Quotes about recliner

“Let us swear an oath, and keep it with an equal mind,
In the hollow Lotos-land to live and lie reclined
On the hills like Gods together, careless of mankind.”

“There are also animals which are called elks [alces "moose" in Am. Engl.; elk "wapiti"]. The shape of these, and the varied colour of their skins, is much like roes, but in size they surpass them a little and are destitute of horns, and have legs without joints and ligatures; nor do they lie down for the purpose of rest, nor, if they have been thrown down by any accident, can they raise or lift themselves up. Trees serve as beds to them; they lean themselves against them, and thus reclining only slightly, they take their rest; when the huntsmen have discovered from the footsteps of these animals whither they are accustomed to betake themselves, they either undermine all the trees at the roots, or cut into them so far that the upper part of the trees may appear to be left standing. When they have leant upon them, according to their habit, they knock down by their weight the unsupported trees, and fall down themselves along with them.”
Sunt item, quae appellantur alces. Harum est consimilis capris figura et varietas pellium, sed magnitudine paulo antecedunt mutilaeque sunt cornibus et crura sine nodis articulisque habent neque quietis causa procumbunt neque, si quo adflictae casu conciderunt, erigere sese aut sublevare possunt. His sunt arbores pro cubilibus: ad eas se applicant atque ita paulum modo reclinatae quietem capiunt. Quarum ex vestigiis cum est animadversum a venatoribus, quo se recipere consuerint, omnes eo loco aut ab radicibus subruunt aut accidunt arbores, tantum ut summa species earum stantium relinquatur. Huc cum se consuetudine reclinaverunt, infirmas arbores pondere adfligunt atque una ipsae concidunt.

“You see pictures of Buddha and he’s sitting, reclining, at peace. The Hindus have their twelve-armed elephant god, who also seems so content but not powerless. But leave it to Christians to have a dead and bloody man nailed to a cross.”

“Sweetheart, if it’s not too much of an imposition, I would be forever beholden to you if you could kindly assume a reclining position so I can screw your brains out.”

“The idea for [his sculpture] 'The Warrior' came to me at the end of 1952 or very early in 1953. It was evolved from a pebble I found on the seashore in the summer of 1952, and which reminded me of the stump of a leg, amputated at the hip. Just as Leonardo says somewhere in his notebooks that a painter can find a battle scene in the lichen marks on a wall, so this gave me the start of The Warrior idea. First I added the body, leg and one arm and it became a wounded warrior, but at first the figure was reclining. A day or two later I added a shield and altered its position and arrangement into a seated figure and so it changed from an inactive pose into a figure which, though wounded, is still defiant... The head has a blunted and bull-like power but also a sort of dumb animal acceptance and forbearance of pain... The figure may be emotionally connected (as one critic has suggested) with one’s feelings and thoughts about England during the crucial and early part of the last war. The position of the shield and its angle gives protection from above. The distance of the shield from the body and the rectangular shape of the space enclosed between the inside surface of the shield and the concave front of the body is important... This sculpture is the first single and separate male figure that I have done in sculpture and carrying it out in its final large scale was almost like the discovery of a new subject matter; the bony, edgy, tense forms were a great excitement to make... Like the bronze 'Draped Reclining Figure' of 1952-3 I think 'The Warrior' has some Greek influence, not consciously wished…”

“At the Ashram I was told that the Maharshi was in the hall and anybody was free to walk in and see him. As I entered, I saw on the couch an elderly man, wearing but a loincloth, reclining against a round bolster. I sat down at the very foot of the couch. The Maharshi suddenly opened his eyes and looked straight into mine: I looked into his. A mere look, that was all. I felt that the Maharshi was, in that split moment, looking deep into me – and I was sure that he saw all my shallowness, confusions, faithlessness, imperfections, and fears. I cannot explain what happened in that one split moment. I felt opened, cleaned, healed, and emptied! A whirl of confusions: my atheism dropping away, but scepticism flooding in to question, wonder, and search. My reason gave me strength and I said to myself, ‘It is all mesmerism, my own foolishness.’ Thus assuring myself, I got up and walked away.”

“[in Italian Renaissance] there was no 'subject-matter'. What we call subject matter now, was then painting itself. Subject matter came later on when parts of those works were taken out arbitrarily, when a man for no reason is sitting, standing or lying down. He became a bather, she became a bather; she was reclining; he just stood there looking ahead. That is when the posing in painting began… For really, when you think of all the life and death problems in the art of Renaissance, who cares if a Chevalier is laughing or that a young girl has a red blouse on.”

“A dumb halo of sorrow lurks in Shirin's cold gaze,
Reclining on the marble columns of the veranda,
A pregnant cat is sleeping on her lap
And slowly snores.


The Shirin's image north of the garden
Is hanging on an apple tree;
Khosrow, in love with another mistress, mockingly mutters;
How can the eye in this image
Show the trace of lover breathing eye of Shirin?…??
For a moment Khosrow beats at the bow and says:
Shirin's eye is a good target, I have ordained
That this new bow should be tried on it.


Khosrow, the king of the world,
The master of archers,
Pulled out an arrow from his quiver.
This Parthian arrow, this nimble flying hawk,
Is familiar with the bow and the thumb.


A spark rose from Mount Bistoun,
Was it the lightening from Farhad's ax?
An angry flame is blazing in the image's eye,
The loud uproar,
The loud clamor of Farhad's heart,
Is robing sleep from the cat's eye.”

“Twas on a lofty vase's side,
Where China's gayest art had dyed
The azure flowers, that blow;
Demurest of the tabby kind,
The pensive Selima reclined,
Gazed on the lake below.”

“And loveliest sight of all, in front of the fire, stretched at full length, was his tiger – and on him – also at full length – reclined the lady, garbed in some strange clinging garment of heavy purple crepe, its hem embroidered with gold, one white arm resting on the beast's head, her back supported by a pile of the velvet cushions, and a heap of rarely bound books at her side, while between her red lips was a rose not redder than they – an almost scarlet rose.”

“Thus have I rolled my life throughout
Inside and out, reclined, upright.
What is all this?
A beating drum
A trumpet's blare
No more.”

“[Description of Britain] Its plains are spacious, its hills are pleasantly situated, adapted for superior tillage, and its mountains are admirably calculated for the alternate pasturage of cattle, where flowers of various colours, trodden by the feet of man, give it the appearance of a lovely picture. It is decked, like a man's chosen bride, with divers jewels, with lucid fountains and abundant brooks wandering over the snow white sands; with transparent rivers, flowing in gentle murmurs, and offering a sweet pledge of slumber to those who recline upon their banks, whilst it is irrigated by abundant lakes, which pour forth cool torrents of refreshing water.”
[Descriptio Britanniae] Campis late pansis collibusque amoeno situ locatis, praepollenti culturae aptis, montibus alternandis animalium pastibus maxime covenientibus, quorum diversorum colorum flores humanis gressibus pulsati non indecentem ceu picturam eisdem imprimebant, electa veluti sponsa monilibus diversis ornata, fontibus lucidis crebris undis niveas veluti glareas pellentibus, pernitidisque rivis leni murmure serpentibus ipsorumque in ripis accubantibus suavis soporis pignus praetendentibus, et lacubus frigidum aquae torrentem vivae exundantibus irrigua.

“We had no sooner taken our seats in the railway carriage and the train was beginning to move slowly out of the station when the guard came along the corridor and presented me with my viola! The porter had spotted it, reclining in its case all alone on the platform seat where Lillian and I had been busily engaged in conversation, run along the platform, and thrust it into the hands of the guard through the luggage van window as the train was moving off. Such was my absorption in Lillian that I could even forget the existence of my beloved and precious viola which had meant so much to me for so many years.”

“Beyond the cloud-wrapt chambers of western gloom and Aethiopia's other realm there stands a motionless grove, impenetrable by any star; beneath it the hollow recesses of a deep and rocky cave run far into a mountain, where the slow hand of Nature has set the halls of lazy Sleep and his untroubled dwelling. The threshold is guarded by shady Quiet and dull Forgetfulness and torpid Sloth with ever drowsy countenance. Ease, and Silence with folded wings sit mute in the forecourt and drive the blustering winds from the roof-top, and forbid the branches to sway, and take away their warblings from the birds. No roar of the sea is here, though all the shores be sounding, nor yet of the sky; the very torrent that runs down the deep valley nigh the cave is silent among the rocks and boulders; by its side are sable herds, and sheep reclining one and all upon the ground; the fresh buds wither, and a breath from the earth makes the grasses sink and fail. Within, glowing Mulciber had carved a thousand likenesses of the god: here wreathed Pleasure clings to his side, here Labour drooping to repose bears him company, here he shares a couch with Bacchus, there with Love, the child of Mars. Further within, in the secret places of the palace he lies with Death also, but that dread image is seen by none. These are but pictures: he himself beneath humid caverns rests upon coverlets heaped with slumbrous flowers, his garments reek, and the cushions are warm with his sluggish body, and above the bed a dark vapour rises from his breathing mouth. One hand holds up the locks that fall from his left temple, from the other drops his neglected horn.”
Stat super occiduae nebulosa cubilia Noctis Aethiopasque alios, nulli penetrabilis astro, lucus iners, subterque cavis graue rupibus antrum it uacuum in montem, qua desidis atria Somni securumque larem segnis Natura locavit. limen opaca Quies et pigra Oblivio servant et numquam vigili torpens Ignauia vultu. Otia vestibulo pressisque Silentia pennis muta sedent abiguntque truces a culmine ventos et ramos errare vetant et murmura demunt alitibus. non hic pelagi, licet omnia clament litora, non ullus caeli fragor; ipse profundis vallibus effugiens speluncae proximus amnis saxa inter scopulosque tacet: nigrantia circum armenta omne solo recubat pecus, et nova marcent germina, terrarumque inclinat spiritus herbas. mille intus simulacra dei caelaverat ardens Mulciber: hic haeret lateri redimita Voluptas, hic comes in requiem vergens Labor, est ubi Baccho, est ubi Martigenae socium puluinar Amori obtinet. interius tecti in penetralibus altis et cum Morte jacet, nullique ea tristis imago cernitur. hae species. ipse autem umentia subter antra soporifero stipatos flore tapetas incubat; exhalant vestes et corpore pigro strata calent, supraque torum niger efflat anhelo ore vapor; manus haec fusos a tempore laevo sustentat crines, haec cornu oblita remisit.

“Narrated Aisha: I bought a cushion having pictures on it. When Allah’s Apostle saw it, he stopped at the gate and did not enter. I noticed the signs of hatred (for that) on his face! I said, "O Allah’s Apostle! I turn to Allah and His Apostle in repentance! What sin have I committed?" He said, "What about this cushion?" I said, ‘I bought it for you to sit on and recline on." Allah’s Apostle said, "The makers of these pictures will be punished (severely) on the Day of Resurrection and it will be said to them, ‘Make alive what you have created.’" He added, "Angels do not enter a house in which there are pictures."”

“.. these reproductions were in Zwemmer's bookshop [in the 1920's]. I can see them now. They were black. There was one on Negro sculpture, one on Mexican sculpture, one on an Egyptian sculpture, and so on. And all these I knew. And in one of them was this small reproduction of the Chac Mool [famous Toltec-Maya sculpture]. It was the pose that struck me – this idea of a figure being on its back and turned upwards to the sky instead of lying on its side, which is a different sort of idea from the Renaissance, or Greek reclining figure, which is usually on its side. And this gave me all sorts of chances of making variations on it.”

“I found everyone talking nervously and feverishly of the weather and the war in South Africa, except Reginald, who was reclining in a comfortable chair with the dreamy, far-away look that a volcano might wear just after it had desolated entire villages.”

“What! the girl I adore by another embraced?
What! the balm of her breath shall another man taste?
What! pressed in the dance by another's man's knee?
What! panting recline on another than me?
Sir, she's yours; you have pressed from the grape its fine blue,
From the rosebud you've shaken the tremulous dew;
What you've touched you may take. Pretty waltzer—adieu!”

“One lucent corner windowing hidden things
Forced the world's blind immensity to sight.
The darkness failed and slipped like a falling cloak
From the reclining body of a god.”

“Twas when the seas were roaring
With hollow blasts of wind,
A damsel lay deploring,
All on a rock reclined.”

“From now on, I do not permit my sravaka disciples to eat meat. … One who eats meat kills the seed of great compassion. … I, from now on, tell my disciples to refrain from eating any kind of meat. O Kasyapa! When one eats meat, this gives out the smell of meat while one is walking, standing, sitting or reclining. People smell this and become fearful. This is as when one comes near a lion. One sees and smells the lion, and fear arises. O good man! When one eats garlic, the dirty smell is unbearable. … It is the same with one who eats meat. It is a similar situation with all people who, on smelling the meat, become afraid and entertain the thought of death. All living things in the water, on land and in the sky desert such a person and run away. They say that this person is their enemy.”

“(On airplane etiquette) Although reclining your seat is technically your right, just like free speech if you exercise it to your limits everyone around you will think you're an asshole.”

“And my clay-coloured motherlessness rangily reclines;
come on home now!
All my bones are dolorous with vines!”