
pg. 285
The Sports and Pastimes of the People of England (1801), Public entertainment
pg. 285
The Sports and Pastimes of the People of England (1801), Public entertainment
As quoted in Denise Worrell (1989), Icons: Intimate Portraits.
The Last Days of Herculaneum (1821)
Japan, the Beautiful and Myself (1969)
A Dreary Story or A Tedious Story (1889)
O, Porcupine.
Brother, Sister (2006)
Seasons in the Sun" (1961), as translated from the Jacques Brel song "Le Moribond"· McKuen performance http://www.youtube.com/watch?v=MY__eaedtOA · Beach Boys performance http://www.youtube.com/watch?v=fzjIra9pheU
Goodbye, Michelle, my little one;
You gave me love and helped me find the sun,
And every time that I was down
You would always come around
And get my feet back on the ground. <p> Goodbye, Michelle, it's hard to die
When all the birds are singing in the sky;
Now that the spring is in the air,
With the flowers everywhere,
I wish that we could both be there!
As adapted in the Terry Jacks version (1974)
Translations and adaptations
Context: Adieu, Francoise, my trusted wife;
Without you I'd have had a lonely life.
You cheated lots of times but then,
I forgave you in the end
Though your lover was my friend. Adieu, Francoise, it's hard to die
When all the birds are singing in the sky.
Now that spring is in the air
With your lovers ev'rywhere,
Just be careful; I'll be there.
Source: The Wind in the Willows (1908), Ch. 7
Context: A bird piped suddenly, and was still; and a light breeze sprang up and set the reeds and bulrushes rustling. Rat, who was in the stern of the boat, while Mole sculled, sat up suddenly and listened with a passionate intentness. Mole, who with gentle strokes was just keeping the boat moving while he scanned the banks with care, looked at him with curiosity.
'It's gone!' sighed the Rat, sinking back in his seat again. 'So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!' he cried, alert once more. Entranced, he was silent for a long space, spellbound.
'Now it passes on and I begin to lose it,' he said presently. 'O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.'
The Mole, greatly wondering, obeyed. 'I hear nothing myself,' he said, 'but the wind playing in the reeds and rushes and osiers.
“Adieu, Francoise, it's hard to die
When all the birds are singing in the sky.”
Seasons in the Sun" (1961), as translated by Rod McKuen from Brel's song "Le Moribond" · McKuen performance http://www.youtube.com/watch?v=MY__eaedtOA · Beach Boys performance http://www.youtube.com/watch?v=fzjIra9pheU
<p>Goodbye, Michelle, my little one;
You gave me love and helped me find the sun,
And every time that I was down
You would always come around
And get my feet back on the ground.</p><p>Goodbye, Michelle, it's hard to die
When all the birds are singing in the sky;
Now that the spring is in the air,
With the flowers everywhere,
I wish that we could both be there!</p>
As adapted in the Terry Jacks version (1974)
Context: p> Adieu, Francoise, my trusted wife;
Without you I'd have had a lonely life.
You cheated lots of times but then,
I forgave you in the end
Though your lover was my friend.Adieu, Francoise, it's hard to die
When all the birds are singing in the sky.
Now that spring is in the air
With your lovers ev'rywhere,
Just be careful; I'll be there.</p
The Manual of the Warrior of Light (1997)
Context: Every Warrior of the Light has suffered for the most trivial of reasons. Every Warrior of the Light has, at least once, believed he was not a Warrior of the Light.
Every Warrior of the Light has failed in his spiritual duties.
Every Warrior of the Light has said "yes" when he wanted to say "no."
Every Warrior of the Light has hurt someone he loved.
That is why he is a Warrior of the Light, because he has been through all this and yet has never lost hope of being better than he is.
Each stone, each bend cries welcome to him. He identifies with the mountains and the streams, he sees something of his own soul in the plants and the animals and the birds of the field.
Then, accepting the help of God and of God's signs, he allows his personal legend to guide him toward the tasks that life has reserved for him.
On some nights, he has nowhere to sleep, on others he suffers from insomnia. "That's just how it is," thinks the warrior. "I was the one who chose to walk this path."
In these words lies all his power: He chose the path along which he is walking and so has no complaints.
Aphorism #7
Interglacial (2004)
“Somewhere over the rainbow
Bluebirds fly.
Birds fly over the rainbow,
Why then, oh why can't I?”
'"Over the Rainbow" in The Wizard of Oz (1939).
Context: Some day I'll wish upon a star
And wake up where the clouds are far behind me
Where troubles melt like lemondrops
Away above the chimney tops,
That's where you'll find me.
Somewhere over the rainbow
Bluebirds fly.
Birds fly over the rainbow,
Why then, oh why can't I?
“Morning has broken,
Like the first morning,
Blackbird has spoken
Like the first bird.”
Morning Has Broken (1931)
Context: Morning has broken,
Like the first morning,
Blackbird has spoken
Like the first bird.
Praise for the singing!
Praise for the morning!
Praise for them springing
Fresh from the Word!
"Written While Drunk", trans. William Acker
Anthology of Chinese Literature, Vol. I (1965), p. 184
Fifth poem in his series of poems on drinking wine.
Context: I built my house near where others dwell,
And yet there is no clamour of carriages and horses.
You ask of me "How can this be so?"
"When the heart is far the place of itself is distant."
I pluck chrysanthemums under the eastern hedge,
And gaze afar towards the southern mountains.
The mountain air is fine at evening of the day
And flying birds return together homewards.
Within these things there is a hint of Truth,
But when I start to tell it, I cannot find the words.
Source: The Oven Bird (1916)
Context: There is a singer everyone has heard,
Loud, a mid-summer and a mid-wood bird,
Who makes the solid tree trunks sound again.
He says that leaves are old and that for flowers
Mid-summer is to spring as one to ten.
He says the early petal-fall is past
When pear and cherry bloom went down in showers
On sunny days a moment overcast;
And comes that other fall we name the fall.
He says the highway dust is over all.
The bird would cease and be as other birds
But that he knows in singing not to sing.
The question that he frames in all but words
Is what to make of a diminished thing.
“How it should be in Heaven I know, for I was there.
By its river. Listening to its birds.”
"How It Should Be in Heaven" (1986), trans. Czesŀaw Miŀosz and Robert Hass
New Poems (1985-1987)
Context: How it should be in Heaven I know, for I was there.
By its river. Listening to its birds.
In its season: in summer, shortly after sunrise.
I would get up and run to my thousand works
And the garden was superterrestrial, owned by imagination.
As quoted in "Who I'd Like To Be In My Next Life"] featuring celebrity responses to that question, Eye magazine Vol. 2 No. 1 (January 1969) - online text and images http://www.badmags.com/bmtate.html
Context: I'd like to be a fairy princess — a little golden doll with gossamer wings, in a voile dress, adorned with bright, shiny things. I see that as something totally pure and beautiful. Everything that's realistic has some sort of ugliness in it. Even a flower is ugly when it wilts, a bird when it seeks its prey, the ocean when it becomes violent. I'm very sensitive to ugly situations. I'm quick to read people, and I pick up if someone's reacting to me as just a sexy blonde. At times like that, I freeze. I can be very alone at a party, on the set, or in general, if I'm not in harmony with things around me.
“It soared, a bird, it held its flight, a swift pure cry, soar silver orb it leaped serene,”
Ulysses (1922)
Context: It soared, a bird, it held its flight, a swift pure cry, soar silver orb it leaped serene, speeding, sustained, to come, don't spin it out too long long breath he breath long life, soaring high, high resplendent, aflame, crowned, high in the effulgence symbolistic, high, of the ethereal bosom, high, of the high vast irradiation everywhere all soaring all around about the all, the endlessnessnessness... (271)
"Night Crow," ll. 4-8
The Lost Son and Other Poems (1948)
"The Holy Dimension", p. 329
Moral Grandeur and Spiritual Audacity: Essays (1997)
Context: It seems as though we have arrived at a point in history, closest to the instincts and remotest from ideals, where the self stands like a wall between God and man. It is the period of a divine eclipse. We sail the seas, we count the stars, we split the atom, but never ask: Is there nothing but a dead universe and our reckless curiosity?
Primitive man's humble ear was alert to the inwardness of the world, while the modern man is presumptuous enough to claim that he has the sole monopoly over soul and spirit, that he is the only thing alive in the universe. … But there is a dawn of wonder and surprise in our souls, when the things that surround us suddenly slip off the triteness with which we have endowed them, and their strangeness opens like a gap between them and our mind, a gap that no words can fill. … What is the incense of self-esteem to him who tastes in all things the flavor of the utterly unknown, the fragrance of what is beyond our senses? There are neither skies nor oceans, neither birds nor trees — there are only signs of what can never be perceived. And all power and beauty are mere straws in the fire of a pure man's vision.
"Love the Wild Swan" (1935)
Context: I hate my verses, every line, every word.
Oh pale and brittle pencils ever to try
One grass-blade's curve, or the throat of one bird
That clings to twig, ruffled against white sky.
Oh cracked and twilight mirrors ever to catch
One color, one glinting flash, of the splendor of things.
Source: V. (1963), Chapter Three
Context: As spread thighs are to the libertine, flights of migratory birds to the ornithologist, the working part of his tool bit to the production machinist, so was the letter V to young Stencil. He would dream perhaps once a week that it had all been a dream, and that now he’d awakened to discover the pursuit of V. was merely a scholarly quest after all, an adventure of the mind, in the tradition of ‘’The Golden Bough’’ or ‘’The White Goddess’’
But Soon enough he’d wale up the second, real time, to make again the tiresome discovery that it hadn’t really stopped being the same simple-minded literal pursuit; V. ambiguously a beast of venery, chased like the hart, hind or hare, chased like an obsolete or bizarre, or forbidden form of sexual delight. And clownish Stencil capering along behind her, bells a jingle, waving a wood, toy oxgoad. For no one’s amusement but his own.
Speech to the Western Society of Engineers (18 September 1901); published in the Journal of the Western Society of Engineers (December 1901); republished with revisions by the author for the Annual Report of the Board of Regents of the Smithsonian Institution (1902) http://invention.psychology.msstate.edu/i/Wrights/library/Aeronautical.html
Context: The person who merely watches the flight of a bird gathers the impression that the bird has nothing to think of but the flapping of its wings. As a matter of fact this is a very small part of its mental labor. To even mention all the things the bird must constantly keep in mind in order to fly securely through the air would take a considerable part of the evening. If I take this piece of paper, and after placing it parallel with the ground, quickly let it fall, it will not settle steadily down as a staid, sensible piece of paper ought to do, but it insists on contravening every recognized rule of decorum, turning over and darting hither and thither in the most erratic manner, much after the style of an untrained horse. Yet this is the style of steed that men must learn to manage before flying can become an everyday sport. The bird has learned this art of equilibrium, and learned it so thoroughly that its skill is not apparent to our sight. We only learn to appreciate it when we try to imitate it.
“The problem is, I know Trump, so my optimism has been squashed like a baby bird”
2010s, Why Penn Jillette is Terrified of a President Trump (2016)
Context: The problem is, I know Trump, so my optimism has been squashed like a baby bird … Everything bad I had to say about him, I said to his face. … I think he’s very good, very compelling on that show [Celebrity Apprentice] … I really like him because of his absence of filters. I really like the glimpse we get into the human heart we get when someone loses their filters … If he weren’t running for president, you’d be seeing essays from me about how much I learned from Donald Trump and how much I loved being on the show … I’m feeling so, so, so guilty, because I feel like, along with millions of other people, I played right into this. The cynicism of the Clintons, the careful, tightrope walk of all politicians, forced me, as an atheist, to get down on my knees and pray that someone would come along with some kind of authenticity … Well, someone called my bluff, goddamn it. … I’m a pure and utter peacenik. I want a president who sings the praises of people, sings the praises of peace and sings the praises of working together for a great country … Abraham Lincoln wouldn’t have laughed about waterboarding … If you told me right now I could have another eight years of Obama, I would not hesitate to grab at it. … He is unquestionably good and unquestionably smarter than I am, which is putting the bar pretty low. I want a president that is kinder, smarter and more measured than me.
Speech to the Western Society of Engineers (18 September 1901); published in the Journal of the Western Society of Engineers (December 1901); republished with revisions by the author for the Annual Report of the Board of Regents of the Smithsonian Institution (1902) http://invention.psychology.msstate.edu/i/Wrights/library/Aeronautical.html
Context: The person who merely watches the flight of a bird gathers the impression that the bird has nothing to think of but the flapping of its wings. As a matter of fact this is a very small part of its mental labor. To even mention all the things the bird must constantly keep in mind in order to fly securely through the air would take a considerable part of the evening. If I take this piece of paper, and after placing it parallel with the ground, quickly let it fall, it will not settle steadily down as a staid, sensible piece of paper ought to do, but it insists on contravening every recognized rule of decorum, turning over and darting hither and thither in the most erratic manner, much after the style of an untrained horse. Yet this is the style of steed that men must learn to manage before flying can become an everyday sport. The bird has learned this art of equilibrium, and learned it so thoroughly that its skill is not apparent to our sight. We only learn to appreciate it when we try to imitate it.
Nobel Prize Lecture (1993)
Context: "Once upon a time there was an old woman. Blind but wise." Or was it an old man? A guru, perhaps. Or a griot soothing restless children. I have heard this story, or one exactly like it, in the lore of several cultures.
"Once upon a time there was an old woman. Blind. Wise."
In the version I know the woman is the daughter of slaves, black, American, and lives alone in a small house outside of town. Her reputation for wisdom is without peer and without question. Among her people she is both the law and its transgression. The honor she is paid and the awe in which she is held reach beyond her neighborhood to places far away; to the city where the intelligence of rural prophets is the source of much amusement.
One day the woman is visited by some young people who seem to be bent on disproving her clairvoyance and showing her up for the fraud they believe she is. Their plan is simple: they enter her house and ask the one question the answer to which rides solely on her difference from them, a difference they regard as a profound disability: her blindness. They stand before her, and one of them says, "Old woman, I hold in my hand a bird. Tell me whether it is living or dead."
She does not answer, and the question is repeated. "Is the bird I am holding living or dead?"
Still she doesn't answer. She is blind and cannot see her visitors, let alone what is in their hands. She does not know their color, gender or homeland. She only knows their motive.
The old woman's silence is so long, the young people have trouble holding their laughter.
Finally she speaks and her voice is soft but stern. "I don't know", she says. "I don't know whether the bird you are holding is dead or alive, but what I do know is that it is in your hands. It is in your hands."
"Clowns' Houses"
Clowns' Houses (1918)
Context: p>The busy chatter of the heat
Shrilled like a parakeet;
And shuddering at the noonday light
The dust lay dead and whiteAs powder on a mummy's face,
Or fawned with simian grace
Round booths with many a hard bright toy
And wooden brittle joy:The cap and bells of Time the Clown
That, jangling, whistled down
Young cherubs hidden in the guise
Of every bird that flies;And star-bright masks for youth to wear,
Lest any dream that fare
— Bright pilgrim — past our ken, should see
Hints of Reality.</p
“The wind, the birds,
do not sound poorer but clearer,
recalling our agony, and the way we danced.”
A Tree Telling of Orpheus (1968)
“Bird and beast and stone and star — we are all one, all one —”
Source: Mary Poppins (1934), Ch. 10 "Full-Moon"
Context: "Bird and beast and stone and star — we are all one, all one —" murmured the Hamadryad, softly folding his hood about him as he himself swayed between the children.
"Child and serpent, star and stone — all one."
“In order to see birds it is necessary to become a part of the silence.”
Solomon in All His Glory https://archive.org/details/solomoninallhisg00lynd (1922), pp. 12-13.
Context: In order to see birds it is necessary to become a part of the silence. One has to sit still like a mystic and wait. One soon learns that fussing, instead of achieving things, merely prevents things from happening. To be passive is in some circumstances the most efficient form of activity. You cannot command events: you can only put yourself in the place where events will happen to you. No impatient man has ever seen Nature.
“Birds in which spatial memory is particularly important”
In Search of Memory (2006)
Context: Birds in which spatial memory is particularly important—those that store food at a large number of sites, for example—have larger hippocampuses than other birds.... London taxi drivers have a larger hippocampus than others the same age.... the size of their hippocampus continues to increase with time on the job.
Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 22
“The shell must break before the bird can fly.”
From The Ancient Sage (1885), line 154
“Let the thunder break on man and beast and bird
And the lightning. It is something to have been.”
Poems (1917), The Great Minimum
Context: In a time of sceptic moths and cynic rusts,
And fattened lives that of their sweetness tire
In a world of flying loves and fading lusts,
It is something to be sure of a desire.
Lo, blessed are our ears for they have heard;
Yea, blessed are our eyes for they have seen:
Let the thunder break on man and beast and bird
And the lightning. It is something to have been.
“Snail, snail, glister me forward,
Bird, soft-sigh me home,
Worm, be with me.
This is my hard time.”
"The Lost Son," ll. 8-11
The Lost Son and Other Poems (1948)
Context: I shook the softening chalk of my bones,
Saying,
Snail, snail, glister me forward,
Bird, soft-sigh me home,
Worm, be with me.
This is my hard time.
Vetoing a Bill that would have imposed fines on owners who allowed cats to run at large. (23 April 1949)
Context: The problem of cat versus bird is as old as time. If we attempt to resolve it by legislation who knows but what we may be called upon to take sides as well in the age old problems of dog versus cat, bird versus bird, or even bird versus worm. In my opinion, the State of Illinois and its local governing bodies already have enough to do without trying to control feline delinquency.
For these reasons, and not because I love birds the less or cats the more, I veto and withhold my approval from Senate Bill No. 93.
Stanza 7
Poems (1820), Ode to a Nightingale
Context: Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the self-same song that found a path
Through the sad heart of Ruth, when, sick for home,
She stood in tears amid the alien corn;
The same that oft-times hath
Charm’d magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.
Part I, section xxii, stanza 3
Maud; A Monodrama (1855)
“For out of black
soul's night have stirred
dawn's cold gleam,
morning's singing bird.”
"Black Flag" in Collected Poems (1983)
Context: For out of black
soul's night have stirred
dawn's cold gleam,
morning's singing bird. Let black day die,
let black flag fall,
let raven call,
let new day dawn
of black reborn.
Preface.
A Treatise on Language: Or, The Relation which Words Bear to Things, in Four Parts (1836)
Context: As... the following sheets are the painful elaboration of many years, when my language or positions shall, in a casual perusal, seem absurd, (and such cases may be frequent,) I request the reader to seek some more creditable interpretation. The best which he can conceive should be assumed to be my intention: as on an escutcheon, when a figure resembles both an eagle and a buzzard, heraldry decides that the bird which is most creditable to the bearer, shall be deemed to be the one intended by the blazon.
Stanislaus Grumman in Ch. 10 : The Shaman
His Dark Materials, The Subtle Knife (1997)
Context: People here cannot conceive of worlds where dæmons are a silent voice in the mind and no more. Can you imagine my astonishment, in turn, at learning that part of my own nature was female, and bird-formed, and beautiful?
Cassandra (1860)
Context: Society triumphs over many. They wish to regenerate the world with their institutions, with their moral philosophy, with their love. Then they sink to living from breakfast till dinner, from dinner till tea, with a little worsted work, and to looking forward to nothing but bed.
When shall we see a life full of steady enthusiasm, walking straight to its aim, flying home, as that bird is now, against the wind — with the calmness and the confidence of one who knows the laws of God and can apply them?
The Nature, Importance and Liberties of Belief (1873)
Context: I look at a large tree on the lawn, and say to my neighbour: "What is that tree to you?" He looks at it, and says: "Well, I think that would cut about twenty cords of wood. You could work in a good many branches, and as the price of wood is in the market, I think I could make fifty dollars out of that tree easily, and perhaps more than that." His answer shows what the tree is to him — and it is that." I call up a boy, and say to him: "What do you think of when you look at that tree?" "Ah!" he says, "there will be a bushel of hickory-nuts on that tree, anyhow; and he begins to think how he will climb it, and shake them down, and what he will do with them. That is what the tree says to him. I say to another person: "What is that tree to you?" He says: "I would not take fifty dollars for it. Under it my cows stand in summer. The shade of that tree has stood me instead of a shed ever since I owned this farm. That tree is worth its weight in gold." He values it for its economic uses. I ask a painter: "What is that tree to you?" At once he says: "Do you see what an exquisite form it has? How picturesque it is? If you were to take it and put it in the foreground of the landscape that I am working on, what a magnificent effect you would get!" It has an aesthetic value to him. I ask another man: "What is it to you?" He goes into an explanation of its structure and qualities. He is a botanist, and he has his peculiar view of it. I ask myself: "What is that tree?" It is everything. It is God's voice, when the winds are abroad. It is God's thought, when in the deep stillness of the noon it is silent. It is the house which God has built for a thousand birds. It is a harbour of comfort to weary men and to the cattle of the field. It is that which has in it the record of ages. There it has stood for a century. The winter could not kill it, and the summer could not destroy it. It is full of beauty and strength. It has in it all these things; and as different men look at it, each looks at so much of it as he needs; but it takes ten men to see everything that there is in that tree — and they all do not half see it.
So it is with truths. Men sort them. They bring different faculties to bear in considering them. One person has philosophical reason; another has factual reason. One man brings one part of his mind to it; another brings to it another part of his mind. The truth is larger than any one man's thought of it. The truth of God usually has relations that stretch out in such a way that men may see it very differently, and all of them be true in spots, although they do not have the whole truth.
“The bird fights its way out of the egg. The egg is the world.”
Source: Demian (1919), p. 166
Variant translation: The bird is struggling out of the egg. The egg is the world. Whoever wants to be born must first destroy a world. The bird is flying to God. The name of the God is called Abraxas.
As translated by W. J. Strachan
Context: The bird fights its way out of the egg. The egg is the world. Who would be born must first destroy a world. The bird flies to God. The God's name is Abraxas.
Speech to the Bar Association of Boston, in Speeches (1913), p. 85.
1910s
"The Future of Democracy"
What I Saw in America (1922)
Context: There is truth in every ancient fable, and there is here even something of it in the fancy that finds the symbol of the Republic in the bird that bore the bolts of Jove. Owls and bats may wander where they will in darkness, and for them as for the sceptics the universe may have no centre; kites and vultures may linger as they like over carrion, and for them as for the plutocrats existence may have no origin and no end; but it was far back in the land of legends, where instincts find their true images, that the cry went forth that freedom is an eagle, whose glory is gazing at the sun.
“Even brute beasts and wandering birds do not fall into the same traps or nets twice.”
Bruta quoque animalia et vagae aves, in easdem pedicas retiaque non incidunt.
Letter 54 http://www.monumenta.ch/latein/text.php?tabelle=Hieronymus&rumpfid=Hieronymus,%20Epistulae,%203,%20%20%2054&level=4&domain=&lang=1&id=&hilite_id=&links=&inframe=1
Letters
"Birth" (1947), trans. Peter Dale Scott
Daylight (1953)
Context: He doesn't know birds live
In another time than man.
He doesn't know a tree lives
In another time than birds
And will grow slowly
Upward in a gray column
Thinking with its roots
Of the silver of underworld kingdoms.
Getting Started, p. 5
How to Argue and Win Every Time (1995)
Context: While birds can fly, only humans can argue. Argument is the affirmation of our being. It is the principal instrument of human intercourse. Without argument the species would perish. As a subtle suggestion, it is the means by which we aid another. As a warning, it steers us from danger. As exposition, it teaches. As an expression of creativity, it is the gift of ourselves. As a protest, it struggles for justice. As a reasoned dialogue, it resolves disputes. As an assertion of self, it engenders respect. As an entreaty of love, it expresses our devotion. As a plea, it generates mercy. As charismatic oration it moves multitudes and changes history. We must argue — to help, to warn, to lead, to love, to create, to learn, to enjoy justice — to be.
"Communication with Alien Intelligence" http://web.media.mit.edu/~minsky/papers/AlienIntelligence.html, in Extraterrestrials: Science and Alien Intelligence (1985) edited by Edward Regis <!-- Cambridge University Press --> also published in Byte Magazine (April 1985)
Context: Speed is what distinguishes intelligence. No bird discovers how to fly: evolution used a trillion bird-years to 'discover' that – where merely hundreds of person-years sufficed.
A Pluralistic Universe (1909) http://www.gutenberg.org/files/11984/11984-8.txt, Lecture I
1900s
Context: Reduced to their most pregnant difference, empiricism means the habit of explaining wholes by parts, and rationalism means the habit of explaining parts by wholes. Rationalism thus preserves affinities with monism, since wholeness goes with union, while empiricism inclines to pluralistic views. No philosophy can ever be anything but a summary sketch, a picture of the world in abridgment, a foreshortened bird's-eye view of the perspective of events. And the first thing to notice is this, that the only material we have at our disposal for making a picture of the whole world is supplied by the various portions of that world of which we have already had experience. We can invent no new forms of conception, applicable to the whole exclusively, and not suggested originally by the parts. All philosophers, accordingly, have conceived of the whole world after the analogy of some particular feature of it which has particularly captivated their attention. Thus, the theists take their cue from manufacture, the pantheists from growth. For one man, the world is like a thought or a grammatical sentence in which a thought is expressed. For such a philosopher, the whole must logically be prior to the parts; for letters would never have been invented without syllables to spell, or syllables without words to utter.
Another man, struck by the disconnectedness and mutual accidentality of so many of the world's details, takes the universe as a whole to have been such a disconnectedness originally, and supposes order to have been superinduced upon it in the second instance, possibly by attrition and the gradual wearing away by internal friction of portions that originally interfered.
Another will conceive the order as only a statistical appearance, and the universe will be for him like a vast grab-bag with black and white balls in it, of which we guess the quantities only probably, by the frequency with which we experience their egress.
For another, again, there is no really inherent order, but it is we who project order into the world by selecting objects and tracing relations so as to gratify our intellectual interests. We carve out order by leaving the disorderly parts out; and the world is conceived thus after the analogy of a forest or a block of marble from which parks or statues may be produced by eliminating irrelevant trees or chips of stone.
Some thinkers follow suggestions from human life, and treat the universe as if it were essentially a place in which ideals are realized. Others are more struck by its lower features, and for them, brute necessities express its character better.
All follow one analogy or another; and all the analogies are with some one or other of the universe's subdivisions. Every one is nevertheless prone to claim that his conclusions are the only logical ones, that they are necessities of universal reason, they being all the while, at bottom, accidents more or less of personal vision which had far better be avowed as such; for one man's vision may be much more valuable than another's, and our visions are usually not only our most interesting but our most respectable contributions to the world in which we play our part. What was reason given to men for, said some eighteenth century writer, except to enable them to find reasons for what they want to think and do?—and I think the history of philosophy largely bears him out, "The aim of knowledge," says Hegel, "is to divest the objective world of its strangeness, and to make us more at home in it." Different men find their minds more at home in very different fragments of the world.
Part I: Ecce Gubernator (p. 20)
The Unquiet Grave (1944)
Context: A stone lies in a river; a piece of wood is jammed against it; dead leaves, drifting logs, and branches caked with mud collect; weeds settle there, and soon birds have made a nest and are feeding their young among the blossoming water plants. Then the river rises and the earth is washed away. The birds depart, the flowers wither, the branches are dislodged and drift downward; no trace is left of the floating island but a stone submerged by the water; — such is our personality.
Ch. 27 http://www.resologist.net/talent27.htm
Wild Talents (1932)
Context: My general expression is that all human beings who can do anything; and dogs that track unseen quarry, and homing pigeons, and bird-charming snakes, and caterpillars who transform into butterflies, are magicians. … Considering modern data, it is likely that many of the fakirs of the past, who are now known as saints, did, or to some degree did, perform the miracles that have been attributed to them. Miracles, or stunts, that were in accord with the dominant power of the period were fostered, and miracles that conflicted with, or that did not contribute to, the glory of the Church, were discouraged, or were savagely suppressed. There could be no development of mechanical, chemical, or electric miracles —
And that, in the succeeding age of Materialism — or call it the Industrial Era — there is the same state of subservience to a dominant, so that young men are trained to the glory of the job, and dream and invent in fields that are likely to interest stockholders, and are schooled into thinking that all magics, except their own industrial magics, are fakes, superstitions, or newspaper yarns.
Poems and Ballads (1866-89), The Triumph of Time
Context: p>The pulse of war and passion of wonder,
The heavens that murmur, the sounds that shine,
The stars that sing and the loves that thunder,
The music burning at heart like wine,
An armed archangel whose hands raise up
All senses mixed in the spirit's cup
Till flesh and spirit are molten in sunder —
These things are over, and no more mine. These were a part of the playing I heard
Once, ere my love and my heart were at strife;
Love that sings and hath wings as a bird,
Balm of the wound and heft of the knife.
Fairer than earth is the sea, and sleep
Than overwatching of eyes that weep,
Now time has done with his one sweet word,
The wine and leaven of lovely life.</p
1960s, How Long, Not Long (1965)
Context: If it may be said of the slavery era that the white man took the world and gave the Negro Jesus, then it may be said of the Reconstruction era that the southern aristocracy took the world and gave the poor white man Jim Crow. He gave him Jim Crow. And when his wrinkled stomach cried out for the food that his empty pockets could not provide, he ate Jim Crow, a psychological bird that told him that no matter how bad off he was, at least he was a white man, better than the black man. And he ate Jim Crow. And when his undernourished children cried out for the necessities that his low wages could not provide, he showed them the Jim Crow signs on the buses and in the stores, on the streets and in the public buildings. And his children, too, learned to feed upon Jim Crow, their last outpost of psychological oblivion. Thus, the threat of the free exercise of the ballot by the Negro and the white masses alike resulted in the establishment of a segregated society. They segregated southern money from the poor whites; they segregated southern mores from the rich whites; they segregated southern churches from Christianity; they segregated southern minds from honest thinking; and they segregated the Negro from everything. That’s what happened when the Negro and white masses of the South threatened to unite and build a great society: a society of justice where none would pray upon the weakness of others; a society of plenty where greed and poverty would be done away; a society of brotherhood where every man would respect the dignity and worth of human personality.
As quoted in Stevie Wonder (1978) by Constanze Elsner, and Jet Vol. 53, No. 22 (16 February 1978), p. 60
1970s
Context: Sometimes I think I would love to see … just to see the beauty of flowers and trees and birds and the earth and grass. … Being as I've never seen, I don't know what it's like to see. So in a sense I'm complete. Maybe I'd be incomplete if I did see. Maybe I'd see some things that I didn't want to see... the beauty of the earth compared to the destruction of man. You see, it's one thing when you are blind from birth, and you don't know what it's like to see, anyway, so it is just like seeing. The sensation of seeing is not one that I have and not one that I worry about.
translation from original Dutch: Fons Heijnsbroek
(original Dutch: citaat van Jan Mankes, in het Nederlands:) Toch zou ik wel eens graag kennis maken met Japansche teekeningen of schilderijen.. ..vooral daar ze vogels zo hoog stellen en daardoor dus al mijn vrinden zijn.
In a letter of Jan Mankes to A.A.M. Pauwels, 2 Feb. 1911 – RKD in The Hague: Archive: Pauwels
1909 - 1914
The True Levellers Standard Advanced (1649)
Last paragraph of the first edition (1859). Only use of the term "evolve" or "evolution" in the first edition.
In the second http://darwin-online.org.uk/content/frameset?pageseq=508&itemID=F376&viewtype=image (1860) through sixth (1872) editions, Darwin added the phrase "by the Creator" to read:
There is grandeur in this view of life, with its several powers, having been originally breathed by the Creator into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.
Source: On the Origin of Species (1859), chapter XIV: "Recapitulation and Conclusion", page 489-90 http://darwin-online.org.uk/content/frameset?pageseq=508&itemID=F373&viewtype=image
"Mother Love", p. 61
Savage Survivals (1916), Wild Survivals in Domesticated Animals
Source: Better-World Philosophy: A Sociological Synthesis (1899), The Social Ideal, pp. 161–163
Source: Better-World Philosophy: A Sociological Synthesis (1899), The Preponderance of Egoism, pp. 123–125
Debate with Laurence Gronlund, quoted by Karen Iacobbo and Michael Iacobbo in Vegetarian America: A History (2004), p. 121
On her advice to poets in “The First Native American U.S. Poet Laureate on How Poetry Can Counter Hate” https://time.com/5658443/joy-harjo-poet-interview/ in Time Magazine (2019 Aug 22)
1960s, The Quest for Peace and Justice (1964)
Source: The Children of Eve' series of novels (historical fiction), The City of Palaces (2014), p.82
“Thanks mom, thanks dad for the bird you gave me.”
from Lo Zoo 105
Małgorzata Kossut, neuroscientist, member of the Polish Academy of Sciences and friend of Vetulani. Debate on depression: in memoriam Professor Jerzy Vetulani at the XXIst Science Festival in Warsaw https://www.youtube.com/watch?v=AS-1L-NZYXQ (in Polish), 30th September 2017.
pg. 283
The Sports and Pastimes of the People of England (1801), Public entertainment
Gopal Gandhi in his book [Gandhi, Gopal, Of a Certain Age: Twenty Life Sketches, http://books.google.com/books?id=Inp4jPFUHUkC&pg=PA164, 2011, Penguin Books India, 978-0-670-08502-6, 166]
About M.S.
Charles Keeler (pages 17-18)
Sierra Club Bulletin - Memorial Issue
With a shake of his poor little head he replied,
"Oh, Willow, titwillow, titwillow!"
The Suicide's Grave (from The Mikado).
Bartlett's Familiar Quotations, 10th ed. (1919)
As quoted in "Rutherford's Timebomb" in The New Zealand (15 May 2004) http://www.nzherald.co.nz/section/1/story.cfm?c_id=1&objectid=3566551
Letter to L. C. Dunsterville, September 1916. Quoted in Lord Birkenhead, Rudyard Kipling. London : Weidenfeld and Nicolson, 1978 (p.271).
“The philosophy of science is as useful to scientists as ornithology is to birds.”
Attributed to Feynman, many times, by the British historian of science Brian Cox.
Disputed and/or attributed
Love in Action: Writings on Nonviolent Social Change (1993), p. 131
Diwan of Imru' al-Qays, Poem 2, quoted in Dictionary of Literary Biography, p. 213
The Poem of Imru' al-Qais
Bequest of Pavlov to the Academic Youth of His Country. Science, Vol. 83, Issue 2155, pg. 369 (1936)
Napoleon the Little (1852), Book V, IX
Napoleon the Little (1852)
An Anthology of Modern Arabic Poetry, p. 73
Poetry, A Cup