Woven Quotes

“ROSE of all Roses, Rose of all the World! The tall thought-woven sails, that flap unfurled Above the tide of hours, trouble the air, And God’s bell buoyed to be the water’s care; While hushed from fear, or loud with hope, a band With blown, spray-dabbled hair gather at hand. Turn if you may from battles never done, I call, as they go by me one by one, Danger no refuge holds, and war no peace, For him who hears love sing and never cease, Beside her clean-swept hearth, her quiet shade: But gather all for whom no love hath made A woven silence, or but came to cast A song into the air, and singing past To smile on the pale dawn; and gather you Who have sought more than is in rain or dew Or in the sun and moon, or on the earth, Or sighs amid the wandering starry mirth, Or comes in laughter from the sea’s sad lips; And wage God’s battles in the long grey ships. The sad, the lonely, the insatiable, To these Old Night shall all her mystery tell; God’s bell has claimed them by the little cry Of their sad hearts, that may not live nor die. Rose of all Roses, Rose of all the World! You, too, have come where the dim tides are hurled Upon the wharves of sorrow, and heard ring The bell that calls us on; the sweet far thing. Beauty grown sad with its eternity Made you of us, and of the dim grey sea. Our long ships loose thought-woven sails and wait, For God has bid them share an equal fate; And when at last defeated in His wars, They have gone down under the same white stars, We shall no longer hear the little cry Of our sad hearts, that may not live nor die.The Sweet Far Thing”

“With the veil removed by the rending of Jesus' flesh, with nothing on God's side to prevent us from entering, why do we tarry without? Why do we consent to abide all our days just outside the Holy of Holies and never enter at all to look upon God? We hear the Bridegroom say, `Let me see thy countenance, let me hear thy voice; for sweet is thy voice and thy countenance is comely.' (Song of Sol 2:14) We sense that the call is for us, but still we fail to draw near, and the years pass and we grow old and tired in the outer courts of the tabernacle. What doth hinder us?The answer usually given, simply that we are `cold,' will not explain all the facts. There is something more serious than coldness of heart, something that may be back of that coldness and be the cause of its existence. What is it? What but the presence of a veil in out hearts? A veil not taken away as the first veil was, but which remains there still shutting out the light and hiding the face of God from us. It is the veil of our fleshly fallen nature living on, unjudged within us, uncrucified and unrepudiated. It is the close- woven veil of the self-life which we have never truly acknowledged, of which we have been secretly ashamed, and which for these reasons we have never brought to the judgment of the cross. It is not too mysterious, this opaque veil, nor is it hard to identify. We have but to look in our own hearts and we shall see it there, sewn and patched and repaired it may be, but there nevertheless, an enemy to our lives and an effective block to our spiritual progress.This veil is not a beautiful thing and it is not a thing about which we commonly care to talk, but I am addressing the thirsting souls who are determined to follow God, and I know they will not turn back because the way leads temporarily through the blackened hills. The urge of God within them will assure their continuing the pursuit. They will face the facts however unpleasant and endure the cross for the joy set before them. So I am bold to mane the threads out of which this inner veil is woven. It is woven of the fine threads of the self-life, the hyphenated sins of the human spirit. They are not something we do, they are something we are, and therein lies both their subtlety and their power.”

“A tightly woven argument is impermeable to the frigid winds of criticism.”

“The world is a woven basket. Every stitch counts.”

“Hanging from every corner, above every window, standing on every shelf and tabletop, were dozens of handmade birdcages. Nomi had crafted them all, mostly out of old fishing twine, scraps of nets, and chicken wire. Woven in between the bars of the cages were bits of seashells, crab shells, pebbles, and driftwood she had scavenged along the beach. In a pinch she had made a few out of old clothes hangers she had scissored apart and woven together with strips of a negligee or shirt. Each one was personal, each one was unique, each one was a story”

“I'll call any length of fiction a story, whether it be a novel or a shorter piece, and I'll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren't writing stories, they decide that the remedy for this is to learn something that they refer to as "the technique of the short story" or "the technique of the novel." Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.”

“Thus there is need of deeper reflection. Before entering into an examination of individual texts, we must direct our attention to the whole picture, the question of structure. Only in this way can a meaningful arrangement of individual elements be obtained. Is there any place at all for something like Mariology in Holy Scripture, in the overall pattern of its faith and prayer? Methodologically, one can approach this question in one of two ways, backwards or forwards, so to speak: either one can read back from the New Testament into the Old or, conversely, feel one’s way slowly from the Old Testament into the New. Ideally both ways should coincide, permeating one another, in order to produce the most exact image possible. If one begins by reading backwards or, more precisely, from the end to the beginning, it becomes obvious that the image of Mary in the New Testament is woven entirely of Old Testament threads. In this reading, two or even three major strands of tradition can be clearly distinguished which were used to express the mystery of Mary. First, the portrait of Mary includes the likeness of the great mothers of the Old Testament: Sarah and especially Hannah, the mother of Samuel. Second, into that portrait is woven the whole theology of daughter Zion, in which, above all, the prophets announced the mystery of election and covenant, the mystery of God’s love for Israel. A third strand can perhaps be identified in the Gospel of John: the figure of Eve, the “woman” par excellence, is borrowed to interpret Mary.”

“The truth cannot be woven out of a string of lies.”

“Dreams are woven with threads of truth.”