Rain Images With Malayalam Quotes

#1. A merrier baby than he had never been seen. Everything he glimpsed around him roused his interest and stirred him to joy. He looked with delight at the threads of rain outside the window, as if they were confetti and multicolored streamers. And if, as happens, the sunlight reached the ceiling indirectly and cast the shadows of the street's morning bustle, he would stare as it fascinated, refusing to abandon it, as if he were watching an extraordinary display of Chinese acrobats, given especially or him. You would have said, to tell the truth, from his laughter, from the constant brightening of his little face, that he didn't see things only in their usual aspects, but as multiple images of other things, varying to infinity. Otherwise, there was no explaining why the wretched, monotonous scene the house offered every day could afford him such diverse, inexhaustible amusement. #Quote by Elsa Morante

#2. And sometimes those remembered images aren't even accurate; in revisiting some of the movies I discuss here, I've been surprised to realize that what I remember about a particular movie moment, the influential lesson that has stayed with me - how to kiss in the rain, what to say to my shell-shocked parents about their divorce, where in the linen closet to hide the liquor - sometimes doesn't actually exist in the film. It's a trick of memory, #Quote by Tara Ison

#3. I remember a spring night in a school auditorium, during the rehearsal of a play. I am thirteen. I am weary of the farce, weary of the silliness of the cast, of our endless horseplay, mindlessness. A scene in which I have no part is being rehearsed; I stand in an open door at the rear of the dark and empty hall. A storm is under way. The door is on the lee of the building, and I step out under the overhang. The rain swirls and beats. Lightning reveals a familiar schoolyard in a ghostly light. I feel a sudden poignancy. Images strike my mind. The wind is the scream of a lost spirit, searching the earth and finding no good, recalling old bereavements, lashing the land with tears. Consciousness leaves my body, moves out in time and space. I undergo an expanding awareness of self, of separateness, of time flowing through me, bearing me on, knowing I have a chance, the one chance all of us have, the chance of a life, knowing a time will come when nothing lies ahead and everything lies behind, and hoping I can then look back and feel it well spent. How, in the light of fixed stars, should one live? #Quote by Allen Wheelis

#4. There's a theme that appears in much of your work," I say to Maurice on my last visit to Connecticut, "and I can only hint at it because it's difficult to formulate or describe. It has something to do with the lines: 'As I went over the water/the water went over me' [from As I Went over the Water] or 'I'm in the milk and the milk's in me' [from Night Kitchen]."

"Obviously I have one theme, and it's even in the book I'm working on right now. It's not that I have such original ideas, just that I'm good at doing variations on the same idea over and over again. You can't imagine how relieved I was to find out that Henry James admitted he had only a couple of themes and that all of his books were based on them. That's all we need as artists - one power-driven fantasy or obsession, then to be clever enough to do variations… like a series of variations by Mozart. They're so good that you forget they're based on one theme. The same things draw me, the same images…"

"What is this one obsession?"

"I'm not about to tell you - not because it's a secret, but because I can't verbalize it."

"There's a line by Bob Dylan in 'Just Like a Woman' which talks about being 'inside the rain.'"

"Inside the rain?"

"When it's raining outside," I explain, "I often feel inside myself, as if I were inside the rain… as if the rain were my self. That's the sense I get from Dylan's image and from your books as well."

"It's strange y #Quote by Jonathan Cott

#5. I recount as this journey begins where I rest to gather the tale from this
same old house resting on the hill, leaving me a view of a carnival once seen from just across the tracks. My pallet is dry now. The colors I see no more. The rain has washed away many of the signs that once stood for a prosper
home and family. My grave is waiting. The dreams once filled my head with
images of world unison, hope and companionship for all. The saga spoken
through my canvas drew darker as the years went on to the bitter cold nights.
All that comes to me now are glimpses of faces that graced my soul. #Quote by Kris Courtney

#6. I could not give up either of these worlds, neither the book I am holding nor the gleaming forest, though I have told you almost nothing of what is said here on these grim pages, from the sentences of which I've conjured images of a bleak site years ago. Here in this room, I suppose, is to be found the interior world of the book; but it opens upon a world beyond the windows, where no event has been collapsed into syntax, where the vocabulary, it seems, is infinite. The indispensable connection for me lies with the open space (of the open window ajar year round, never closed) that lets the breath of every winter storm, the ripping wind and its pelting rain, enter the room. #Quote by Barry Lopez

#7. Again burst out that chant McKay had heard as he had floated through the mists upon the lake. Now, as then, despite his opened ears, he could distinguish no words, but clearly he understood its mingled themes - the joy of Spring's awakening, rebirth, with the green life streaming singing up through every bough, swelling the buds, burgeoning with tender leaves the branches; the dance of the trees in the scented winds of Spring; the drums of the jubilant rain on leafy hoods; passion of Summer sun pouring its golden flood down upon the trees; the moon passing with stately step and slow and green hands stretching up to her and drawing from her breast milk of silver fire; riot of wild gay winds with their mad pipings and strummings; - soft interlacing of boughs, the kiss of amorous leaves - all these and more, much more that McKay could not understand for it dealt with hidden, secret things for which man has no images.

("The Women Of The Woods") #Quote by A. Merritt

#8. The fighting had begun. You could make out groups of masked men roaming around with assault rifles and automatic weapons. Windows had been broken, here and there cars were on fire, but the images, shot in the pelting rain, were of such poor quality it was impossible to get a clear idea of who was doing what. #Quote by Michel Houellebecq

#9. Through rain...then through dreaming glass, green with the evening. And herself in chair, old-fashioned, bonneted, looking west over the deck of Earth, inferno red at its edges, and further in the brown and gold clouds...

Then, suddenly, night: The empty rocking chair lit staring chalk blue by--is it the moon, or some other light in the sky? just the hard chair, empty now, in the very clear night, and this cold light coming down...

The images go, flowering, in and out, some lovely, some just awful...but she's snuggled in here with her lamb, her Roger, and how she loves the line of his neck all at once so---why there it is right there, the back of his bumpy head like a boy of ten's. She kisses him up and down the sour salt reach of skin that's taken her so, taken her nightlit along this high tendoning, kisses him like kisses were flowing breath itself, and never ending. #Quote by Thomas Pynchon

#10. Tell me a story, a story that will be my story as well as the story of everyone and everything about me, the story that brings us together in a valley community, a story that brings together the human community with every living being in the valley, a story that brings us together under the arc of the great blue sky in the day and the starry heavens at night, a story that will drench us with rain and dry us in the wind, a story told by humans to one another that will also be the story that the wood thrush sings in the thicket, the story that the river recites in its downward journey, the story that Storm King Mountain images forth in the fullness of its grandeur. #Quote by Thomas Berry

#11. ...and nearly laughed aloud from the joy that came over her for no reason. She felt her nerves tighten more and more, like strings on winding pegs. She felt her eyes open wider and wider, her fingers and toes move nervously; something insider her stopped her breath, and all images and sounds in that wavering semi-darkness impressed themselves on her with extraordinary vividness. She kept having moments of doubt whether the carriage was moving forwards or backwards, or standing still. Was that Annushka beside her, or some stranger? What is that on the armrest a fur coat or some animal? And what am I? Myself or someone else? It was frightening to surrender herself to this oblivion. But something was drawing her in, and she was able, at will, to surrender to it or hold back from it. She stood up to come to her senses. For a moment she recovered...wind and snow had burst in...everything became confused again...This muzhik with the long waist began to gnaw at something on the wall; the old woman began to stretch her legs out the whole length of the carriage and filled it with a black cloud; then something screeched and banged terribly, as if someone was being torn to pieces; then a red fire blinded her eyes, and then everything was hidden by a wall. Anna felt as if she was falling through the floor. But all this was not frightening but exhilarating. #Quote by Leo Tolstoy

#12. There are a bunch of images that are thrown in our faces all the time about what we're supposed to look like at 14, 15, 16. It's confusing. I think every woman can identify with that struggle. #Quote by Zoe Kravitz

#13. I feel closer ties and more intimate bonds with certain characters in books, with certain images I've seen in engravings, than with many supposedly real people with the metaphysical absurdity known as 'flesh and blood'. In fact, 'flesh and blood' describes them very well: they resemble cuts of meat laid out on the butcher's marble slab, dead creatures bleeding as though still alive. #Quote by Fernando Pessoa

#14. The path to the ethnic democratization of American society is through its culture, that is to say through its cultural apparatus, which comprises the eyes, the ears, and the "mind" of capitalism and is twentieth-century voice to the world. Thus to democratize the cultural apparatus is tantamount to revolutionizing American society itself into the living realization of its professed ideas. Seeing the problem in another way, to revolutionize the cultural apparatus is to deal fundamentally with the unsolved American question of nationality--Which group speaks for America and for the glorification of which ethnic image? Either all group images speak for themselves and for the nation, or American nationality will never be determined. #Quote by Harold Cruse

#15. Writing fiction is a solitary occupation but not really a lonely one. The writer's head is mobbed with characters, images and language, making the creative process something like eavesdropping at a party for which you've had the fun of drawing up the guest list. Loneliness usually doesn't set in until the work is finished, and all the partygoers and their imagined universe have disappeared. #Quote by Hilma Wolitzer

#16. Stories," she blurted. "The mosaic told stories, didn't it?"
"Yes, old ones."
"I'll tell them to you."
His eyes cracked open. He didn't remember closing them. "You know those tales?"
"Yes."
She didn't. This became clear as she began to tell them. She knew bits and pieces, cobbled together in ways that would have made him smile if smiling didn't hurt. "You," he breathed, "are such a faker."
"Don't interrupt."
Mostly pure invention. She remembered the images--it pleased him, how vividly she knew the temple floor's details. Which god curled around which, or how the snake's tongue forked into three. But the stories she told had little to do with his religion. Sometimes they didn't even make sense.
"Do this again," he said, "when I have strength to laugh."
"As bad as that?"
"Mmm. Maybe not. For a Valorian. #Quote by Marie Rutkoski

#17. You mustn't force images on things.
Only gods were what you should expect perfection from.
You mustn't demand an ideal from anyone.
That is weakness. It is an evil that must be hated. It is negligence that must be punished. It spoils not only yourself, but those around you.
You are allowed to be disappointed with only yourself. You should hurt only yourself. Hate yourself for not following your ideal.
The only one you must not forgive is yourself. #Quote by Wataru Watari

#18. You should really go inside now," he said.

Her glazed, unfocused stare was starting to clear, and the cranky look he was used to being levelled at him started to take shape. "And if I don't?"

"You want to fuck me on your doorstep?" he asked, his voice low and gravelly. "Call me tomorrow when you're sober. I'll be right over."

She jutted her chin defiantly - clearly pissed at him for trying to be the responsible one. "I won't need you after I've spent all night with a couple of multi-speed toyfriends and a box of batteries."

Linc shoved his hands on his hips, pushing back unhelpful images of her naked and pleasuring herself with a hot pink cock. "Go inside," he growled.

Before he did something crazy like offering to watch. #Quote by Amy Andrews

#19. Computer images, like camera images today, will be seen as representations of a simulated, second-degree reality with little or no connection to the unmediated world. This is one lesson we can learn from photographs, and especially from those of the last 25 years: images exist not to be believed, but to be interrogated. #Quote by Andy Grundberg

#20. The land that the Unsea covers was once green and good, fertile and rich. Now it is dead and barren, crawling with abominations. The Darkling will push its boundaries north into Fjerda, south to the Shu Han. Those who do not bow to him will see their kingdoms turned to desolate wasteland and their people devoured by ravening volcra." I gaped at her in horror, shocked by the images she had conjured. The old woman had clearly lost her mind. "Baghra," I said gently, "I think you have some kind of fever." Or you've gone completely senile. "Finding the stag is a good thing. It means I can help the Darkling destroy the Fold." "No!" she cried, and it was almost a howl. "He never intended to destroy it. The Fold is his creation." I #Quote by Leigh Bardugo

#21. You can use your means in a good and bad way. In German-speaking art, we had such a bad experience with the Third Reich, when stories and images were used to tell lies. After the war, literature was careful not to do the same, which is why writers began to reflect on the stories they told and to make readers part of their texts. I do the same. #Quote by Michael Haneke

#22. All i knew was that i couldn't get Echo Emerson out of my mind. No doubt, i wanted her. I couldn't rid my mind of images of her body writhing in pleasure against mine. That siren voice whispering my name. But she appealed to me in more than physical way. I loved her smile, the light in her eyes when she laughed, and damn if she couldn't keep up with me. #Quote by Katie McGarry

#23. The key to good description begins with clear seeing and ends with clear writing, the kind of writing that employs fresh images and simple vocabulary. #Quote by Stephen King

#24. The redirection of orientation and attention can be as simple as asking clients to become aware of a "good" or "safe" feeling in the body instead of focusing on their physical pain or elevated heart rate. Or the therapist can ask clients to experiment with focusing attention away from the traumatic activation in their body and toward thoughts or images related to their positive experiences and competencies, such as success in their job. This shift is often difficult for clients who have habituated to feeling pulled back repetitively into the most negative somatic reminders of their traumatic experiences. However, if the therapist guides them to practice deeply immersing themselves in a positive somatic experience (i.e., noting the changes in posture, breath, and muscular tone that emerge as they remember their competence), clients will gain the ability to reorient toward their competencies.
They experience their ability to choose to what they pay attention and discover that it really is possible to resist the somatic claims of the past. #Quote by Pat Ogden

#25. With correction, and given the chance, 'Terra Nova' can and will deliver seasons of transcendent images and story-telling. Failing to renew 'Terra Nova' is shortsighted, as myopic as it would have been to scrap the Hubble. 'Terra Nova' is the Hubble Telescope of television. #Quote by Stephen Lang

#26. Quantum theory provides us with a striking illustration of the fact that we can fully understand a connection though we can only speak of it in images and parables. #Quote by Werner Heisenberg

#27. If your mind and spirit are seduced by images of windswept ridge tops, flutters of aspen leaves caressed by a canyon breeze and the crimson tendrils of dying sun…if your fingers feel the silken pulse of a lover and your lips taste the deep kisses of building passion…if nostrils flare with the conjured scents of gunpowder and perfume, sage brush and pine, and your ears delight in the murmur of river current…if your heart pounds at the clash of good and evil and with each twist and turn of interwoven lives you feel a primal throb, then I have accomplished my mission. #Quote by Reid Lance Rosenthal

#28. That was the worst period of all: it is my profession to imagine, to think in images: fifty times through the day, and immediately I woke during the night, a curtain would rise and the play would begin: always the same play, Sarah making love, Sarah with X, doing the same things that we had done together, Sarah kissing in her own particular way, arching herself in the act of sex and uttering that cry like pain, Sarah in abandonment. I would take pills at night to make me sleep quickly, but I never found any pills that would keep me asleep till daylight. #Quote by Graham Greene

#29. Anybody who has spent time with cameras and photographs knows that images, like gravestone rubbings, are no more than impressions of the truth. #Quote by Michael Light

#30. But the essence of a place, the part of it that picks you up and puts you down somewhere else, cannot be given to the reader through factual description. And maybe not at all. You have to find your own secret images. The slow fall of a coin into the gorge with the sun catching the copper only for a moment, and the fall into nothing says more about a sense of place than three pages of restaurant and hotel descriptions ... #Quote by Frances Mayes