Quotes about sigh

A collection of quotes on the topic of sigh, likeness, herring, love.

Quotes about sigh

W.B. Yeats photo
Louis Sachar photo
William Shakespeare photo
Hazrat Inayat Khan photo
Nikos Kazantzakis photo
Dante Alighieri photo
Anna Laetitia Barbauld photo
Tove Jansson photo
William Shakespeare photo
Margaret Atwood photo
Salman Rushdie photo
Terry Pratchett photo
W.B. Yeats photo

“Wine comes in at the mouth
And love comes in at the eye;
That's all we shall know for truth
Before we grow old and die.
I lift the glass to my mouth,
I look at you, and I sigh.”

W.B. Yeats (1865–1939) Irish poet and playwright

A Drinking Song http://poetry.poetryx.com/poems/1399/
The Green Helmet and Other Poems (1910)

Kenneth Oppel photo

“Nïx clasped her hands over her chest,
sighing, “He gave you his heart. That’s so romantic.
So much better than a candy heart.
Those get stuck in the fangs, you know.”

Kresley Cole American writer

Variant: Nïx clasped her hands over her chest, sighing, “He gave you his heart. That’s so romantic. So much better than a candy heart. Those get stuck in the fangs, you know.
Source: Lothaire

Jimmy Carter photo

“In his early twenties, a man started collecting paintings, many of which later became famous: Picasso, Van Gogh, and others. Over the decades he amassed a wonderful collection. Eventually, the man’s beloved son was drafted into the military and sent to Vietnam, where he died while trying to save his friend. About a month after the war ended, a young man knocked on the devastated father’s door. “Sir,” he said, “I know that you like great art, and I have brought you something not very great.” Inside the package, the father found a portrait of his son. With tears running down his cheeks, the father said, “I want to pay you for this.ℍ “No,” the young man replied, “he saved my life. You don’t owe me anything.ℍ The father cherished the painting and put it in the center of his collection. Whenever people came to visit, he made them look at it. When the man died, his art collection went up for sale. A large crowd of enthusiastic collectors gathered. First up for sale was the amateur portrait. A wave of displeasure rippled through the crowd. “Let’s forget about that painting!” one said. “We want to bid on the valuable ones,” said another. Despite many loud complaints, the auctioneer insisted on starting with the portrait. Finally, the deceased man’s gardener said, “I’ll bid ten dollars.ℍ Hearing no further bids, the auctioneer called out, “Sold for ten dollars!” Everyone breathed a sigh of relief. But then the auctioneer said, “And that concludes the auction.” Furious gasps shook the room. The auctioneer explained, “Let me read the stipulation in the will: “Sell the portrait of my son first, and whoever buys it gets the entire art collection. Whoever takes my son gets everything.ℍ It’s the same way with God Almighty. Whoever takes his Son gets everything.”

Jimmy Carter (1924) American politician, 39th president of the United States (in office from 1977 to 1981)

Source: Through the Year with Jimmy Carter: 366 Daily Meditations from the 39th President

Rabindranath Tagore photo
Dorothy Parker photo
Terry Pratchett photo
Richelle Mead photo
Virginia Woolf photo
Kim Harrison photo
Karl Marx photo

“Religious suffering is, at one and the same time, the expression of real suffering and a protest against real suffering. Religion is the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions. It is the opium of the people.”

Karl Marx (1818–1883) German philosopher, economist, sociologist, journalist and revolutionary socialist

Contribution to the Critique of Hegel's Philosophy of Right, Introduction..., p. 1 (1843).
Context: Religious suffering is, at one and the same time, the expression of real suffering and a protest against real suffering. Religion is the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions. It is the opium of the people.
The abolition of religion as the illusory happiness of the people is the demand for their real happiness. To call on them to give up their illusions about their condition is to call on them to give up a condition that requires illusions. The criticism of religion is, therefore, in embryo, the criticism of that vale of tears of which religion is the halo.
Criticism has plucked the imaginary flowers on the chain not in order that man shall continue to bear that chain without fantasy or consolation, but so that he shall throw off the chain and pluck the living flower.

Virginia Woolf photo
Kurt Cobain photo

“Give me a Leonard Cohen afterworld
So I can sigh eternally.”

Kurt Cobain (1967–1994) American musician and artist

Pennyroyal Tea.
Song lyrics, In Utero (1993)

Phillis Wheatley photo

“But, Madam, let your grief be laid aside,
And let the fountain of your tears be dry'd,
In vain they flow to wet the dusty plain,
Your sighs are wafted to the skies in vain,
Your pains they witness, but they can no more,
While Death reigns tyrant o'er this mortal shore.”

Phillis Wheatley (1753–1784) American poet

"To a Gentleman and Lady on the Death of the Lady's Brother and Sister, and a Child of the Name of Avis, aged one Year." st. 2, Poems on Various Subjects, Religious and Moral (1773)

José Saramago photo

“In between these four whitewashed walls, on this tiled floor, notice the broken corners, how some tiles have been worn smooth, how many feet have passed this way, and look how interesting this trail of ants is, travelling along the joins as if they were valleys, while up above, projected against the white sky of the ceiling and the sun of the lamp, tall towers are moving, they are men, as the ants well know, having, for generations, experienced the weight of their feet and the long, hot spout of water that falls from a kind of pendulous external intestine, ants all over the world have been drowned or crushed by these, but it seems they will escape this fate now, for the men are occupied with other things. […]
Let's take this ant, or, rather, let's not, because that would involve picking it up, let us merely consider it, because it is one of the larger ones and because it raises its head like a dog, it's walking along very close to the wall, together with its fellow ants it will have time to complete its long journey ten times over between the ants' nest and whatever it is that it finds so interesting, curious or perhaps merely nourishing in this secret room […]. One of the men has fallen to the ground, he's on the same level as the ants now, we don't know if he can see them, but they see him, and he will fall so often that, in the end, they will know by heart his face, the color of his hair and eyes, the shape of his ear, the dark arc of his eyebrow, the faint shadow at the corner of his mouth, and later, back in the ants' nest, they will weave long stories for the enlightenment of future generations, because it is useful for the young to know what happens out there in the world. The man fell and the others dragged him to his feet again, shouting at him, asking two different questions at the same time, how could he possibly answer them even if he wanted to, which is not the case, because the man who fell and was dragged to his feet will die without saying a word. Only moans will issue from his mouth, and in the silence of his soul only deep sighs, and even when his teeth are broken and he has to spit them out, which will prompt the other two men to hit him again for soiling state property, even then the sound will be of spitting and nothing more, that unconscious reflex of the lips, and then the dribble of saliva thickened with blood that falls to the floor, thus stimulating the taste buds of the ants, who telegraph from one to the other news of this singularly red manna fallen from such a white heaven.
The man fell again. It's the same one, said the ants, the same ear shape, the same arc of eyebrow, the same shadow at the corner of the mouth, there's no mistaking him, why is it that it is always the same man who falls, why doesn't he defend himself, fight back. […] The ants are surprised, but only fleetingly. After all, they have their own duties, their own timetables to keep, it is quite enough that they raise their heads like dogs and fix their feeble vision on the fallen man to check that he is the same one and not some new variant in the story. The larger ant walked along the remaining stretch of wall, slipped under the door, and some time will pass before it reappears to find everything changed, well, that's just a manner of speaking, there are still three men there, but the two who do not fall never stop moving, it must be some kind of game, there's no other explanation […]. [T]hey grab him by the shoulders and propel him willy-nilly in the direction of the wall, so that sometimes he hits his back, sometimes his head, or else his poor bruised face smashes into the whitewash and leaves on it a trace of blood, not a lot, just whatever spurts forth from his mouth and right eyebrow. And if they leave him there, he, not his blood, slides down the wall and he ends up kneeling on the ground, beside the little trail of ants, who are startled by the sudden fall from on high of that great mass, which doesn't, in the end, even graze them. And when he stays there for some time, one ant attaches itself to his clothing, wanting to take a closer look, the fool, it will be the first ant to die, because the next blow falls on precisely that spot, the ant doesn't feel the second blow, but the man does.”

Source: Raised from the Ground (1980), pp. 172–174

Aurelius Augustinus photo

“Why, being dead, do you rely on yourself? You were able to die of your own accord; you cannot come back to life of your own accord. We were able to sin by ourselves, and we are still able to, nor shall we ever not be able to. Let our hope be in nothing but in God. Let us send up our sighs to him; as for ourselves, let us strive with our wills to earn merit by our prayers.”
Quid de se praesumit mortuus? Mori potuit de suo, reviviscere de suo non potest. Peccare per nos ipsos et potuimus et possumus nec tamen per nos resurgere aliquando poterimus. Spes nostra non sit, nisi in Deo 14. Ad illum gemamus, in illo praesumamus; quod ad nos pertinet, voluntate conemur, ut oratione mereamur.

Aurelius Augustinus (354–430) early Christian theologian and philosopher

348A:4 Against Pelagius; English translation from: Newly Discovered Sermons, 1997, Edmund Hill, John E. Rotelle, New City Press, New York, ISBN 1565481038, 9781565481039 pp. 311-312. http://books.google.com/books?id=0XjYAAAAMAAJ&q=%22Let+us+send+up+our+sighs+to+him,+let+us+rely+on+him%22&dq=%22Let+us+send+up+our+sighs+to+him,+let+us+rely+on+him%22&hl=en&ei=Q75kTajHBoO8lQfW9cTaBg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCcQ6AEwAA Editor’s comment: “This sounds like a slightly Pelagian remark! But it is presumably intended to reverse what one may call the Pelagian order of things; and see the last few sections of the sermon, 9-15, on the effect of the heresy on prayer.” http://books.google.com/books?id=0XjYAAAAMAAJ&q=%22This+sounds+like+a+slightly+Pelagian+remark%22&dq=%22This+sounds+like+a+slightly+Pelagian+remark%22&hl=en&ei=9cBkTYenLsKqlAfs56mVBg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCsQ6AEwAA
Sermons

Stefan Zweig photo

“He who is himself crossed in love is able from time to time to master his passion, for he is not the creature but the creator of his own misery; and if a lover is unable to control his passion, he at least knows that he is himself to blame for his sufferings. But he who is loved without reciprocating that love is lost beyond redemption, for it is not in his power to set a limit to that other's passion, to keep it within bounds, and the strongest will is reduced to impotence in the face of another's desire. Perhaps only a man can realize to the full the tragedy of such an undesired relationships; for him alone the necessity to resist t is at once martyrdom and guilt. For when a woman resists an unwelcome passion, she is obeying to the full the law of her sex; the initial gesture of refusal is, so to speak, a primordial instinct in every female, and even if she rejects the most ardent passion she cannot be called inhuman. But how disastrous it is when fate upsets the balance, when a woman so far overcomes her natural modesty as to disclose her passion to a man, when, without the certainty of its being reciprocated, she offers her love, and he, the wooed, remains cold and on the defensive! An insoluble tangle this, always; for not to return a woman's love is to shatter her pride, to violate her modesty. The man who rejects a woman's advances is bound to wound her in her noblest feelings. In vain, then, all the tenderness with which he extricates himself, useless all his polite, evasive phrases, insulting all his offers of mere friendship, once she has revealed her weakness! His resistance inevitably becomes cruelty, and in rejecting a woman's love he takes a load of guild upon his conscience, guiltless though he may be. Abominable fetters that can never be cast off! Only a moment ago you felt free, you belonged to yourself and were in debt to no one, and now suddenly you find yourself pursued, hemmed in, prey and object of the unwelcome desires of another. Shaken to the depths of your soul, you know that day and night someone is waiting for you, thinking of you, longing and sighing for you - a woman, a stranger. She wants, she demands, she desires you with every fibre of her being, with her body, with her blood. She wants your hands, your hair, your lips, your manhood, your night and your day, your emotions, your senses, and all your thought and dreams. She wants to share everything with you, to take everything from you, and to draw it in with her breath. Henceforth, day and night, whether you are awake or asleep, there is somewhere in the world a being who is feverish and wakeful and who waits for you, and you are the centre of her waking and her dreaming. It is in vain that you try not to think of her, of her who thinks always of you, in vain that you seek to escape, for you no longer dwell in yourself, but in her. Of a sudden a stranger bears your image within her as though she were a moving mirror - no, not a mirror, for that merely drinks in your image when you offer yourself willingly to it, whereas she, the woman, this stranger who loves you, she has absorbed you into her very blood. She carries you always within her, carries you about with her, no mater whither you may flee. Always you are imprisoned, held prisoner, somewhere else, in some other person, no longer yourself, no longer free and lighthearted and guiltless, but always hunted, always under an obligation, always conscious of this "thinking-of-you" as if it were a steady devouring flame. Full of hate, full of fear, you have to endure this yearning on the part of another, who suffers on your account; and I now know that it is the most senseless, the most inescapable, affliction that can befall a man to be loved against his will - torment of torments, and a burden of guilt where there is no guilt.”

Beware of Pity (1939)

A.E. Housman photo
Wallace Stevens photo

“An unaffected man in a negative light
Could not have borne his labor nor have died
Sighing that he should leave the banjo’s twang.”

Wallace Stevens (1879–1955) American poet

Notes Toward a Supreme Fiction (1942), It Must Change

Aurelius Augustinus photo
Benjamin Disraeli photo
Thomas De Quincey photo
Lewis Carroll photo

“'O gin I find anither ladye,'
He said wi' sighs and tears,
'I wot my coortin' sall not be
Anither thirty years:

For gin I find a ladye gay,
Exactly to my taste,
I'll pop the question, aye or nay,
In twenty years at maist.”

Lewis Carroll (1832–1898) English writer, logician, Anglican deacon and photographer

The Lang Coortin, last two stanzas
Rhyme? and Reason? (1883)

Jean Jacques Rousseau photo

“A kind of music far superior, in my opinion, to that of operas, and which in all Italy has not its equal, nor perhaps in the whole world, is that of the 'scuole'. The 'scuole' are houses of charity, established for the education of young girls without fortune, to whom the republic afterwards gives a portion either in marriage or for the cloister. Amongst talents cultivated in these young girls, music is in the first rank. Every Sunday at the church of each of the four 'scuole', during vespers, motettos or anthems with full choruses, accompanied by a great orchestra, and composed and directed by the best masters in Italy, are sung in the galleries by girls only; not one of whom is more than twenty years of age. I have not an idea of anything so voluptuous and affecting as this music; the richness of the art, the exquisite taste of the vocal part, the excellence of the voices, the justness of the execution, everything in these delightful concerts concurs to produce an impression which certainly is not the mode, but from which I am of opinion no heart is secure. Carrio and I never failed being present at these vespers of the 'Mendicanti', and we were not alone. The church was always full of the lovers of the art, and even the actors of the opera came there to form their tastes after these excellent models. What vexed me was the iron grate, which suffered nothing to escape but sounds, and concealed from me the angels of which they were worthy. I talked of nothing else. One day I spoke of it at Le Blond's; "If you are so desirous," said he, "to see those little girls, it will be an easy matter to satisfy your wishes. I am one of the administrators of the house, I will give you a collation [light meal] with them." I did not let him rest until he had fulfilled his promise. In entering the saloon, which contained these beauties I so much sighed to see, I felt a trembling of love which I had never before experienced. M. le Blond presented to me one after the other, these celebrated female singers, of whom the names and voices were all with which I was acquainted. Come, Sophia, — she was horrid. Come, Cattina, — she had but one eye. Come, Bettina, — the small-pox had entirely disfigured her. Scarcely one of them was without some striking defect.
Le Blond laughed at my surprise; however, two or three of them appeared tolerable; these never sung but in the choruses; I was almost in despair. During the collation we endeavored to excite them, and they soon became enlivened; ugliness does not exclude the graces, and I found they possessed them. I said to myself, they cannot sing in this manner without intelligence and sensibility, they must have both; in fine, my manner of seeing them changed to such a degree that I left the house almost in love with each of these ugly faces. I had scarcely courage enough to return to vespers. But after having seen the girls, the danger was lessened. I still found their singing delightful; and their voices so much embellished their persons that, in spite of my eyes, I obstinately continued to think them beautiful.”

Jean Jacques Rousseau (1712–1778) Genevan philosopher

Confessions of Jean-Jacques Rousseau (1765-1770; published 1782), On the musicians of the Ospedale della Pieta (book VII)

Gordon Lightfoot photo

“If I could only have you near
To breathe a sigh or two
I would be happy just to hold the hands I love
On this winters night with you”

Gordon Lightfoot (1938) Canadian singer-songwriter

Song For A Winter's Night, Track 10, United Artists A hauntingly beautiful version http://www.youtube.com/watch?v=dbgfXp5M02M
The Way I Feel (1967)

Thomas Malory photo

“Then Sir Launcelot saw her visage, but he wept not greatly, but sighed.”

Book XXI, ch. 11
Le Morte d'Arthur (c. 1469) (first known edition 1485)

Friedrich Nietzsche photo

“The heaviest burden: “What, if some day or night, a demon were to steal after you into your loneliest loneliness and say to you: ‘This life, as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life must return to you, all in the same succession and sequence — even this spider and this moonlight between the trees and even this moment and I myself. The eternal hourglass of existence is turned over again and again—and you with it, speck of dust!’ Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: ‘You are a god, and never have I heard anything more divine!’ If this thought were to gain possession of you, it would change you as you are, or perhaps crush you. The question in each and every thing, “do you want this once more and innumerable times more?””

Friedrich Nietzsche (1844–1900) German philosopher, poet, composer, cultural critic, and classical philologist

would lie upon your actions as the greatest weight. Or how well disposed would you have to become to yourself and to life to crave nothing more fervently than this ultimate eternal confirmation and seal?.
Sec. 341
The Gay Science (1882)

Henri Barbusse photo
Edwin Arnold photo
Buddy Holly photo

“Sometimes we'll sigh — sometimes we'll cry
And we'll know why just you and I know true love ways.”

Buddy Holly (1936–1959) American singer-songwriter

True Love Ways, written by Buddy Holly and Norman Petty (1958)
Song lyrics, Singles

Lewis Carroll photo
Lewis Carroll photo
Bertrand Russell photo

“He asked my religion and I replied 'agnostic'. He asked how to spell it, and remarked with a sigh: 'Well, there are many religions, but I suppose they all worship the same God.”

Bertrand Russell (1872–1970) logician, one of the first analytic philosophers and political activist

1960s, The Autobiography of Bertrand Russell (1967-1969)
Context: He asked my religion and I replied 'agnostic'. He asked how to spell it, and remarked with a sigh: 'Well, there are many religions, but I suppose they all worship the same God. This remark kept me cheerful for about a week.

Bahá'u'lláh photo
Stephen King photo
Karl Marx photo
Brandon Sanderson photo
George MacDonald photo
Cassandra Clare photo
Alice Hoffman photo
Tuli Kupferberg photo
Karen Marie Moning photo
John Steinbeck photo
Holly Black photo
Isaac Asimov photo
Cassandra Clare photo
Mitch Albom photo
Rick Riordan photo

“When I hear somebody sigh that "Life is hard," I am always tempted to ask, "Compared to what?"”

Sydney J. Harris (1917–1986) American journalist

"Purely Personal Prejudices" http://books.google.com/books?id=DLcEAQAAIAAJ&q=%22When+I+hear+somebody+sigh+that+Life+is+hard+I+am+always+tempted+to+ask+Compared+to+what%22&pg=PA241#v=onepage
Strictly Personal (1953)

“Damn, that werewolf melts my butter,” Mari sighed. “He’s so miserable,” she added delightedly.”

Kresley Cole American writer

Source: Dark Needs at Night's Edge

Richelle Mead photo
Julia Quinn photo
Rachel Caine photo
F. Scott Fitzgerald photo
Nicole Krauss photo
Robert Frost photo
Clive Barker photo
Alexander McCall Smith photo
Rick Riordan photo
Nicholas Sparks photo
Richelle Mead photo
Christina Rossetti photo
Eoin Colfer photo
W.S. Merwin photo
Rick Riordan photo
Cassandra Clare photo
Julia Quinn photo

“She'd met Colin on a Monday.
She'd kissed him on a Friday.
Twelve years later.
She sighed. It seemed fairly pathetic.”

Julia Quinn (1970) American novelist

Source: Romancing Mister Bridgerton

Cassandra Clare photo