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1 " I suddenly knew that religion, God - something beyond everyday life - was there to be found, provided one is really willing. And I saw that though what I felt in the church was only imagination, it was a step on the way; because imagination itself can be a kind of willingness - a pretense that things are real, due to one's longing for them. It struck me that this was somehow tied up with what the Vicar said about religion being an extension of art - and then I had a glimpse of how religion can really cure you of sorrow; somehow make use of it, turn it to beauty, just as art can make sad things beautiful. I found myself saying: 'Sacrifice is the secret - you have to sacrifice things for art and it's the same with religion; and then the sacrifice turns out to be a gain.' Then I got confused and I couldn't hold on to what I meant - until Miss Blossom remarked: 'Nonsense, duckie - it's prefectly simple. You lose yourself in something beyond yourself and it's a lovely rest.'I saw that, all right. Then I thought: 'But that's how Miss Marcy cured her sorrow, too - only she lost herself in other people instead of in religion.' Which way of life was best - hers or the Vicar's? I decided that he loves God and merely likes the villagers, whereas she loves the villagers and merely likes God - and then I suddenly wondered if I could combine both ways, love God and my neighbor equally. Was I really willing to? "
― Dodie Smith
2 " I watch the Eruptions. Mount Dad, long dormant, now considered armed and dangerous. Mount Saint Mom, oozing lava, spitting flame. Warn the villagers to run into the sea. "
― Laurie Halse Anderson , Speak
3 " Do you think God has a different purpose for every person,' Gisela asked, 'or is his purpose the same for everyone?'...'God wants us all to strive to grow more like Jesus, to become holy as he is holy, but God has a specific purpose for each person. How could it not be so? Everyone in a village cannot be a baker, because who would then make the candles or shoe the horses or grow the food? God says we are like a body. 'The eye cannot say to the hand, " I don't need you." And the head cannot say the feet, " I don't need you." ''Does the Bible say that?''Oh, yes, and it says, " Now you are the body of Christ, and each one of you is part of it." Just as the villagers are part of a village and have different tasks, we all have tasks to do for the Lord God. "
4 " Although the villagers rose with the sun to work the fields, attend to the animals, bake their bread, and begin their long list of chores, for me, Leya Truelong, this was a day like no other. Today, Wren River was touched by the fantastic. Desiccate by Bonnie Ferrante "
5 " The urban capitalists and the bourgeoisie differ in linguistic habits and dress from the workers. They don't live together in one integrated society, but as two separate societies that speak different languages both literally and metaphorically. The urban capitalists do not know the life led by workers. Workers experience hardships that are unheard of amongst villagers and these evoke malice in the urban workers, easily stirred by union leaders who use them to ride to power. Villagers are different. Teaching the villagers cannot easily change what they have inherited from the environment and the past they have known and in which they have grown up. The village entrepreneur wore only a sarong in the past. Some of them wore a sarong and slung another over a shoulder. The poor villager's dress is also a sarong. The village entrepreneur speaks Sinhalese, which is the language of the poor villager too. On the day of the traditional New Year, the children of both the rich and the poor in the village eat together and play together in the homes of the villager elite. All this subdues feelings of resentment against the wealthy villagers. It's true that villagers suffer a great deal on account of their poverty. But unlike the urban poor, poverty amongst the villagers does not incite malice toward the wealthy, due to the rural way of life. "
― Martin Wickramasinghe , යුගාන්තය
6 " Chamari: " Aravinda, have you been to Kataragama?" Aravinda: " No, I've never been there." Chamari: " What? That's unbelievable for someone born in Deniyaya!" Aravinda: " Going to Kataragama is not a custom of the rural folk. It is the middle class and wealthy urban people, not the villagers, who venerate the Kataragama god. He is the god of the urbanities. The villagers have now started to imitate the urban people." Chamari:" I thought even villagers used to go to Kataragama long ago." Aravinda: " No, It came from the rich urban Sinhalese of the towns who followed the rich Hindus. "
7 " In a front of each home garden the villagers fixed a triangular wooden lamp-house on the top of a pole planted on the ground to hold a small statue of Lord Buddha and some deities. They used to offer flowers at this small shrine and light a tiny clay oil lamp. "
― , The Master’s Daughter
8 " It was Christmas night in the Castle of the Forest Sauvage, and all around length. It hung on the boughs of the forest trees in rounded lumps, even better than apple-blossom, and occasionally slid off the roofs of the village when it saw the chance of falling on some amusing character and giving pleasure to all. The boys made snowballs with it, but never put stones in them to hurt each other, and the dogs, when they were taken out to scombre, bit it and rolled in it, and looked surprised but delighted when they vanished into the bigger drifts. There was skating on the moat, which roared with the gliding bones which they used for skates, while hot chestnuts and spiced mead were served on the bank to all and sundry. The owls hooted. The cooks put out plenty of crumbs for the small birds. The villagers brought out their red mufflers. Sir Ector’s face shone redder even than these. And reddest of all shone the cottage fires down the main street of an evening, "
― T.H. White , The Once and Future King (The Once and Future King, #1-4)
9 " The night I was born, my great uncle Moanea, the village forester, shot a wolf. The villagers roasted it in the fire and fed the meat to the dogs. "
― Teodor Flonta , A Luminous Future: Growing up in Transylvania in the Shadow of Communism
10 " Old Deuteronomy's lived a long time;He's a Cat who has lived many lives in succession.He was famous in proverb and famous in rhymeA long while before Queen Victoria's accession.Old Deuteronomy's buried nine wivesAnd more – I am tempted to say, ninety-nine;And his numerous progeny prospers and thrivesAnd the village is proud of him in his decline.At the sight of that placid and bland physiognomy,When he sits in the sun on the vicarage wall,The Oldest Inhabitant croaks: " Well, of all … Things … Can it be … really! … No! … Yes! … Ho! hi!Oh, my eye!My mind may be wandering, but I confess I believe it is Old Deuteronomy!" Old Deuteronomy sits in the street,He sits in the High Street on market day;The bullocks may bellow, the sheep they may bleat,But the dogs and the herdsman will turn them away.The cars and the lorries run over the kerb,And the villagers put up a notice: ROAD CLOSED —So that nothing untoward may chance to disturbDeuteronomy's rest when he feels so disposedOr when he's engaged in domestic economy:And the Oldest Inhabitant croaks: " Well of all …Things … Can it be … really! … No! … Yes! …Ho! hi!Oh, my eye!My sight's unreliable, but I can guessThat the cause of the trouble is Old Deuteronomy! "
11 " DADDYYou do not do, you do not doAny more, black shoeIn which I have lived like a footFor thirty years, poor and white,Barely daring to breathe or Achoo.Daddy, I have had to kill you.You died before I had time―Marble-heavy, a bag full of God,Ghastly statue with one grey toeBig as a Frisco sealAnd a head in the freakish AtlanticWhen it pours bean green over blueIn the waters of beautiful Nauset.I used to pray to recover you.Ach, du.In the German tongue, in the Polish townScraped flat by the rollerOf wars, wars, wars.But the name of the town is common.My Polack friendSays there are a dozen or two.So I never could tell where youPut your foot, your root,I never could talk to you.The tongue stuck in my jaw.It stuck in a barb wire snare.Ich, ich, ich, ich,I could hardly speak.I thought every German was you.And the language obsceneAn engine, an engineChuffing me off like a Jew.A Jew to Dachau, Auschwitz, Belsen.I began to talk like a Jew.I think I may well be a Jew.The snows of the Tyrol, the clear beer of ViennaAre not very pure or true.With my gypsy ancestress and my weird luckAnd my Taroc pack and my Taroc packI may be a bit of a Jew.I have always been scared of you,With your Luftwaffe, your gobbledygoo.And your neat mustacheAnd your Aryan eye, bright blue.Panzer-man, panzer-man, O You―Not God but a swastikaSo black no sky could squeak through.Every woman adores a Fascist,The boot in the face, the bruteBrute heart of a brute like you.You stand at the blackboard, daddy,In the picture I have of you,A cleft in your chin instead of your footBut no less a devil for that, no notAnd less the black man whoBit my pretty red heart in two.I was ten when they buried you.At twenty I tried to dieAnd get back, back, back to you.I thought even the bones would do.But they pulled me out of the sack,And they stuck me together with glue.And then I knew what to do.I made a model of you,A man in black with a Meinkampf lookAnd a love of the rack and the screw.And I said I do, I do.So daddy, I’m finally through.The black telephone’s off at the root,The voices just can’t worm through.If I’ve killed one man, I’ve killed two―The vampire who said he was youAnd drank my blood for a year,Seven years, if you want to know.Daddy, you can lie back now.There’s a stake in your fat black heartAnd the villagers never like you.They are dancing and stamping on you.They always knew it was you.Daddy, daddy, you bastard, I’m through. "