105
" Break, break, break,On thy cold gray stones, O Sea!And I would that my tongue could utterThe thoughts that arise in me.O, well for the fisherman's boy,That he shouts with his sister at play!O, well for the sailor lad,That he sings in his boat on the bay!And the stately ships go onTo their haven under the hill;But O for the touch of a vanished hand,And the sound of a voice that is still!Break, break, break,At the foot of thy crags, O Sea!But the tender grace of a day that is deadWill never come back to me. "
108
" And in front of it all are the pearly gates: the proverbial entrance to Heaven that she, in earthly life, thought might not exist. But they are real, not myth or fantasy.
As she passes through them, several people greet her. In foreign tongues even, but she understands. Language no longer matter. There are no barriers between herself and others, just love.
The gorgeous views seem to go on forever. Ornate structures, mansions, banquet halls, and natural beauty, orchards, gardens. People congregate around huge marble fountains. In the distance are snow-capped mountains of the purist white. She can hear the sounds of rushing rivers and the surf of the ocean at once.
Everyone around her is happy, loving, thankful. A choir sings songs of joy and peace while others play musical instruments of every kind in perfect harmony. Children laugh and play in the streets as well as in the clouds above her head. "
― Victoria Kahler , Luisa Across the Bay
109
" When no one is watching Mother Earth, and most of the time no one is, she sings softly to herself.
Certainly no one is watching after her, to the point where she's now calling herself M. Earth, using her first initial only, like the early women writers who did not want their work to be automatically dismissed because of their gender disadvantage. Though she is grand, M. Earth is feeling, perhaps, overly feminine, and therefore vulnerable. Don't even mention the word Gaia; it's such a projection! She thinks she could benefit from a more macho profile, a little kick-ass to make her point. Perhaps a little masculine detachment would be helpful, or a thicker skin. Because, frankly, she's been trampled, poisoned, stripped bare, robbed blind, and blamed for just about everything that's come down the pike. And like all mothers, everyone just assumes she'll always be there for them with open, loving arms, and a cup of hot cocoa. That it will be her pleasure to feed them, lick their wounds, and clean a load or two of their dirty laundry. She's looking for a little more respect. "
― Sharon Weil , Donny and Ursula Save the World
120
" It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth a dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually.
Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous. "
― Charles Dickens , Oliver Twist