Quotes about sigh
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S. S. Van Dine photo
Jack McDevitt photo
Octavius Winslow photo
Paul Bourget photo
Clive Barker photo
Letitia Elizabeth Landon photo

“One sweet whisper from her came;
And he drank to catch her breath, —
Wine and sigh alike are death!”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

(1836-3) (Vol.48) Subjects for Pictures. Second Series. II. A Supper of Madame de Brinvilliers
The Monthly Magazine

W. H. Auden photo
Washington Allston photo
John Clare photo

“When trouble haunts me, need I sigh?
No, rather smile away despair;”

John Clare (1793–1864) English poet

"The Stranger"
Poems Chiefly from Manuscript

Ludovico Ariosto photo

“I saw them come towards us, deeply sighing,
Their gaze averted, of all hope devoid.”

Veniano sospirando, e gli occhi bassi
Parean tener d'ogni baldanza privi.
Canto III, stanza 61 (tr. B. Reynolds)
Orlando Furioso (1532)

Oliver Goldsmith photo

“The sigh that rends thy constant heart
Shall break thy Edwin's too.”

Source: The Vicar of Wakefield (1766), Ch. 8, The Hermit (Edwin and Angelina), st. 33.

Samuel Beckett photo
Geoffrey of Monmouth photo

“With deep sighs and tears, he burst forth into the following complaint: – "O irreversible decrees of the Fates, that never swerve from your stated course! why did you ever advance me to an unstable felicity, since the punishment of lost happiness is greater than the sense of present misery?"”
In hec verba cum fletu et singultu prupit. "O irrevocabilia seria fatorum quae solito cursu fixum iter tenditis cur unquam me ad instabilem felicitatem promovere volvistis cum maior pena sit ipsam amissam recolere quam sequentis infelicitatis presentia urgeri."

Bk. 2, ch. 12; p. 117.
Historia Regum Britanniae (History of the Kings of Britain)

Harry Chapin photo
George William Russell photo
Tim Powers photo
William Motherwell photo
Thomas Shadwell photo
Letitia Elizabeth Landon photo
José Maria Eça de Queiroz photo

“In the depths of China there lives a mandarin who is richer than any king spoken of in fable or in history. You know nothing about him, not his name, his face or the silks that he wears. In order for you to inherit his limitless wealth, all you have to do is to ring the bell placed on a book by your side. In that remote corner of Mongolia, he will utter a single sigh. He will then be a corpse, and at your feet you will see gold beyond the dreams of avarice. Mortal reader, will you ring the bell?”

No fundo da China existe um mandarim mais rico que todos os reis de que a fábula ou a história contam. Dele nada conheces, nem o nome, nem o semblante, nem a seda de que se veste. Para que tu herdes os seus cabedais infindáveis, basta que toques essa campainha, posta a teu lado, sobre um livro. Ele soltará apenas um suspiro, nesses confins da Mongólia. Será então um cadáver: e tu verás a teus pés mais ouro do que pode sonhar a ambição de um avaro. Tu, que me lês e és um homem mortal, tocarás tu a campainha?
O Mandarim ("The Mandarin", 1880), trans. Margaret Jull Costa, Ch. 1.

Samuel R. Delany photo
Walter Scott photo
John Cheever photo

“A lonely man is a lonesome thing, a stone, a bone, a stick, a receptacle for Gilbey’s gin, a stooped figure sitting at the edge of a hotel bed, heaving copious sighs like the autumn wind.”

John Cheever (1912–1982) American novelist and short story writer

The Sixties, 1966 entry.
The Journals of John Cheever (1991)

Wisława Szymborska photo
Thomas Hardy photo

“If all hearts were open and all desires known — as they would be if people showed their souls — how many gapings, sighings, clenched fists, knotted brows, broad grins, and red eyes should we see in the market-place!”

Thomas Hardy (1840–1928) English novelist and poet

Diary entry (18 August 1908), quoted in The Later Years of Thomas Hardy (1930), by Florence Emily Hardy, ch. 10, p. 133

Gao Xingjian photo
Charles Stross photo

““But then—you’re telling me they brought unrestricted communications with them?” he asked.
“Yup.” Rachel looked up from her console. “We’ve been trying for years to tell your leaders, in the nicest possible way: information wants to be free. But they wouldn’t listen. For forty years we tried. Then along comes the Festival, which treats censorship as a malfunction and routes communications around it. The Festival won’t take no for an answer because it doesn’t have an opinion on anything; it just is.”
“But information isn’t free. It can’t be. I mean, some things — if anyone could read anything they wanted, they might read things that would tend to deprave and corrupt them, wouldn’t they? People might give exactly the same consideration to blasphemous pornography that they pay to the Bible! They could plot against the state, or each other, without the police being able to listen in and stop them!”
Martin sighed. “You’re still hooked on the state thing, aren’t you?” he said. “Can you take it from me, there are other ways of organizing your civilization?”
“Well—” Vassily blinked at him in mild confusion. “Are you telling me you let information circulate freely where you come from?”
“It’s not a matter of permitting it,” Rachel pointed out. “We had to admit that we couldn’t prevent it. Trying to prevent it was worse than the disease itself.”
“But, but lunatics could brew up biological weapons in their kitchens, destroy cities! Anarchists would acquire the power to overthrow the state, and nobody would be able to tell who they were or where they belonged anymore. The most foul nonsense would be spread, and nobody could stop it—” Vassily paused. “You don’t believe me,” he said plaintively.
“Oh, we believe you alright,” Martin said grimly. “It’s just—look, change isn’t always bad. Sometimes freedom of speech provides a release valve for social tensions that would lead to revolution. And at other times, well—what you’re protesting about boils down to a dislike for anything that disturbs the status quo. You see your government as a security blanket, a warm fluffy cover that’ll protect everybody from anything bad all the time. There’s a lot of that kind of thinking in the New Republic; the idea that people who aren’t kept firmly in their place will automatically behave badly. But where I come from, most people have enough common sense to avoid things that’d harm them; and those that don’t, need to be taught. Censorship just drives problems underground.”
“But, terrorists!”
“Yes,” Rachel interrupted, “terrorists. There are always people who think they’re doing the right thing by inflicting misery on their enemies, kid. And you’re perfectly right about brewing up biological weapons and spreading rumors. But—” She shrugged. “We can live with a low background rate of that sort of thing more easily than we can live with total surveillance and total censorship of everyone, all the time.” She looked grim. “If you think a lunatic planting a nuclear weapon in a city is bad, you’ve never seen what happens when a planet pushed the idea of ubiquitous surveillance and censorship to the limit. There are places where—” She shuddered.”

Source: Singularity Sky (2003), Chapter 14, “The Telephone Repairman” (pp. 296-297)

Philip José Farmer photo
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Vin Scully photo
W. S. Gilbert photo
Luís de Camões photo
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Leo Tolstoy photo
Jack Kerouac photo
Clive Barker photo

“Lilia sighed. “Why me?” she said, still shaking. “Why should I have to tell it?”
“Because you’re the best liar,” Jerichau replied with a tight smile. “You can make it true.””

Clive Barker (1952) author, film director and visual artist

Part Three “The Exiles”, Chapter ii “Walking in the Dark” (p. 123)
(1987), BOOK ONE: IN THE KINGDOM OF THE CUCKOO

Chinua Achebe photo
Kage Baker photo

“The little red lark, like a rosy spark
Of song, to his sun-burst flies;
But till you are risen, earth is a prison,
Full of my captive sighs.”

Alfred Perceval Graves (1846–1931) Anglo-Irish poet, songwriter, and school inspector

Song, "The Little Red Lark".

George Croly photo

“Teach me to feel that Thou art always nigh;
Teach me the struggles of the soul to bear;
To check the rising doubt, the rebel sigh;
Teach me the patience of unanswered prayer.”

George Croly (1780–1860) Irish poet, novelist, historian, and divine

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 444.

“If I love you—
I never behave like a climbing trumpet vine
Using your high branches to show myself off;
If I love you—
I never mimic infatuated little birds
Repeating monotonous songs into the shadows,
Nor do I look at all like a wellspring
Sending out its cooling consolation all year round,
Or just another perilous crag
Augmenting your height, setting off your prestige.
Nor like the sunlight
Or even spring rain.
No, these are not enough.
I would be a kapok tree by your side
Standing with you—
both of us shaped like trees.
Our roots hold hands underground,
Our leaves touch in the clouds.
As a gust of wind passes by
We salute each other
And not a soul
Understands our language.
You have your bronze boughs and iron trunk
Like knives and swords,
Also like halberds;
I have my red flowers
Like heavy sighs,
Also like heroic torches.
We share cold waves, storms and thunderbolts;
Together we savor fog, haze and rainbows.
We seem to always live apart,
But actually depend upon each other forever.
This has to be called extraordinary love.
Faith resides in it:
Love—
I love not only your sublime body
But the space you occupy,
The land beneath your feet.”

Shu Ting (1952) Chinese writer

"To the Oak Tree" [ 致橡树 https://www.youtube.com/watch?v=APZjf9K6KX0, Zhi xiangshu] (27 March 1977), in The Red Azalea: Chinese Poetry Since the Cultural Revolution, ed. Edward Morin, trans. Fang Dai and Dennis Ding (University of Hawaii Press, 1990), ISBN 978-0824813208, pp. 102–103.

Robert Graves photo

“Sigh then, or frown, but leave (as in despair)
Motive and end and moral in the air;
Nice contradiction between fact and fact
Will make the whole read human and exact.”

Robert Graves (1895–1985) English poet and novelist

"The Devil’s Advice to Story-tellers," lines 19–22, from Collected Poems 1938 (1938).
Poems

Jonathan Swift photo
Walter Scott photo
Henry Fielding photo
Letitia Elizabeth Landon photo
Harry Turtledove photo

“"Let's dicker, Lord Lyons," Lincoln said; the British minister needed a moment to understand he meant bargain. Lincoln gave him that moment, reaching into a desk drawer and drawing out a folded sheet of paper that he set on top of the desk. "I have here, sir, a proclamation declaring all Negroes held in bondage in those areas now in rebellion against the lawful government of the United States to be freed as of next January first. I had been saving this proclamation against a Union victory, but circumstances being as they are-" Lord Lyons spread his hands with genuine regret. "Had you won such a victory, Mr. President, I should not be visiting you today with the melancholy message I bear from my government. You know, sir, that I personally despise the institution of chattel slavery and everything associated with it." He waited for Lincoln to nod before continuing. "That said, however, I must tell you that an emancipation proclamation issued after the series of defeats Federal forces have suffered would be perceived as a cri de coeur, a call for servile insurrection to aid your flagging cause, and as such would not be favorably received in either London or Paris, to say nothing of its probable effect in Richmond. I am sorry, Mr. President, but this is not the way out of your dilemma." Lincoln unfolded the paper on which he'd written the decree abolishing slavery in the seceding states, put on a pair of spectacles to read it, sighed, folded it again, and returned it to its drawer without offering to show it to Lord Lyons. "If that doesn't help us, sir, I don't know what will," he said. His long, narrow face twisted, as if he were in physical pain. "Of course, what you're telling me is that nothing helps us, nothing at all."”

Source: The Great War: American Front (1998), p. 7

Jim Butcher photo
William Morris photo
Matthew Henry photo

“So great was the extremity of his pain and anguish that he did not only sigh but roar.”

Matthew Henry (1662–1714) Theologician from Wales

Job 3.
Commentaries

Robert Lynn Asprin photo
Harriet Winslow Sewall photo

“Why thus longing, thus forever sighing
For the far-off, unattained, and dim,
While the beautiful all round thee lying
Offers up its low, perpetual hymn?”

Harriet Winslow Sewall (1819–1889) American poet

Why thus longing?, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Li Bai photo
Robert Frost photo

“The birds that came to it through the air
At broken windows flew out and in,
Their murmur more like the sigh we sigh
From too much dwelling on what has been.”

Robert Frost (1874–1963) American poet

" The Need of Being Versed in Country Things http://www.poemhunter.com/poem/need-of-being-versed-in-country-things-the/"
1920s

Letitia Elizabeth Landon photo
Anthony Burgess photo

“I remember an old proverb. It says that youth thinks itself wise just as drunk men think themselves sober. Youth is not wise! Youth knows nothing about life! Youth knows nothing about anything except for massive cliches which for the most part through the media of pop songs are just foisted on them by middle-age entrepreneurs and exploiters who should know better. When we start thinking that pop music is close to God, then we'll think pop music is aesthetically better than it is. And it's only the aesthetic value of pop music that we're really concerned. I mean the only way we can judge Wagner or Beethoven or any other composer is aesthetically. We don't regard Wagner or Beethoven nor Shakespeare or Milton as great teachers. When we start claiming for Lennon or McCartney or Maharishi or any other of these pop prophets the ability to transport us to a region where God becomes manifest then I see red. We're satisfied with our little long playing record, ten pop numbers or thereabouts a side. This is great art, we've been told this by the great pundits of our age. And in consequence why should we bother to learn? There's nothing more delightful than to be told: "You don't have to learn, my boy. There's nothing in it. Modern art? There's nothing in it." When you're told these things you sit down with a sigh of relief: "Thank God I don't have to learn, I don't have to travel, I don't have to exert myself in the slightest. I am what I am. Youth is youth. Pop is pop. There's no need to progress. There's no need to do anything. Let us sit down, smoke our marijuana (an admirable thing in itself but not the end of anything), let us listen to our records and life has become a single moment. And the single moment is eternity. We're with God. Finis!”

Anthony Burgess (1917–1993) English writer

Pop Music

Gerard Manley Hopkins photo
Walter Savage Landor photo
Mark Akenside photo
Lucy Maud Montgomery photo
Thomas Gray photo

“Implores the passing tribute of a sigh.”

Thomas Gray (1716–1771) English poet, historian

St. 20
Elegy Written in a Country Churchyard http://www.thomasgray.org/cgi-bin/display.cgi?text=elcc (written 1750, publ. 1751)

Maimónides photo
John Godfrey Saxe photo
Dara Shukoh photo
Iain Banks photo
Ilia Chavchavadze photo
Stephenie Meyer photo
George Crabbe photo

“To sigh, yet not recede; to grieve, yet not repent.”

George Crabbe (1754–1832) English poet, surgeon, and clergyman

Book iii, "Boys at School". Compare: To sigh, yet feel no pain", Thomas Moore The Blue Stocking.
Tales of the Hall (1819)

Omar Khayyám photo
Glen Cook photo
Kazimir Malevich photo

“When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field. The critics and, along with them, the public sighed, 'Everything which we loved was lost. We are in a desert... Before us is nothing but a black square on a white background!”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

But the desert is filled with the spirit of non-objective feeling.. ..which penetrates everything.
In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ISBN 0-486-42974-1], 'part II: Suprematism', p. 68
1921 - 1930

Thomas Brooks photo

“Our sins are debts that none can pay but Christ. It is not our tears, but His blood; it is not our sighs, but His sufferings, that can testify for our sins. Christ must pay all, or we are prisoners forever.”

Thomas Brooks (1608–1680) English Puritan

Source: Quotes from secondary sources, Dictionary of Burning Words of Brilliant Writers, 1895, P. 81.

Edwin Abbott Abbott photo
John Keats photo

“And then there crept
A little noiseless noise among the leaves,
Born of the very sigh that silence heaves.”

John Keats (1795–1821) English Romantic poet

"I Stood Tiptoe", l. 10
Poems (1817)

Anton Chekhov photo
Joseph Conrad photo

“Only a moment; a moment of strength, of romance, of glamour — of youth!… A flick of sunshine upon a strange shore, the time to remember, the time for a sigh, and — goodbye!”

Joseph Conrad (1857–1924) Polish-British writer

Night — Goodbye!
Youth, A Narrative http://www.gutenberg.org/files/525/525.txt (1902)

Letitia Elizabeth Landon photo

“My heart is like the willow
That bends, but never breaks.
It sighs when summer jilts her,
It sings when April wakes.”

Yip Harburg (1896–1981) American song lyricist

"Irreverent Heart"
Rhymes for the Irreverent (1965)
Context: My heart is like the willow
That bends, but never breaks.
It sighs when summer jilts her,
It sings when April wakes. So you, who come a-smiling
With summer in your eyes,
Think not that your beguiling
Will take me by surprise. My heart's prepared for aching
The moment you take wing.
But not, my friend, for breaking
While there's another spring.

Nathalia Crane photo

“Barricaded vision,
Garbed herself in sighs;
Ridiculed the birthmarks
Of the butterflies.”

Nathalia Crane (1913–1998) American writer

"The Vestal" <!-- p. 15 -->
The Janitor's Boy And Other Poems (1924)
Context: p>Once a pallid Vestal
Doubted truth in blue;
Listed red in ruin,
Harried every hue;Barricaded vision,
Garbed herself in sighs;
Ridiculed the birthmarks
Of the butterflies.</p

“Snail, snail, glister me forward,
Bird, soft-sigh me home,
Worm, be with me.
This is my hard time.”

Theodore Roethke (1908–1963) American poet

"The Lost Son," ll. 8-11
The Lost Son and Other Poems (1948)
Context: I shook the softening chalk of my bones,
Saying,
Snail, snail, glister me forward,
Bird, soft-sigh me home,
Worm, be with me.
This is my hard time.

Halldór Laxness photo

“Sighing, he became aware of his own insignificance in the midst of this infinite chorus glory and radiance; his whole consciousness dissolved into one sacred, tearful yearning to be allowed to be one with the Highest and be no longer any part of himself. He lay for a long time on the sand or on the grass, and wept tears of deep and fervent happiness, face to face with the inexpressible. "God, God, God!" he cried, trembling with love and reverence, and kissed the ground and dug his fingers into the turf.”

Halldór Laxness (1902–1998) Icelandic author

Heimsljós (World Light) (1940), Book One: The Revelation of the Deity
Context: He was not quite nine years old, in fact, when he began to have spiritual experiences... he felt he saw God's image open before him. He felt the deity reveal itself in Nature in an inexpressible music, the sonic revelation of the deity; and before he knew it, he himself had become a trembling voice in a celestial chorus of glory. His soul seemed to be rising out of his body like frothing milk brimming over the edge of a basin; it was as if his soul were flowing into an unfathomable ocean of higher life, beyond words, beyond all perception, his body suffused by some surging light that was beyond all light. Sighing, he became aware of his own insignificance in the midst of this infinite chorus glory and radiance; his whole consciousness dissolved into one sacred, tearful yearning to be allowed to be one with the Highest and be no longer any part of himself. He lay for a long time on the sand or on the grass, and wept tears of deep and fervent happiness, face to face with the inexpressible. "God, God, God!" he cried, trembling with love and reverence, and kissed the ground and dug his fingers into the turf.

Nathalia Crane photo

“Their language runs to circles like the language of the eyes,
Emphasised by strange dilations with little panting sighs.”

Nathalia Crane (1913–1998) American writer

"The Symbols"
The Janitor's Boy And Other Poems (1924)
Context: p>The sign work of the Orient it runneth up and down;
The Talmud stalks from right to left, a rabbi in a gown;The Roman rolls from left to right from Maytime unto May;
But the gods shake up their symbols in an absent-minded way.Their language runs to circles like the language of the eyes,
Emphasised by strange dilations with little panting sighs.</p

Taliesin photo
Phil Ochs photo

“Chosen for a challenge that is hopelessly hard
And the only single sound is the sighing of the stars
But to the silence and distance they are sworn.”

Phil Ochs (1940–1976) American protest singer and songwriter

"Crucifixion" http://web.cecs.pdx.edu/~trent/ochs/lyrics/crucifixion.html
Pleasures of the Harbor (1967)
Context: In the green fields a turnin', a baby is born
His cries crease the wind and mingle with the morn
An assault upon the order, the changing of the guard
Chosen for a challenge that is hopelessly hard
And the only single sound is the sighing of the stars
But to the silence and distance they are sworn.

Epictetus photo
Anne Brontë photo

“All for myself the sigh would swell,
The tear of anguish start;
I little knew what wilder woe
Had filled the Poet's heart.”

Poems by Currer, Ellis, and Acton Bell (1846), To Cowper (1842)
Context: p>All for myself the sigh would swell,
The tear of anguish start;
I little knew what wilder woe
Had filled the Poet's heart.I did not know the nights of gloom,
The days of misery;
The long, long years of dark despair,
That crushed and tortured thee.</p

J. Howard Moore photo
Philip Hammond photo
William Quan Judge photo