If we could, and we must, establish a deep long abiding relationship with nature, with the actual trees, the bushes, the flowers, the grass and the fast moving clouds, then we would never slaughter another human being for any reason whatsoever.
Yea, death and prison we mete out To small offenders of the laws, While honor, wealth, and full respect On greater pirates we bestow. To steal a flower we call mean. To rob a field is chivalry; Who kills the body he must die, Who kills the spirit he goes free.
Lo! sweeten'd with the summer light,
The full-juiced apple, waxing over-mellow,
Drops in a silent autumn night.
All its allotted length of days
The flower ripens in its place,
Ripens and fades, and falls, and hath no toil,
Fast-rooted in the fruitful soil.
There are cases in which the blade springs, but the plant does not go on to flower. There are cases where it flowers, but no fruit is subsequently produced.
God made a beauteous garden With lovely flowers strown, But one straight, narrow pathway That was not overgrown. And to this beauteous garden He brought mankind to live, And said "To you, my children, These lovely flowers I give. Prune ye my vines and fig trees, With care my flowers tend, But keep the pathway open Your home is at the end." God's Garden
English Bohemianism is a curiously unluscious fruit. ... Inside this hothouse, huge lascivious orchids slide sensuously up the sweating windows, passion-flowers cross-pollinate in wild heliotrope abandon, lotuses writhe with poppies in the sweet warm beds, kumquats ripen, open and plop flatly to the floor-and outside, in a neat, trimly-hoed kitchen-garden, English bohemians sit in cold orderly rows, like carrots.
Nationalist Socialist Germany wants peace because of its fundamental convictions. And it wants peace also owing to the realization of the simple primitive fact that no war would be likely essentially to alter the distress in Europe. The principal effect of every war is to destroy the flower of the nation. Germany needs peace and desires peace!
Ruin, weariness, death, perpetually death, stand grimly to confront the other presence of Elizabethan drama which is life: life compact of frigates, fir trees and ivory, of dolphins and the juice of July flowers, of the milk of unicorns and panthers’ breath, of ropes of pearl, brains of peacocks and Cretan wine.
There has fallen a splendid tear
From the passion-flower at the gate.
She is coming, my dove, my dear;
She is coming, my life, my fate;
The red rose cries, "She is near, she is near;"
And the white rose weeps, "She is late;"
The larkspur listens, "I hear; I hear;"
And the lily whispers, "I wait."
The root of any film project for me is this inner need to express something. What nurtures this root and makes it grow into a tree is the script. What makes the tree bear flowers and fruit is the directing.
The tempter or the tempted, who sins most? Ha! Not she: nor doth she tempt: but it is I That, lying by the violet in the sun, Do as the carrion does, not as the flower, Corrupt with virtuous season.