his squalid demise. In October he said to me, ‘Forty-two years I’ve had this place. I’d really like to go back home, but I ain’t got the energy since my old girl died. And I can’t sell it the way it is now. But anyway before I hang my hat up I’d be curious to know what’s in that third cellar of mine.’
The third cellar has been walled up by order of the civil defence authorities after the floods of 1910. A double barrier of cemented bricks prevents the rising waters from invading the upper floors when flooding occurs. In the event of storms or blocked drains, the cellar acts as a regulatory overflow.
The weather was fine: no risk of drowning or any sudden emergency. There were five of us: Hubert, Gerard the painter, two regulars and myself. Old Marteau, the local builder, was upstairs with his gear, ready to repair the damage. We made a hole.
Our exploration took us sixty metres down a laboriously-faced vaulted corridor (it must have been an old thoroughfare). We were wading through a disgusting sludge. At the far
end, an impassable barrier of iron bars. The corridor continued beyond it, plunging downwards. In short, it was a kind of drain-trap.
That’s all. Nothing else. Disappointed, we retraced our steps. Old Hubert scanned the walls with his electric torch. Look! An opening. No, an alcove, with some wooden object that looks like a black statuette. I pick the thing up: it’s easily removable. I stick it under my arm. I told Hubert, ‘It’s of no interest. . .’ and kept this treasure for myself.
I gazed at it for hours on end, in private. So my deductions, my hunches were not mistaken: the Bièvre-Seine confluence was once the site where sorcerers and satanists must surely have gathered. And this kind of primitive magic, which the blacks of Central Africa practise today, was known here several centuries ago. The statuette had miraculously survived the onslaught of time: the well-known virtues of the waters of the Bièvre, so rich in tannin, had protected the wood from rotting, actually hardened, almost fossilized it. The object answered a purpose that was anything but aesthetic. Crudely carved, probably from heart of oak. The legs were slightly set apart, the arms detached from the body. No indication of gender. Four nails set in a triangle were planted in its chest. Two of them, corroded with rust, broke off at the wood’s surface all on their own. There was a spike sunk in each eye. The skull, like a salt cellar, had twenty-four holes in which little tufts of brown hair had been planted, fixed in place with wax, of which there were still some vestiges. I’ve kept quiet about my find. I’m biding my time. "
― Jacques Yonnet , Paris Noir: The Secret History of a City