Snake In Grass Quotes & Sayings

There's a snake hidden in the grass. — Virgil

Adam's father just stood there, looking. And they sat there, looking back. Ronan was coiled and simmering, one hand resting on his door.
"Don't," said Adam.
But Ronan merely hit the window button. The tinted glass hissed down. Ronan hooked his elbow on the edge of the door and continued gazing out the window. Adam knew that Ronan was fully aware of how malevolent he could appear, and he did not soften himself as he stared across the patchy dark grass at Robert Parrish. Ronan Lynch's stare was a snake on the pavement where you wanted to walk. It was a match left on your pillow. It was pressing your lips together and tasting your own blood. — Maggie Stiefvater

Snakes hide in grass, people behind their lies. — Nopain

There's a snake hidden in the grass. Virgil. Ecologues,no. 3.1.1o8 — Virgil

She's gone. Been gone for ages. They split up right after you left. That's why the grass out front started growing again."
"He's got a new girlfriend?" she said quietly. "Thank god. You must be happy."
"Yeah. He does. It's a relief. She's a lot nicer. But then, your average angry snake is nicer than Fiona. I'm sure she's happier wherever she is now, burning orphans or whatever she does with her time. — Maureen Johnson

Meditation is not words, a mantram, or self hypnosis, the drug of illusions. It must happen without your volition. It must take place in the quiet stillness of the night, when you are suddenly awake and see that the brain is quiet and there is a peculiar quality of meditation going on. It must take place as silently as a snake among the tall grass, green in the fresh morning light. It must take place in the deep recesses of the brain. Meditation is not an achievement. There is no method, system or practice. Meditation begins with the ending of comparison, the ending of the becoming or not becoming. As the bee whispers among the leaves so the whispering of meditation is action. — Jiddu Krishnamurti

The Instant

Today
one small snake lay, looped and
solitary
in the high grass, it

swirled to look, didn't
like what it saw
and was gone
in two pulses

forward and with no sound at all, only
two taps, in disarray, from
that other shy one,
my heart. — Mary Oliver

Snake in the grass, peekaboo I see you ... through you I see ... you cannot hide from me. — Jayce O'Neal

Description needs to slide into a story like a snake through grass - silently, almost invisibly, without calling attention to itself. It should enrich every story moment without slowing the action. — Marion Dane Bauer

There's a snake lurking in the grass. — Virgil

I loved him in that moment, loved him more than I'd ever loved anyone, and I wanted to to tell them all that I was the snake in the grass, the monster in the lake. I wasn't worthy of this sacrifice; I was a liar, a cheat, a thief. And I would have told, except that a part of me was glad. Glad that this would all be over with soon. Baba would dismiss them, there would be some pain, but life would move on. I wanted that, to move on, to forget, to start with a clean slate. I wanted to be able to breathe again. — Khaled Hosseini

...."The mind I love must have wild places:
a tangled orchard where damsons drop in heavy grass, an overgrown little wood, a chance of a snake or two, a pool that nobody has fathomed the depths of and paths threaeded with flowers planted by the mind."



Cocktail Hour Under the Tree of Forgetfulness by — Alexandra Fuller

The mind I love most must have wild places, a tangled orchard where dark damsons drop in the heavy grass, an overgrown little wood, the chance of a snake or two, a pool that nobody fathomed the depth of, and paths threaded with flowers planted by the mind. — Katherine Mansfield

It's a child's world, full of separate places. Give me a paper and pencil now and ask me to draw a map of the fields I roamed when I was small, and I cannot do it. But change the question, and ask me to list what was there and I can fill pages. The wood ant's nest. The newt pond. The oak covered in marble galls. The birches by the motorway fence with fly agarics at their feet. These things were the waypoints of my world. And other places became magic through happenstance. When I found a huge red underwing moth behind the electricity junction box at the end of my road, that box became a magic place. I needed to check behind it every time I walked past, though nothing was ever there. I'd run to check the place where once I'd caught a grass snake, look up at the tree that one afternoon had held a roosting owl. These places had a magical importance, a pull on me that other places did not, however devoid of life they were in all the visits since. — Helen Macdonald

Thanks for the good times. Thank you for being so generous with what you have withheld. Thank you for being the snake in my grass, the thorn in my side, the pain in my ass, the knife in my back, the wrench in my works, the fly in my ointment. My Achilles' heart. Caught in a whirlpool without an anchor, relaxing into it, calmly going under for one of many last times. — Carrie Fisher

It is the test of a novel writer's art that he conceal his snake-in-the-grass; but the reader may be sure that it is always there. — Anthony Trollope

The name itself is trouble. "Slough" means, literally, muddy field. A snake sloughs, or sheds, its dead skin. John Bunyan wrote of the "slough of despond" in Pilgrim's Progress. In the 1930s, John Betjeman wrote this poem about Slough: Come friendly bombs and fall on Slough! It isn't fit for humans now, There isn't grass to graze a cow, Swarm over, Death! Then he got nasty. To this day, the residents of Slough rankle when anyone mentions the poem. The town's reputation as a showpiece of quiet desperation was cemented when the producers of the TV series The Office decided to set the show in Slough. — Eric Weiner

Fire seemed about ready to shoot out of her eyes. "Yeah, he's changed all right. He used to be a snake in the grass, and now he's slitherin' out in the open. — Denise Grover Swank

Why could Tolkien not be more like Sir Thomas Malory, asked [Edwin] Muir, in the third Observer review of those cited above, and give us heroes and heroines like Lancelot and Guinevere, who ' knew temptation, were sometimes unfaithful to their vows,' were engagingly marked by adulterous passion? But T.H. White had already considered that paradigm, was indeed rewriting it at the same time as Tolkien in The Once and Future King; and he had seen the core of Malory's work not in romantic vice but in the human urge to murder. In White the poisonous adder that provokes the last disastrous battle is no adder but a harmless grass-snake, and the flash of the sword which brings on the two armies is not natural self-defense but natural blood-lust, creating a continuum from cruelty to animals to world wars and holocausts. Malory has to be rewritten to encompass a new view of evil. — Tom Shippey

He was clearly related to Declan: same nose, same dark eyebrows, same phenomenal teeth. But there was a carefully cultivated sense of danger to this Lynch brother. This was not a rattlesnake hidden in the grass, but a deadly coral snake striped with warning colors. Everything about him was a warning: If this snake bit you, you had no one to blame but yourself. — Maggie Stiefvater

When death comes, we take off our clothes and gather everything we left behind: what is dark, broken, touched with shame. When Death demands we give an accounting, naked we present our lives in bundles. See how much these weigh, we tell him, refusing to deny what we have lived. Everything that is touched by light loves the light. We the stubborn-as-grass, we who reel at the taste of sap and want our spirits cleansed, will not betray the weeds, snake, or crippled mare. Never leave behind what the light shone on. — Linda Gregg

The thin child knew enough fairy stories to know that a prohibition in a story is only there to be broken. The first humans were fated to eat the apple. The dice were loaded against them. The grandfather was pleased with himself. The thin child found no one in this story with whom to sympathise. Except maybe the snake, which had no asked to be made use of as a temper.
The snake wanted simply to coil about in the branches.
What was there in the beginning in the Asgard stories?
In the first age there was nothing. Nor sand, nor the sea, nor cold waves; there was no earth, no sky on high. The gulf galped and grass grew nowhere. — A.S. Byatt

We'd never seen anything as green as these rice paddies. It was not just the paddies themselves: the surrounding vegetation - foliage so dense the trees lost track of whose leaves were whose - was a rainbow coalition of one colour: green. There was an infinity of greens, rendered all the greener by splashes of red hibiscus and the herons floating past, so white and big it seemed as if sheets hung out to dry had suddenly taken wing. All other colours - even purple and black - were shades of green. Light and shade were degrees of green. Greenness, here, was less a colour than a colonising impulse. Everything was either already green - like a snake, bright as a blade of grass, sidling across the footpath - or in the process of becoming so. Statues of the Buddha were mossy, furred with green. — Geoff Dyer

Rix stroked the Glove. "There was a garden and a tree grew there with golden apples and if you ate one of them, you knew everything. And then Sapphique climbed over the fense and killed the many-headed monster and picked the apple, because he wanted to know, you see. He wanted to know how to Escape."
"Right." She had wriggled back. She was close to his pocked face.
"And a snake came out of the grass and it said, 'Oh go on, eat the apple. I dare you.' And he stopped then with it to his mouth because he knew the snake was Incarceron."
Keiro groaned. "Let me ... "
"Put the Glove away, Rix. Or give it to me."
His fingers caressed its dark scales. "And because if he ate it he would know how small he was. How much of a nothing he was. He would see himself as a speck in the vastness of the Prison."
"So he didn't eat it, right? — Catherine Fisher

In Haydn's oratorios, the notes present to the imagination not only motions, as, of the snake, the stag, and the elephant, but colors also; as the green grass. — Ralph Waldo Emerson