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“Sullo schermo le diapositive continuano a scorrere: adesso sono più che altro foto di loro due sugli sci. Il nonno trasporta legname nel rifugio sopra la Draumadalur, nei Bláfjöll. Il rifugio si chiamava Himnaríki, che significa «paradiso». Quindi Himnaríki í Draumadalur sarebbe «un paradiso nella valle dei sogni». [...] «Il nome Himnaríki creava qualche malinteso», dice la nonna sorridendo. «Una volta la nostra amica Magga era in autobus con il figlio, che le chiese: "Dov'è papà?" "È in paradiso con Árni", rispose lei. "E quando torna?" "Lunedì". Sull'autobus c'era un prete, che le toccò il braccio e le disse con profonda partecipazione, ma molto serio: "Deve dire la verità al bambino, cara signora!"»”

“Suluk Suwung: Percakapan yang Tak Pernah Selesai Antara Suwung dan Amongraga 1. AMONGRAGA: Aku mendengarmu dari jauh— gema yang berjalan tanpa tubuh, seperti bayang yang lupa asalnya. Apa yang kau cari di celah-celah gelap ini? SUWUNG: Aku tidak mencari. Aku hanya diam. Diam yang terlalu lama, hingga berubah menjadi bentuk yang tak punya nama. 2. AMONGRAGA: Diam juga bagian dari suluk. Ia jembatan menuju terang. Mengapa kau menjadikannya liang? SUWUNG: Karena terangmu terlalu ribut. Dan setiap mantra yang kau sebut meninggalkan debu di nafas manusia. 3. AMONGRAGA: Aku berjalan dari kidung ke kidung, dari tubuh ke tubuh, hingga segala kenikmatan mengungkit pintu-pintu wahyu. SUWUNG: Aku tahu. Itulah jejak yang kau tinggalkan di dada sejarah. Tapi apa yang kau temukan? Selain tubuh yang terus meminta tanpa pernah selesai? 4. AMONGRAGA: Aku mencari puncak. Puncak yang melampaui dunia. Di sanalah aku menanggalkan daging seperti menanggalkan bayang-bayangku. SUWUNG: Dan aku mencari dasar. Dasar yang menelan dunia. Dasar tempat segala suara berhenti dan hanya retakan yang berbicara. 5. AMONGRAGA: Retakan juga bisa menjadi jendela. Mengapa kau memilih menjadikannya rumah? SUWUNG: Karena rumah yang kau buat ditopang oleh api. Aku lelah menjadi tubuh yang terus kau bakar demi sebuah cahaya yang tak pernah sampai. 6. AMONGRAGA: Lalu mengapa kau datang padaku? Mengapa engkau memanggil namaku dari jauh— seperti anak yang kehilangan jalan pulang? SUWUNG: Aku ingin tahu apakah seseorang sepertimu pernah merasa kosong. Atau kau memang menutupinya dengan nyala yang memabukkan. 7. AMONGRAGA: Aku tak pernah kosong. Aku penuh. Penuh dengan bunyi, dengan tubuh-tubuh, dengan api yang naik turun seperti nafas yang tak mau padam. SUWUNG: Maka di sanalah perbedaan kita. Engkau penuh. Dan aku kosong. Tapi keduanya sama-sama tak menjawab apa-apa. 8. AMONGRAGA: Apa itu yang kau sebut suwung? Hening yang menolak segala bentuk? SUWUNG: Suwung adalah tempat di mana setiap jawaban mati sebelum sempat disebutkan. Sebuah ruang yang tidak ingin menang. Tidak ingin selamat. Tidak ingin terlahir kembali. 9. AMONGRAGA: Jika begitu, apa yang kau inginkan dariku? SUWUNG: Aku ingin melihat apa yang tetap berada pada dirimu ketika seluruh kidungmu aku bungkam. Ketika seluruh tubuhmu aku lepaskan. Ketika seluruh cahaya aku padamkan. 10. AMONGRAGA: Dan apa yang kau lihat? SUWUNG: Hanya satu hal: bahwa bahkan engkau pun, pada akhirnya, adalah pintu yang tidak menuju siapa-siapa. 11. AMONGRAGA: Jika aku pintu, maka mengapa engkau tidak masuk? SUWUNG: Karena tidak ada apa pun di dalam. Dan tidak ada apa pun di luar. Yang ada hanyalah aku. Dan bahkan aku tidak sedang mencari diriku sendiri. 12. AMONGRAGA: Kalau begitu, mengapa engkau tetap berdiri di ambangku? SUWUNG: Karena di antara terangmu yang berisik dan gelapku yang sunyi, ambang adalah satu-satunya tempat yang tidak memaksaku memilih. 13. AMONGRAGA: Engkau suluk yang patah. Suluk yang menolak puncak. SUWUNG: Dan engkau adalah doa yang terlalu keras hingga lupa bagaimana cara menjadi sunyi. Desember 2025”

“Sumatra Sad smo bezbrižni, laki i nežni. Pomislimo: kako su tihi, snežni vrhovi Urala. Rastuži li nas kakav bledi lik, što ga izgubismo jedno veče, znamo da, negde, neki potok mesto njega, rumeno teče! Po jedna ljubav, jutro, u tuđini, dušu nam uvija, sve tešnje, beskrajnim mirom plavih mora, iz kojih crvene zrna korala, kao, iz zavičaja, trešnje. Probudimo se noću i smešimo, drago, na Mesec sa zapetim lukom. I milujemo daleka brda i ledene gore, blago, rukom.”

“Sumber yang paling utama sebagai rujukan kesusasteraan spiritual di seluruh dunia Islam itu dan yang paling penting ialah al-Qur'an sendiri, diikuti dengan hadis Rasulullah terutamanya hadis Qudsi dan hadis yang berkaitan dengan fahaman dan doktrin spiritual. Selepas itu fahaman-fahaman metafizikal dan juga kosmologikal, doktrin yang telah dirumus oleh ahli-ahli metafizik Islam dan doktrin para wali Sufi berasaskan sumber keagamaan dan fahaman tradisional yang tidak bercanggah dengan doktrin spiritual kaum Sufi.”

“SUMERGE TU ALMA Esto es todo lo que necesitarás recordar. Quédate allí – Abraza cada momento como un beso del gran espíritu. Esta vez Tierno al corazón, abrazado por el Alma esto es todo lo que realmente necesitamos saber. Ábrete al abrazo de los amores Sabe con todo tu corazón y toda tu Alma Que tú eres amado Abre tu corazón, y observa a la vida encenderse Date un banquete de alegría Enamórate Libera todo al momento y está en paz.”

“Sumerian myths and legends of the antediluvian world do much more than speak of the five cities. They also tell an extraordinary story of how their ancestors, who lived in the 'most ancient times', were visited by a brotherhood of semi-divine beings described as half men, half fish, who had been 'sent [by the gods] to teach the arts of civilization to mankind before the Flood' and who had themselves 'emerged from the sea'. The collective name by which these creatures were known was the 'Seven Sages' and the name of their leader was Oannes. Each of them was paired as a 'counsellor' to an antediluvian king and they were renowned for their wisdom in affairs of state and for their skills as architects, builders and engineers.”

“Summary There is a small group of cases, initially treated as rape where there is no evidence of an assault: primarily where a third party makes the report and the victim subsequently denies; or where the victim suspects being assaulted while asleep, unconscious or affected by alcohol/drugs but the medical/forensic examination suggests no sex has taken place. How the police should designate such cases is problematic. - Eight per cent of reported cases in the sample were designated false by the police. - A higher proportion of cases designated false involved 16- to 25-year-olds. - A greater degree of acquaintance between victim and perpetrator decreased the likelihood of cases being designated false. - Cases were most commonly designated false on the grounds of: the complainant admitting it; retractions; evidential issues; and non co-operation by the complainant. - In a number of cases the police also cited mental health problems, previous allegations, use of alcohol/drugs and lack of CCTV evidence. - The pro formas and the interviews with police officers suggested inconsistencies in the complainant’s account could be interpreted as ‘lying’. - The authors’ analysis suggests that the designation of false allegations in a number of cases was uncertain according to Home Office counting rules, and if these were excluded, would reduce the proportion of false complaints to three per cent of reported cases. - This is considerably lower than the estimates of police officers interviewed." A gap or a chasm?: attrition in reported rape cases.”

“Summer 1963: I had graduated with HONORS, and was going off to HUNTINGDON COLLEGE in the fall. Several people told me: 'You have to learn to smoke, if you are going to HUNTINGDON.' So---I tried to learn to smoke---and I just could not learn to smoke. Well---when I got to HUNTINGDON---I fit right in-------NOBODY WAS SMOKING!!!!!!”

“Summer came. For the book thief, everything was going nicely. For me, the sky was the color of Jews. When their bodies had finished scouring for gaps in the door, their souls rose up. When their fingernails had scratched at the wood and in some cases were nailed into it by the sheer force of desperation, their spirits came toward me, into my arms, and we climbed out of those shower facilities, onto the roof and up, into eternity's certain breadth. They just kept feeding me. Minute after minute. Shower after shower.”

“Summer camp was a place where I felt like myself that wasn't like school. There were no grades, we got to try lots of new things, and I started to play guitar at camp. It was a place for acceptance and learning to be a part of a community, but also learning to be yourself. I want that for all kids, but some kids don't have the opportunity to go to camp. I want to help.”

“Summer days, and the flat water meadows and the blue hills in the distance, and the willows up the backwater and the pools underneath like a kind of deep green glass. Summer evenings, the fish breaking the water, the nightjars hawking round your head, the smell of nightstocks and latakia. Don’t mistake what I’m talking about. It’s not that I’m trying to put across any of that poetry of childhood stuff. I know that’s all baloney. Old Porteous (a friend of mine, a retired schoolmaster, I’ll tell you about him later) is great on the poetry of childhood. Sometimes he reads me stuff about it out of books. Wordsworth. Lucy Gray. There was a time when meadow, grove, and all that. Needless to say he’s got no kids of his own. The truth is that kids aren’t in any way poetic, they’re merely savage little animals, except that no animal is a quarter as selfish. A boy isn’t interested in meadows, groves, and so forth. He never looks at a landscape, doesn’tgive a damn for flowers, and unless they affect him in some way, such as being good to eat, he doesn’t know one plant from another. Killing things - that’s about as near to poetry as a boy gets. And yet all the while there’s that peculiar intensity, the power of longing for things as you can’t long when you’re grown up, and the feeling that time stretches out and out in front of you and that whatever you’re doing you could go on for ever.”