When the grass was closely mown, Walking on the lawn alone, In the turf a hole I found, And hid a soldier underground. Spring and daisies came apace; Grasses hide my hiding place; Grasses run like a green sea O'er the lawn up to my knee.
I love you, Daisy. I love you so much I hurt.
Think of a field of daisies: they bloom, they wither, and in the spring they grow again. Who wants to see the same stupid daisy year after year, especially with a bunch of crappy iron-lung-type equipment bolted to it?
You’re the only one for me. I came back from the dead for you, Daisy. Twice.
Daisy chains are pretty fragile, and it turns out that families are too.
It is not death to have the body called back to the earth, and dissolved into its kindred elements, and mouldered to dust, and, it may be, turn to daisies, in the grave. But it is death to have the soul paralyzed, its inner life quenched, its faculties dissipated; that is death.
And when again it's morning, they'll wash away. Here it's safe, here it's warm Here the daisies guard you from every harm.
I make movies. I have a passion. Puppies and daisies don't accomplish anything. That's not me at all.
Human beings are born solitary, but everywhere they are in chains - daisy chains - of interactivity. Social actions are makeshift forms, often courageous, sometimes ridiculous, always strange. And in a way, every social action is a negotiation, a compromise between 'his,' 'her' or 'their' wish and yours.
Flower god, god of the spring, beautiful, bountiful, Cold-dyed shield in the sky, lover of versicles, Here I wander in April Cold, grey-headed; and still to my Heart, Spring comes with a bound, Spring the deliverer, Spring, song-leader in woods, chorally resonant; Spring, flower-planter in meadows, Child-conductor in willowy Fields deep dotted with bloom, daisies and crocuses: Here that child from his heart drinks of eternity: O child, happy are children!
Dear Diary, Today I tried not to think about Mr. Knightly. I tried not to think about him when I discussed the menu with Cook... I tried not to think about him in the garden where I thrice plucked the petals off a daisy to ascertain his feelings for Harriet. I don't think we should keep daisies in the garden, they really are a drab little flower. And I tried not to think about him when I went to bed, but something had to be done.
"Oh, you want too much!" she cried to Gatsby. "I love you now - isn't that enough? I can't help what's past." She began to sob helplessly. "I did love him once-but I loved you too." Gatsby's eyes opened and closed. "You loved me too?" he repeated. "Even that's a lie," said Tom savagely. "She didn't know you were alive. Why - there're things between Daisy and me that you'll never know, things that neither of us can ever forget."
Ethel said: "Lloyd, there's someone here you may remember-" Daisy could not restrain herself. She ran to Lloyd and threw herself into his arms. She hugged him. She looked into his green eyes, then kissed his brown cheeks and his broken nose and then his mouth. "I love you, Lloyd," she sad madly. "I love you, I love you, I love you." "I love you, too, Daisy," he said. Behind her, Daisy heard Ethel's wry voice. "You do remember, I see.
Jessica Tandy. Nice company! And Ruth Gordon. They worked all along. She didn't really get any big star recognition until Driving Miss Daisy. So what if it takes me that long? Slow and steady wins the race, right? Better a tortoise than a hare.
I’ve been thinking I’d like to be Daisy; I’d like to have someone like Gatsby stare at my house for whole years and never stop dreaming of me
What change has made the pastures sweet And reached the daisies at my feet, And cloud that wears a golden hem? This lovely world, the hills, the sward-- They all look fresh, as if our Lord But yesterday had finished them.
I remember it all: every word, every breath, every tick of the clock . . . everything that happened is with me forever. I can never forget it. But that dosen't mean I can live it again. You can't live what's gone, you can only remember it, and memories have no life. They're just pale reminders of a time that's gone - like faded photographs, or a dried-up daisy chain at the back of a drawer. They have no substance. They can't take you back. Nothing can take you back. Nothing can be the same as it was. Nothing is. All I can do is tell it.
I think scent is sensual. I guess evoking a mood or a spirit is key, and I think with the women's fragrances we have evoked different types, moods or sensibilities of a woman - whether it's Daisy with the sweetness and the innocence or Lola which is more provocative, sexy and sultry.
Spring, the sweet Spring, is the year's pleasant king; Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing- Cuckoo, jug-jug, pu-we, to-witta-woo! The palm and may make country houses gay, Lambs frisk and play, the shepherds pipe all day, And we hear aye birds tune this merry lay- Cuckoo, jug-jug, pu-we, to-witta-woo! The fields breathe sweet, the daisies kiss our feet, Young lovers meet, old wives a-sunning sit, In every street these tunes our ears do greet- Cuckoo, jug-jug, pu-we, to-witta-woo! Spring, the sweet Spring!
Fair is the kingcup that in meadow blows, Fair is the daisy that beside her grows.
When death comes…. I want to step through the door full of curiosity, wondering: what it’s going to be like, that cottage of darkness? And therefore I look upon everything as a brotherhood and a sisterhood, and I look upon time as no more than an idea, and I consider eternity as another possibility, and I think of each life as a flower, as common as a field daisy, and as singular, and each name a comfortable music in the mouth, tending, as all music does, toward silence, and each body as a lion of courage, and something precious to the earth. [from the poem "When Death Comes"]
As Marcus considered various ways to open the subject of Daisy, Swift surprised him with a blunt statement. “My lord, there is something I would like to discuss with you.” Marcus adopted a pleasantly encouraging expression. “Very well.” “It turns out that Miss Bowman and I have reached an…understanding. After considering the logical advantages on both sides, I have made a sensible and pragmatic decision that we should—” “How long have you been in love with her?” Marcus interrupted, inwardly amused. Swift let out a tense sigh. “Years,” he admitted.
Today as in the time of Pliny and Columella, the hyacinth flourishes in Wales, the periwinkle in Illyria, the daisy on the ruins of Numantia; while around them cities have changed their masters and their names, collided and smashed, disappeared into nothingness, their peaceful generations have crossed down the ages as fresh and smiling as on the days of battle.
I know there's some poetry that sort of sounds like daisies, but most of the good poetry is also [political], you can feel the heartbeat; it's about some situation that concerns human beings under duress. It's suggesting a solution, or just acknowledging that [the situation] exists. Art does that.
I don't think films about elderly people have been made very much. I think of Cocoon and Driving Miss Daisy. But they always seem to be fairly successful, so it's a bit baffling as to why everybody has to be treated as if they were five-years-old.
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