
As quoted in Soaring Wings : A Biography of Amelia Earhart (1939) by George Palmer Putnam, p. 83
Cited as Amelia Earhart, "My Husband," Redbook magazine (Sept. 1933) in Mary S. Lovell, The Sound of Wings (1989), p. 101.
Source: A Son of the Circus
As quoted in Soaring Wings : A Biography of Amelia Earhart (1939) by George Palmer Putnam, p. 83
Cited as Amelia Earhart, "My Husband," Redbook magazine (Sept. 1933) in Mary S. Lovell, The Sound of Wings (1989), p. 101.
“Why does the eye see more clearly when asleep than the imagination when awake?”
The Notebooks of Leonardo da Vinci (1883), XIX Philosophical Maxims. Morals. Polemics and Speculations.
Variant: Why does the eye see a thing more clearly in dreams than with the imagination being awake?
“Does choice exist when I see something very clearly?”
2nd Question & Answer Meeting, Brockwood Park, UK (11 September 1971)
1970s
“To see others suffer does one good, to make others suffer even more”
Essay 2, Section 6
On the Genealogy of Morality (1887)
Context: To see others suffer does one good, to make others suffer even more: this is a hard saying but an ancient, mighty, human, all-too-human principle which even the apes might subscribe; for it has been said that in devising bizarre cruelties they anticipate man and are, as it were his "prelude."
“Changing how we see images is clearly one way to change the world.”
Source: Reel to Real: Race, Sex, and Class at the Movies
The Problem of Anxiety (1925)
1920s
Vol. XI, p. 62
Posthumous publications, The Collected Works
Context: I think we must see this very clearly right at the beginning — that if one would solve the everyday problems of existence, whatever they may be, one must first see the wider issues and then come to the detail. After all, the great painter, the great poet is one who sees the whole — who sees all the heavens, the blue skies, the radiant sunset, the tree, the fleeting bird — all at one glance; with one sweep he sees the whole thing. With the artist, the poet, there is an immediate, a direct communion with this whole marvellous world of beauty. Then he begins to paint, to write, to sculpt; he works it out in detail. If you and I could do the same, then we should be able to approach our problems — however contradictory, however conflicting, however disturbing — much more liberally, more wisely, with greater depth and colour, feeling. This is not mere romantic verbalization but actually it is so, and that is what I would like to talk about now and every time we get together. We must capture the whole and not be carried away by the detail, however pressing, immediate, anxious it may be. I think that is where the revolution begins.