7.7.4-5
Geographica, 7 BC
“All the elements will be seen mixed together in a great whirling mass, now borne towards the centre of the world, now towards the sky; and now furiously rushing from the South towards the frozen North, and sometimes from the East towards the West, and then again from this hemisphere to the other.”
"Of Water, which flows turbid and mixed with Soil and Dust; and of Mist, which is mixed with the Air; and of Fire which is mixed with its own, and each with each."
The Notebooks of Leonardo da Vinci (1883), XX Humorous Writings
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Leonardo Da Vinci 363
Italian Renaissance polymath 1452–1519Related quotes
Leonardo Da Vinci
(1452–1519) Italian Renaissance polymath
"In the East wind which rushes to the West"
The Notebooks of Leonardo da Vinci (1883), XX Humorous Writings
“From north to south, from east to west.”
Guillaume de Salluste Du Bartas
(1544–1590) French writer
First Week, Second Day. Compare: "From north to south, from east to west", William Shakespeare, A Winter's Tale, act i. sc. 2.
La Semaine; ou, Création du monde (1578)
As quoted in Chinese Culture (Chinese Cultural Research Institute, 1996), p. 35
Jayant Narlikar
(1938) Indian physicist
His scientific explanation with regard to the position of sun closer to the west horizon, and the sun was going up, which he had noticed.
When Prof Jayant Narlikar saw the sun rise in the west
Aga Khan IV
(1936) 49th and current Imam of Nizari Ismailism
Speech at the Ceremony to Inaugurate the Restored Humayun's Tomb Gardens, New Delhi, India (15 April 2003)
Martin Esslin
(1918–2002) Playwright, theatre critic, scholar
Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.