Quotes about autumn
page 2

A. M. Klein photo

“Where are the braves, the faces like autumn fruit,
who stared at the child from the coloured frontispiece?”

A. M. Klein (1909–1972) writer, journalist, lawyer

Indian Reservation: Caughnawaga (1983)

Norman Lamont photo

“John Pienaar (BBC reporter): Which do you regret more, singing in the bath when forced to withdraw from the ERM, or talking prematurely of green shoots last autumn?
Norman Lamont: I.. Je ne regrette rien.”

Norman Lamont (1942) British politician

Sheila Gunn, "Chancellor warns Newbury against short-term protest", The Times, 24 April 1993.
At a press conference in support of Julian Davidson, Conservative candidate in the Newbury byelection, on 23 April 1993.

Anthony Burgess photo

“I had felt sick before and had been saved by Sekt. Now I was beginning to feel sick of the Sekt. I would, I knew, shortly have to vomit…. I started gently to move towards one of the open windows. The aims of the artistic policy enunciated by the National Chamber of Film might, said Goebbels, be expressed under seven headings. Oh Christ. First, the articulation of the sense of racial pride, which might, without reprehensible arrogance, be construed as a just sense of racial superiority. Just, I thought, moving towards the breath of the autumn dark, like the Jews, just like the. This signified, Goebbels went on, not narrow German chauvinism but a pride in being of the great original Aryan race, once master of the heartland and to be so again. The Aryan destiny was enshrined in the immemorial Aryan myths, preserved without doubt in their purest form in the ancient tongue of the heartland. Second. But at this point I had made the open window. With relief the Sekt that seethed within me bore itself mouthward on waves of reverse peristalsis. Below me a great flag with a swastika on flapped gently in the night breeze of autumn. It did not now lift my heart; it was not my heart that was lifting. I gave it, with gargoyling mouth, a litre or so of undigested Sekt. And then some strings of spittle. It was not, perhaps, as good as pissing on the flag, but, in retrospect, it takes on a mild quality of emblematic defiance…”

Anthony Burgess (1917–1993) English writer

Fiction, Earthly Powers (1980)

Theresa May photo

“There should be no general election until 2020. There should be a normal Autumn Statement, held in the normal way at the normal time, and no emergency Budget.”

Theresa May (1956) Prime Minister of the United Kingdom

Speech declaring bid for the Conservative Party leadership http://www.independent.co.uk/news/uk/politics/theresa-mays-tory-leadership-launch-statement-full-text-a7111026.html (30 June 2016)

Patrick Rothfuss photo

“It was one of those perfect autumn days so common in stories and so rare in the real world.”

Source: The Name of the Wind (2007), Chapter 2, “A Beautiful Day” (p. 19)

Vincent Van Gogh photo
Lorin Morgan-Richards photo

“Autumn colors remind us we are all one dancing in the wind.”

Lorin Morgan-Richards (1975) American poet, cartoonist, and children's writer

Quote included in list https://www.simonandschuster.com/getliterary/our-favorite-literary-quotes-about-autumn/ "11 of Our Favorite Literary Quotes about Autumn” (23 September 2019).

Edward Hirsch photo
Anthony Burgess photo
Truman Capote photo
Vitruvius photo

“Bricks should be made in Spring or Autumn so that they may dry uniformly.”

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter III, Sec. 2

John Constable photo

“England, with her climate of more than vernal freshness, and in whose summer skies, and rich autumnal clouds, the observer of Nature may daily watch her endless varieties of effect.... to one brief moment caught [by the artist] from fleeting time..”

John Constable (1776–1837) English Romantic painter

Quote from Constable's Introduction of the 1833 edition of English landscape scenery, as cited in Constable's English Landscape Scenery, Andrew Wilton, British Museum Prints and Drawings Series, 1979; as quoted in: 'A brief history of weather in European landscape art', John E. Thornes, in Weather Volume 55, Issue 10 Oct. 2000, p. 368
Constable expressed - in his Introduction to the 1833 edition of English landscape scenery - similar sentiments as contemporary landscape-painter Turner, according to Andrew Wilton
1830s

Aldo Leopold photo

“It is on some, but not all, of these misty autumn day-breaks that one may hear the chorus of the quail. The silence is suddenly broken by a dozen contralto voices, no longer able to restrain their praise of the day to come.”

“September: The Choral Copse”, p. 53.
A Sand County Almanac, 1949, "August: The Green Pasture," "September: The Choral Copse," "October: Smoky Gold," and "October: Red Lanterns"

John Kenneth Galbraith photo

“Men have been swindled by other men on many occasions. The autumn of 1929 was, perhaps, the first occasion when men succeeded on a large scale in swindling themselves.”

Source: The Great Crash, 1929 (1954 and 1997 https://openlibrary.org/books/OL25728842M/The_Great_Crash_1929), Chapter VII, Things Become More Serious, Section VIII, p. 130

Henry Van Dyke photo

“In warlike pomp, with banners flowing,
The regiments of autumn stood:
I saw their gold and scarlet glowing
From every hillside, every wood.”

Henry Van Dyke (1852–1933) American diplomat

I, st. 1.
The Fall of the Leaves (1874)

John Muir photo

“There is at least a punky spark in my heart and it may blaze in this autumn gold, fanned by the King. Some of my grandfathers must have been born on a muirland for there is heather in me, and tinctures of bog juices, that send me to Cassiope, and oozing through all my veins impel me unhaltingly through endless glacier meadows, seemingly the deeper and danker the better.”

John Muir (1838–1914) Scottish-born American naturalist and author

letter to Mrs. Ezra S. Carr http://digitalcollections.pacific.edu/cdm/compoundobject/collection/muirletters/id/12500/rec/1 (perhaps Autumn 1870); published in William Federic Badè, The Life and Letters of John Muir http://www.sierraclub.org/john_muir_exhibit/life/life_and_letters/default.aspx (1924), chapter 8: Yosemite, Emerson, and the Sequoias
1870s

John Muir photo
Van Morrison photo
Guillaume Apollinaire photo

“I picked this sprig of heather
Autumn has died you must remember
We shall not see each other ever
I'm waiting and you must remember
Time's perfume is a sprig of heather”

J'ai cueilli ce brin de bruyère
L'automne est morte souviens-t'en
Nous ne nous verrons plus sur terre
Odeur du temps brin de bruyère
Et souviens-toi que je t'attends
"L'Adieu" (The Farewell), line 1; translation from Donald Revell (trans.) Alcools (Hanover, NH: Wesleyan University Press, 1995) p. 83.
Alcools (1912)

Gustave Nadaud photo

“Yet could I these two days have spent,
While still the autumn sweetly shone,
Ah, me! I might have died content
When I had looked on Carcassonne.”

Gustave Nadaud (1820–1893) songwriter

Stanza 2.
Carcassonne, (c. 1887; with translation by John Reuben Thompson)

Paul Auster photo
Sara Teasdale photo
Bill Bryson photo
William Allingham photo

“Now Autumn's fire burns slowly along the woods
And day by day the dead leaves fall and melt.”

William Allingham (1824–1889) Irish man of letters and poet

Autumnal Sonnet; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Enoch Powell photo

“The House of Commons is at this moment being asked to agree to the renunciation of its own independence and supreme authority—but not the House of Commons by itself. The House of Commons is the personification of the people of Britain: its independence is synonymous with their independence; its supremacy is synonymous with their self-government and freedom. Through the centuries Britain has created the House of Commons and the House of Commons has moulded Britain, until the history of the one and the life of the one cannot be separated from the history and life of the other. In no other nation in the world is there any comparable relationship. Let no one therefore allow himself to suppose that the life-and-death decision of the House of Commons is some private affair of some privileged institution which at intervals swims into his ken and out of it again. It is the life-and-death decision of Britain itself, as a free, independent and self-governing nation. For weeks, for months the battle on the floor of the House of Commons will swing backwards and forwards, through interminable hours of debates and procedures and votes in the division lobbies; and sure enough the enemies and despisers of the House of Commons will represent it all as some esoteric game or charade which means nothing for the outside world. Do not be deceived. With other weapons and in other ways the contention is as surely about the future of Britain's nationhood as were the combats which raged in the skies over southern England in the autumn of 1940. The gladiators are few; their weapons are but words; and yet the fight is everyman's.”

Enoch Powell (1912–1998) British politician

Speech at Newton, Montgomeryshire (4 March 1972), from The Common Market: Renegotiate or Come Out (Elliot Right Way Books, 1973), pp. 57-8
1970s

William Cullen Bryant photo

“Glorious are the woods in their latest gold and crimson,
Yet our full-leaved willows are in the freshest green.
Such a kindly autumn, so mercifully dealing
With the growths of summer, I never yet have seen.”

William Cullen Bryant (1794–1878) American romantic poet and journalist

The Third of November, 1861. Thirty Poems. Appleton, New York. pp. 112-115. (1864)

Revilo P. Oliver photo
Joe Higgins photo
John Greenleaf Whittier photo

“We lack but open eye and ear
To find the Orient's marvels here;
The still small voice in autumn's hush,
Yon maple wood the burning bush.”

John Greenleaf Whittier (1807–1892) American Quaker poet and advocate of the abolition of slavery

The Chapel of the Hermits; comparable to Mrs. Browning, Aurora Leigh, Book vii

Park Chung-hee photo

“Already into the last week of October! The dying fall holds only loneliness. In the garden the chrysanthemums bloom, beautiful, peaceful, as they did a year ago, but the autumn leaves, falling one by one, only make me sad.”

Park Chung-hee (1917–1979) Korean Army general and the leader of South Korea from 1961 to 1979

Diary entry (October 1974), as quoted in The Two Koreas: A Contemporary History Revised and Updated http://books.google.com/books?id=yJZKpYXh2SAC&printsec=frontcover&dq=The+Two+Koreas:+A+Contemporary+History+revised+updated&hl=en&sa=X&ei=X-xvU5TRFPOisQSa34CIBA&ved=0CCsQ6AEwAA#v=onepage&q=already%20into%20the%20last%20week&f=false (2001), by Don Oberdorfer, p. 55.
1970s

Hartley Coleridge photo
James Macpherson photo
James Macpherson photo

“Some gloomy autumn day, when the dreary north wind is howling, read Ossian to the accompaniment of the weird moans of an Æolian harp hung in the leafless branches of a tree, and you will experience a feeling of intense sadness, an infinite yearning for another state of existence, an intense disgust with the present.”

James Macpherson (1736–1796) Scottish writer, poet, translator, and politician

Par une de ces journées sombres qui attristent la fin de l'année, et que rend encore plus mélancoliques le souffle glacé du vent du Nord, écoutez, en lisant Ossian, la fantastique harmonie d'une harpe éolienne balancée au sommet d'un arbre dépouillé de verdure, et vous pourrez éprouver un sentiment profond de tristesse, un désir vague et infini d'une autre existence, un dégoût immense de celle-ci.
Hector Berlioz, Mémoires, ch. 39 http://www.hberlioz.com/Writings/HBM39.htm; Eleanor Holmes, Rachel Holmes and Ernest Newman (trans.) Memoirs of Hector Berlioz from 1803 to 1865 (New York: Dover, 1966) pp. 156-7.
Criticism

Nikos Kazantzakis photo
Giorgio de Chirico photo
Wang Wei photo
Vincent Van Gogh photo
Bruno Schulz photo
Alastair Reynolds photo
P. D. James photo

“It was one of those perfect English autumnal days which occur more frequently in memory than in life.”

P. D. James (1920–2014) English crime writer

A Taste for Death Published 1986. Page 373.
Other

Jones Very photo
Johannes Bosboom photo

“As a schoolboy drawing-lessons became my favorite, and that pleasure was not ignited a little when, by the time of my twelfth year, the cityscape-painter B. J. van Hove became our neighbor. Since then I began to long for the moment that I would be allowed to change the school bench for a place in his studio. That desire was already satisfied in the autumn of [18]31.”

Johannes Bosboom (1817–1891) Dutch painter

origineel citaat van Johannes Bosboom, in Nederlands: Als schoolknaap was de teekenles mij de liefste geworden en die lust werd niet weinig aangewakkerd, toen, omstreeks mijn twaalfde jaar, de stadsgezichtschilder B. J. van Hove onze buurman werd. Sinds dien tijd begon ik sterk te verlangen naar het oogenblik, waarop ik de schoolbank tegen een plaatsje in zijn atelier zou mogen verwisselen. Dat verlangen werd reeds bevredigd in het najaar van [18]31.
Source: 1880's, Een en ander betrekkelijk mijn loopbaan als schilder, p. 7

Edmund Clarence Stedman photo
Bob Dylan photo

“I waited for you on the running boards, near the cypress trees, while the springtime turned slowly into autumn.”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Blood on the Tracks (1975), Idiot Wind

Dinah Craik photo
Letitia Elizabeth Landon photo
Alexandra Kollontai photo
Letitia Elizabeth Landon photo
Vernon L. Smith photo
Thomas Hood photo

“I saw old Autumn in the misty morn
Stand shadowless like Silence, listening
To silence.”

Thomas Hood (1799–1845) British writer

Ode. Autmn http://www.gerald-massey.org.uk/eop_hood_poetical_works_5.htm#195b, st. 1 (1827).
1820s

Letitia Elizabeth Landon photo
John Wilmot, 2nd Earl of Rochester photo
Willa Cather photo
James Hamilton photo

“The truth is the Tree of Life knows no seasons. High up among its branches spring warbles all the year; and they are only the poor pensioners underneath who count the months, and tell an autumn and a winter.”

James Hamilton (1814–1867) Scottish minister and a prolific author of religious tracts

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 526.

William Henry Davies photo
Marie Bilders-van Bosse photo

“He [ Johannes Warnardus Bilders ] painted – was living in Utrecht, [he] immediately attracted attention and had many ideas, got good prices for that time; and once he thought 'Is this really beautiful, as people say - but the people are crazy or I am - I came to the conclusion – the people are wrong - picked up my things and went to Oosterbeek' [Autumn of 1841, where he thoroughly started to study nature: branches, stems, plants. Etc.. ] (translation from Dutch, Fons Heijnsbroek).”

Marie Bilders-van Bosse (1837–1900) painter from the Netherlands

version in original Dutch (citaat uit een brief van MarieBilders-van Bosse, in het Nederlands:) Hij schilderde – woonde te Utrecht, [hij] trok aanstonds de aandacht en had veel ideeën, kreeg voor den tijd goede prijzen; en dacht op eenmaal 'Moet dat nu mooi heeten – maar de menschen zijn gek of ik – Ik kwam tot de conclusie – de menschen slaan de bal mis – pakte mijn rommeltje en ging naar ' [herfst van 1841, waar Bilders grondig studie van de natuur begint te maken: takken, stammen, planten. Etc..]
In a letter of Marie Bilders-van Bosse to A. C. Loffelt, c. 1891; as cited in Van Oosterbeek naar Haagsche School, E. Maas; kunsthandel Kupperman, Amsterdam, 1994, p. 57
Marie Bosse-Bilders was first a pupil of the older Bilders; later they married

Henri Matisse photo
Ray Bradbury photo
Piet Mondrian photo

“You must have heard that last autumn I almost got married, but I am glad I realized in time that it had been an illusion, all those beautiful things. Although I have always lived for art, I am also attracted to the beautiful in life and so I sometimes do things that seem strange for me.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote in an undated letter to Alleta de Jongh, Paris, c. Spring 1912; as cited in Mondrian, - The Art of Destruction, Carel Blotkamp, Reaktion Books LTD. London 2001, p. 243, note 61
1910's

Nicole Krauss photo
Percy Bysshe Shelley photo
John Muir photo

“The rugged old Norsemen spoke of death as Heimgang — home-going. So the snow-flowers go home when they melt and flow to the sea, and the rock-ferns, after unrolling their fronds to the light and beautifying the rocks, roll them up close again in the autumn and blend with the soil. Myriads of rejoicing living creatures, daily, hourly, perhaps every moment sink into death’s arms, dust to dust, spirit to spirit — waited on, watched over, noticed only by their Maker, each arriving at its own heaven-dealt destiny. All the merry dwellers of the trees and streams, and the myriad swarms of the air, called into life by the sunbeam of a summer morning, go home through death, wings folded perhaps in the last red rays of sunset of the day they were first tried. Trees towering in the sky, braving storms of centuries, flowers turning faces to the light for a single day or hour, having enjoyed their share of life’s feast — all alike pass on and away under the law of death and love. Yet all are our brothers and they enjoy life as we do, share heaven’s blessings with us, die and are buried in hallowed ground, come with us out of eternity and return into eternity. 'Our little lives are rounded with a sleep.”

John Muir (1838–1914) Scottish-born American naturalist and author

pages 439-440
("Trees towering … into eternity" are the next-to-last lines of the documentary film " John Muir in the New World http://www.pbs.org/wnet/americanmasters/episodes/john-muir-in-the-new-world/watch-the-full-documentary-film/1823/" (American Masters), produced, directed, and written by Catherine Tatge.)
John of the Mountains, 1938

Luís de Camões photo

“No more the summer of my life remains,
My autumn's lengthening evenings chill my veins;
Down the black stream of years by woes on woes
Winged on, I hasten to the tomb's repose…”

Luís de Camões (1524–1580) Portuguese poet

Vão os anos decendo, e já do Estio
Há pouco que passar até o Outono;
A Fortuna me faz o engenho frio,
Do qual já não me jacto nem me abono;
Os desgostos me vão levando ao rio
Do negro esquecimento e eterno sono...
Stanza 9, lines 1–6 (tr. William Julius Mickle)
Epic poetry, Os Lusíadas (1572), Canto X

Lyndon LaRouche photo
Halldór Laxness photo
Frederick Goddard Tuckerman photo
Sarah Chauncey Woolsey photo

“The Autumn seems to cry for thee,
Best lover of the Autumn-days!”

Sarah Chauncey Woolsey (1835–1905) writer

Cousin Helen's Visit (1935).

Thomas Gray photo
Elinor Wylie photo
Letitia Elizabeth Landon photo
Letitia Elizabeth Landon photo
Adam Zagajewski photo
Giorgio de Chirico photo

“Painting is the magic art, the fire set alight on the windows of the rich dwelling, as on those of the humble hovel, from the last rays of the setting sun, it is the long mark, the humid mark, the fluent and still mark that the dying wave etches on the hot sand, it is the darting of the immortal lizard on the rock burnt by the midday heat, it is the rainbow of conciliation, on sad May afternoons, after the storm has passed, down there, making a dark backdrop to the almond trees in flower, to the gardens with their washed colours, to the ploughmen's huts, smiling and tranquil, it is the livid cloud chased by the vehement blowing of Aeolus enraged, it is the nebulous disk of the fleeting moon behind the ripped-open funereal curtain of a disturbed sky in the deep of night, it is the blood of the bull stabbed in the arena, of the warrior fallen in the heat of battle, of Adonis' immaculate thigh wounded by the obstinate boar's curved tusk, it is the sail swollen with the winds of distant seas, it is the centuries-old tree browned in the autumn..”

Giorgio de Chirico (1888–1978) Italian artist

Quote from the first lines in De Cirico's essay 'Painting', 1938; from http://www.fondazionedechirico.org/wp-content/uploads/211_Painting_1938_Metaphysical_Art.pdf 'Painting', 1938 - G. de Chirico, presentation to the catalogue of his solo exhibition Mostra personale del pittore Giorgio de Chirico, Galleria Rotta, Genoa, May 1938], p. 211
1920s and later

Haruki Murakami photo
Ono no Komachi photo

“Autumn nights, it seems,
are long by repute alone:
scarcely had we met
when morning's first light appeared,
leaving everything unsaid.”

Ono no Komachi (825–900) Japanese poet

Source: Helen Craig McCullough's translations, Kokin Wakashū: The First Imperial Anthology of Japanese Poetry (1985), p. 142

D.H. Lawrence photo

“I want to go south, where there is no autumn, where the cold doesn't crouch over one like a snow leopard waiting to pounce. The heart of the North is dead, and the fingers of cold are corpse fingers.”

D.H. Lawrence (1885–1930) English novelist, poet, playwright, essayist, literary critic and painter

Letter to John Middleton Murry (3 October 1924)

Lovis Corinth photo

“In the autumn of 1884 I went to Paris. The spirit that greeted me was certainly more impressive than in Germany. I studied in a famous school. The French who I met there seemed to me not at all equipped. Traditional views. I was there for three years. I never found a talent. Among the Germans, in particular at the Academy of Munich, there was a lot more momentum. I admire the French painting from Watteau to Monet, otherwise there is nothing that can be said to be exceptional.”

Lovis Corinth (1858–1925) German painter

Quote, 1923; in Lovis Corinth, Selbstbiographie, L. Corinth; Hirzel, Leipzig, 1926, p. 190; as quoted in: German Artists' Writings in the XX Century - Lovis Corinth, Autobiographic Writings. Part two http://letteraturaartistica.blogspot.nl/2014/10/german-artists-writings-in-xx-century.html

George Bird Evans photo
John Cheever photo

“A lonely man is a lonesome thing, a stone, a bone, a stick, a receptacle for Gilbey’s gin, a stooped figure sitting at the edge of a hotel bed, heaving copious sighs like the autumn wind.”

John Cheever (1912–1982) American novelist and short story writer

The Sixties, 1966 entry.
The Journals of John Cheever (1991)

Kakinomoto no Hitomaro photo

“The colored leaves
Have hidden the paths
On the autumn mountain.
How can I find my girl,
Wandering on ways I do not know?”

Kakinomoto no Hitomaro (662–710) Japanese poet

XXIII, p. 25
Kenneth Rexroth's translations, One Hundred Poems from the Japanese (1955)

Ray Bradbury photo
Halldór Laxness photo
Emily Brontë photo
Neil Gaiman photo
Lyndon LaRouche photo
Sergei Prokofiev photo

“The first was the classical line, which could be traced back to my early childhood and the Beethoven sonatas I heard my mother play. This line takes sometimes a neo-classical form (sonatas, concertos), sometimes imitates the 18th century classics (gavottes, the Classical symphony, partly the Sinfonietta). The second line, the modern trend, begins with that meeting with Taneyev when he reproached me for the “crudeness” of my harmonies. At first this took the form of a search for my own harmonic language, developing later into a search for a language in which to express powerful emotions (The Phantom, Despair, Diabolical Suggestion, Sarcasms, Scythian Suite, a few of the songs, op. 23, The Gambler, Seven, They Were Seven, the Quintet and the Second Symphony). Although this line covers harmonic language mainly, it also includes new departures in melody, orchestration and drama. The third line is toccata or the “motor” line traceable perhaps to Schumann’s Toccata which made such a powerful impression on me when I first heard it (Etudes, op. 2, Toccata, op. 11, Scherzo, op. 12, the Scherzo of the Second Concerto, the Toccata in the Fifth Concerto, and also the repetitive intensity of the melodic figures in the Scythian Suite, Pas d’acier[The Age of Steel], or passages in the Third Concerto). This line is perhaps the least important. The fourth line is lyrical; it appears first as a thoughtful and meditative mood, not always associated with the melody, or, at any rate, with the long melody (The Fairy-tale, op. 3, Dreams, Autumnal Sketch[Osenneye], Songs, op. 9, The Legend, op. 12), sometimes partly contained in the long melody (choruses on Balmont texts, beginning of the First Violin Concerto, songs to Akhmatova’s poems, Old Granny’s Tales[Tales of an Old Grandmother]). This line was not noticed until much later. For a long time I was given no credit for any lyrical gift whatsoever, and for want of encouragement it developed slowly. But as time went on I gave more and more attention to this aspect of my work. I should like to limit myself to these four “lines,” and to regard the fifth, “grotesque” line which some wish to ascribe to me, as simply a deviation from the other lines. In any case I strenuously object to the very word “grotesque” which has become hackneyed to the point of nausea. As a matter of fact the use of the French word “grotesque” in this sense is a distortion of the meaning. I would prefer my music to be described as “Scherzo-ish” in quality, or else by three words describing the various degrees of the Scherzo—whimsicality, laughter, mockery.”

Sergei Prokofiev (1891–1953) Ukrainian & Russian Soviet pianist and composer

Page 36-37; from his fragmentary Autobiography.
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)

Jules Payot photo
Clifford D. Simak photo
Jerome K. Jerome photo
T. E. Lawrence photo