Quotes about orchard

A collection of quotes on the topic of orchard, apple, tree, garden.

Quotes about orchard

Marek Żukow-Karczewski photo
Virginia Woolf photo
Ovid photo

“O mortals, from your fellows' blood abstain,
Nor taint your bodies with a food profane:
While corn, and pulse by Nature are bestow'd,
And planted orchards bend their willing load;
While labour'd gardens wholesom herbs produce,
And teeming vines afford their gen'rous juice;
Nor tardier fruits of cruder kind are lost,
But tam'd with fire, or mellow'd by the frost;
While kine to pails distended udders bring,
And bees their hony redolent of Spring;
While Earth not only can your needs supply,
But, lavish of her store, provides for luxury;
A guiltless feast administers with ease,
And without blood is prodigal to please.”

Parcite, mortales, dapibus temerare nefandis corpora! sunt fruges, sunt deducentia ramos pondere poma suo tumidaeque in vitibus uvae, sunt herbae dulces, sunt quae mitescere flamma mollirique queant; nec vobis lacteus umor eripitur, nec mella thymi redolentia florem: prodiga divitias alimentaque mitia tellus suggerit atque epulas sine caede et sanguine praebet.

Book XV, 75–82 (from Wikisource); on vegetarianism, as the following quote
Metamorphoses (Transformations)

Archibald Macleish photo
Emily Dickinson photo
Charles Baudelaire photo
Helen Hunt Jackson photo
Anna Sewell photo
Walt Whitman photo

“Give me juicy autumnal fruit, ripe and red from the orchard."

[]”

Walt Whitman (1819–1892) American poet, essayist and journalist

Source: The Complete Poems

Carl Sandburg photo
Ossip Zadkine photo
Mehdi Akhavan-Sales photo

“The leafless orchard
Is alone day and night
With his pure and sad silence.”

Mehdi Akhavan-Sales (1928–1990) Iranian poet

Poem The Leafless Garden; Quoted in website devoted to the poet, 2013 http://www.mehdiakhavansales.com/the-leafless-garden/

Octavia E. Butler photo

“We give our dead
To the orchards
And the groves.
We give our dead
To life.”

Source: Parable of the Talents (1998), Chapter 1 (p. 5)

Moshe Dayan photo
Sue Monk Kidd photo

“He was out of tune with what a younger generation of poets were writing, and railed against the shallowness and commercialisation of the modern world, from his fastness: a farmhouse surrounded by orchards in Middleton, Suffolk.”

Michael Hamburger (1924–2007) British translator, poet, critic, memoirist and academic

Obituary in The Guardian http://books.guardian.co.uk/obituaries/story/0,,2099883,00.html
About

Robert Frost photo

“How often already you've had to be told,
Keep cold, young orchard. Good-bye and keep cold.
Dread fifty above more than fifty below.
I have to be gone for a season or so.”

Robert Frost (1874–1963) American poet

" Goodbye and Keep Cold http://www.poemhunter.com/poem/good-bye-and-keep-cold-2/" (1923)
1920s

Woody Guthrie photo
John F. Kennedy photo
Eleanor Farjeon photo

“Every evening after dinner, a new life began. There was no hurry. Some walked in the garden. Others smoked. About nine o’clock we made our way alone or in twos and threes to the Study House. Outdoor shoes came off and soft shoes or moccasins were put on. We sat quietly, each on his or her own cushion, round the floor in the centre. Men sat on the right, women on the left; never together.

Some went straight on to the stage and began to practice the rhythmic exercises. On our first arrival, each of us had the right to choose his own teacher for the movements. I had chosen Vasili Ferapontoff, a young Russian, tall, with a sad studious face. He wore pince-nez, and looked the picture of the perpetual student, Trofimov, in The Cherry Orchard. He was a conscientious instructor, though not a brilliant performer. I came to value his friendship, which continued until his premature death ten years later. He told me in one of our first conversations that he expected to die young.

The exercises were much the same as those I had seen in Constantinople three years before. The new pupils, such as myself, began with the series called Six Obligatory Exercises. I found them immensely exciting, and worked hard to master them quickly so that I could join in the work of the general class.”

John G. Bennett (1897–1974) British mathematician and author

Source: Witness: the Story of a Search (1962), p. 90–91 cited in: "Gurdjieff’s Temple Dances by John G. Bennett", Gurdjieff International Review, on gurdjieff.org; About Fontainebleau 1923

Luther Burbank photo

“When the wise plant developer goes into his garden or orchard… his eyes turn always first and foremost to the leaves…”

Luther Burbank (1849–1926) American botanist, horticulturist and pioneer in agricultural science

p, 125
How Plants are Trained to Work for Man (1921) Vol. 5 Gardening

Laurent Clerc photo

“Every creature, every work of God, is admirably well made; but if any one appears imperfect in our eyes, it does not belong to us to criticise it. Perhaps that which we do not find right in its kind, turns to our advantage, without our being able to perceive it. Let us look at the state of the heavens, one while the sun shines, another time it does not appear; now the weather is fine; again it is unpleasant; one day is hot, another is cold; another time it is rainy, snowy or cloudy; every thing is variable and inconstant. Let us look at the surface of the earth: here the ground is flat; there it is hilly and mountainous; in other places it is sandy; in others it is barren; and elsewhere it is productive. Let us, in thought, go into an orchard or forest. What do we see? Trees high or low, large or small, upright or crooked, fruitful or unfruitful. Let us look at the birds of the air, and at the fishes of the sea, nothing resembles another thing. Let us look at the beasts. We see among the same kinds some of different forms, of different dimensions, domestic or wild, harmless or ferocious, useful or useless, pleasing or hideous. Some are bred for men's sakes; some for their own pleasures and amusements; some are of no use to us. There are faults in their organization as well as in that of men. Those who are acquainted with the veterinary art, know this well; but as for us who have not made a study of this science, we seem not to discover or remark these faults. Let us now come to ourselves. Our intellectual faculties as well as our corporeal organization have their imperfections. There are faculties both of the mind and heart, which education improve; there are others which it does not correct. I class in this number, idiotism, imbecility, dulness. But nothing can correct the infirmities of the bodily organization, such as deafness, blindness, lameness, palsy, crookedness, ugliness. The sight of a beautiful person does not make another so likewise, a blind person does not render another blind. Why then should a deaf person make others so also? Why are we Deaf and Dumb? Is it from the difference of our ears? But our ears are like yours; is it that there may be some infirmity? But they are as well organized as yours. Why then are we Deaf and Dumb? I do not know, as you do not know why there are infirmities in your bodies, nor why there are among the human kind, white, black, red and yellow men. The Deaf and Dumb are everywhere, in Asia, in Africa, as well as in Europe and America. They existed before you spoke of them and before you saw them.”

Laurent Clerc (1785–1869) French-American deaf educator

Statement of 1818, quoted in Through Deaf Eyes: A Photographic History of an American Community (2007) by Douglas C. Baynton, Jack R. Gannon, and Jean Lindquist Bergey

Antonio Gramsci photo

“It is all a matter of comparing one’s own life with something worse and consoling oneself with the relativity of human fortunes. When I was eight or nine I had an experience which came clearly to mind when I read your advice. I used to know a family in a little village near mine: father, mother and sons: they were small landowners and had an inn. Very energetic people, especially the woman. I knew (I had heard) that besides the sons we knew, this woman had another son nobody had seen, who was spoken of in whispers, as if he were a great disgrace for the mother, an idiot, a monster or worse. I remember that my mother referred to this woman often as a martyr, who made great sacrifices for this son, and put up with great sorrows. One Sunday morning about ten, I was sent to this woman’s: I had to deliver some crocheting and get the money. I found her shutting the door, dressed up to go out to mass, she had a hamper under her arm. On seeing me she hesitated then decided. She told me to accompany her to a certain place, and that she would take delivery and give me the money on our return. She took me out of the village, into an orchard filled with rubbish and plaster; in one corner there was a sort of pig sty, about four feet high, and windowless, with only a strong door. She opened the door and I could hear an animal-like howling. Inside was her son, a robust boy of 18, who couldn’t stand up and hence scraped along on his seat to the door, as far as he was permitted to move by a chain linked to his waist and attached to the ring in the wall. He was covered with filth, and his eyes shone red, like those of a nocturnal animal. His mother dumped the contents of her basket – a mixed mess of household leftovers – into a stone trough. She filled another trough with water, and we left. I said nothing to my mother about what I had seen, so great an impression it had made on me, and so convinced was I that nobody would believe me. Nor when I later heard of the misery which had befallen that poor mother, did I interrupt to talk of the misery of the poor human wreck who had such a mother.”

Antonio Gramsci (1891–1937) Italian writer, politician, theorist, sociologist and linguist

Gramsci, 1965, p. 737 cited in Davidson, 1977, p. 35.

Ralph Waldo Emerson photo

“For there's no rood has not a star above it;
The cordial quality of pear or plum
Ascends as gladly in a single tree,
As in broad orchards resonant with bees;
And every atom poises for itself,
And for the whole.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

Musketaquid http://www.emersoncentral.com/poems/musketaquid.htm, st. 5
1840s, Poems (1847)

Bill Mollison photo
Anton Chekhov photo

“The cherry orchard is now mine!… I bought the estate on which my grandfather and father were slaves, where they were not even permitted in the kitchen.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Act III
The Cherry Orchard (1904)

Horace Mann photo

“Let but the public mind become once thoroughly corrupt, and all attempts to secure property, liberty or life, by mere force of laws written on parchment, will be as vain as to put up printed notices in an orchard to keep off the canker-worms.”

Horace Mann (1796–1859) American politician

As quoted in The Albany Law Journal Vol. XLIX (January - June 1894), p. 47; also paraphrased as: "Let the public mind become corrupt, and all efforts to secure property, liberty, or life by the force of laws written on paper will be as vain as putting up a sign in an apple orchard to exclude canker worms."

Josh Homme photo

“Yeah, I can make all the tequila in a bottle disappear. It’s a talent. Nothing comes easy and talent is something you get but, if you don’t develop it, it becomes like an apple; you keep taking bites of it until it’s gone. So you have to plant the seeds. Then you have the orchard. And then you have Jonestown.”

Josh Homme (1973) American musician

Reported in Eddy Lawrence, " Josh Homme: Interview http://www.timeout.com/london/music/features/4199/Josh_Homme-interview.html", Time Out London (February 5, 2008).

Samuel Madden photo

“In an orchard there should be enough to eat, enough to lay up, enough to be stolen, and enough to rot on the ground.”

Samuel Madden (1686–1765) Irish writer

Recounted by Samuel Johnson.
Attributed

George Eliot photo
Henry Moore photo
Anthony Burgess photo

“Defiling their shadows, infidels, accursed of Allah, with fingernails that are foot-long daggers, with mouths agape like cauldrons full of teeth on the boil, with eyes all fire, shaitans possessed of Iblis, clanking into their wars all linked, like slaves, with iron chains. Murad Bey, the huge, the single-blowed ox-beheader, saw without too much surprise mild-looking pale men dressed in blue, holding guns, drawn up in squares six deep as though in some massed dance depictive of orchard walls. At the corners of the squares were heavy giins and gunners. There did not seem to be many horsemen. Murad said a prayer within, raised his scimitar to heaven and yelled a fierce and holy word. The word was taken up, many thousandfold, and in a kind of gloved thunder the Mamelukes threw themselves on to the infidel right and nearly broke it. But the squares healed themselves at once, and the cavalry of the faithful crashed in three avenging prongs along the fire-spitting avenues between the walls. A great gun uttered earthquake language at them from within a square, and, rearing and cursing the curses of the archangels of Islam on to the uncircumcized, they wheeled and swung towards their protective village of Embabeh. There they encountered certain of the blue-clad infidel horde on the flat roofs of the houses, coughing musket-fire at them. But then disaster sang along their lines from the rear as shell after shell crunched and the Mamelukes roared in panic and burden to the screams of their terrified mounts, to whose ears these noises were new. Their rear dissolving, their retreat cut off, most sought the only way, that of the river. They plunged in, horseless, seeking to swim across to join the inactive horde of Ibrahim, waiting for. action that could now never come. Murad Bey, with such of his horsemen as were left, yelped off inland to Gizeh.”

Anthony Burgess (1917–1993) English writer

Fiction, Napoleon Symphony (1974)

Anton Chekhov photo

“All Russia is our orchard.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

Act II
The Cherry Orchard (1904)

Kate Bush photo
John Muir photo
Rumi photo
Don DeLillo photo

“We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others. We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism."”

Another silence ensued. "They are taking pictures of taking pictures," he said.”
White Noise (1984)

Kevin D. Williamson photo
J. Howard Moore photo