Quotes about crying

page 13

The Timeless Path (2009)

The Quest for a True Humanity
I Write What I Like (1978)

February 16, 1802
This incident was the subject of Wordsworth's "Alice Fell" http://www.bartleby.com/145/ww190.html.
Diaries

Review http://www.rogerebert.com/reviews/ballast-2008 of Ballast (29 October 2008)
Reviews, Four star reviews

"Conception" (1974) st. 1–2; Collected Poems, University of Illinois Press, 1983

On "The Lees of Happiness"
Quoted, Tales of the Jazz Age (1922)

Source: Spain (1937), Lines 33–44

Acharya Jagadish Chandra Bose in Vijayaprasara

Ballade of Autumn

Source: Translations, The Aeneid of Virgil (1866), Book V, p. 175

Hólmfríður
Heimsljós (World Light) (1940), Book Two: The Palace of the Summerland

My Name's Women
Lyrics, My Story

"The Reach of Imagination" (1967)

2015-04-14
The O'Reilly Factor
Fox News
Television, quoted in * 2015-04-14
Fox's John Stossel Debunks O'Reilly's War On Religion Canard
Media Matters for America
http://mediamatters.org/video/2015/04/14/foxs-john-stossel-debunks-oreillys-war-on-relig/203287
referring to Little Sisters of the Poor's lawsuit against the Affordable Care Act mandating that employers offer insurance plans covering contraception

Lyrics

Sometimes, Stay Human (2001)

he [London] Sunday Times (November 17, 2006)
2007, 2008

Hindu Temples – What Happened to Them, Volume II (1993)

"Advertisement for Myself on the Way Out"
Advertisements for Myself (1959)

1960s, State of the Union Address (1966)

Frederic Mullally, Fascism inside England (Claud Morris Books, 1946), p. 15
Speech at Brighton, March 1934.

British Cavalry, The Anglo-Saxon Review, March 1901.
Reproduced in The Collected Essays of Sir Winston Churchill, Vol I, Churchill at War, Centenary Edition (1976), Library of Imperial History, p. 60.
Early career years (1898–1929)

Cynthia Eagle Russett. Sexual Science: The Victorian Construction of Womanhood. Harvard University Press, 2009. Abstract

Anastasia Steele, Chapter 4, p. 74.
Fifty Shades Freed (2011)

Seasons
Lyrics, Duty

Kenneth Boulding (1961). "Contemporary economic research: . In Donald P. Ray (Ed.) Trends in social science. p..19 cited in: Erik Angner & George Loewenstein (2006) Behavioral Economics http://www.cmu.edu/dietrich/sds/docs/loewenstein/BehavioralEconomics.pdf
1960s

Wherever I Lay My Hat, co-written with Barrett Strong and Norman Whitfield.
Song lyrics, That Stubborn Kinda Fellow (1962)

Source: The house on the hill (1949), Chapter 8, p. 105

The World (1629)

But I would rather go back to the old days when even the most modest attempt by Government to intervene in commerce and industry was rudely rebuffed.
March 27, 1968, page 213.
Official Report of Proceedings of the Hong Kong Legislative Council

"Out of the Darkness" in The Guardian (18 March 2006) <!-- DEAD LINK http://www.elainedundy.com/Guardian/guardian.html -->
Context: Sitting in the impressive high-ceilinged hall, an examiner had just given me the test on my eyes, which I failed again. She was talking to me but I was distracted by a blind man with dark glasses walking at some distance from me, his white cane clattering, echoing as it tap tapped away on the floor. What the examiner was repeating — and these are her exact words — was: "There is no cause and no cure for AMD yet." The dam burst. I began to cry, tears running down my face, sudden, unstoppable, embarrassing. In the restroom, I collapsed. My arms were shaking, my fingers stiffened, froze, and then tingled. My stomach was in an uproar. And I kept crying, knowing that I would never go back to seeing what I used to see.
I felt hopeless, defenceless; worst of all, I felt timid. I was crying for my dead self. Up to now I'd been congratulating myself for bearing up so well. Now I realised this was because the ophthalmologists always referred to AMD as a disease. For me it meant there would be a cure. Now I knew there would be no new glasses, no medication, no surgery.

"Come not, when I am dead" (1850)

"Open House," ll. 1-6
Open House (1941)

Source: Dracula (1897), Chapter XIV, Dr. Seward's Diary entry for 22 September
Context: Van Helsing and I came on here. The moment we were alone in the carriage he gave way to a regular fit of hysterics. He has denied to me since that it was hysterics, and insisted that it was only his sense of humour asserting itself under very terrible conditions. He laughed till he cried, and I had to draw down the blinds lest any one should see us and misjudge; and then he cried, till he laughed again; and laughed and cried together, just as a woman does. I tried to be stern with him, as one is to a woman under the circumstances; but it had no effect. Men and women are so different in manifestations of nervous strength or weakness! Then when his face grew grave and stern again I asked him why his mirth, and why at such a time. His reply was in a way characteristic of him, for it was logical and forceful and mysterious. He said:—
“Ah, you don't comprehend, friend John. Do not think that I am not sad, though I laugh. See, I have cried even when the laugh did choke me. But no more think that I am all sorry when I cry, for the laugh he come just the same. Keep it always with you that laughter who knock at your door and say, ‘May I come in?’ is not the true laughter. No! he is a king, and he come when and how he like. He ask no person; he choose no time of suitability. He say, ‘I am here.’ Behold, in example I grieve my heart out for that so sweet young girl; I give my blood for her, though I am old and worn; I give my time, my skill, my sleep; I let my other sufferers want that so she may have all. And yet I can laugh at her very grave — laugh when the clay from the spade of the sexton drop upon her coffin and say ‘Thud, thud!’ to my heart, till it send back the blood from my cheek. My heart bleed for that poor boy — that dear boy, so of the age of mine own boy had I been so blessed that he live, and with his hair and eyes the same. There, you know now why I love him so. And yet when he say things that touch my husband-heart to the quick, and make my father-heart yearn to him as to no other man — not even you, friend John, for we are more level in experiences than father and son — yet even at such a moment King Laugh he come to me and shout and bellow in my ear, ‘Here I am! here I am!’ till the blood come dance back and bring some of the sunshine that he carry with him to my cheek. Oh, friend John, it is a strange world, a sad world, a world full of miseries, and woes, and troubles; and yet when King Laugh come, he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall — all dance together to the music that he make with that smileless mouth of him. And believe me, friend John, that he is good to come, and kind. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come; and, like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again; and we bear to go on with our labour, what it may be.”

The Daisy, Stanza 24; reported in Bartlett's Familiar Quotations, 10th ed. (1919)

Message to the Tricontinental (1967)
Context: Wherever death may surprise us, let it be welcome, provided that this, our battle cry, may have reached some receptive ear and another hand may be extended to wield our weapons and other men be ready to intone the funeral dirge with the staccato singing of the machine-guns and new battle cries of war and victory.

Letter to G. H. Lewes, 6 November 1847
Context: You advise me, too, not to stray far from the ground of experience, as I become weak when I enter the region of fiction; and you say, "real experience is perennially interesting, and to all men."I feel that this also is true; but, dear Sir, is not the real experience of each individual very limited? And, if a writer dwells upon that solely or principally, is he not in danger of repeating himself, and also of becoming an egotist? Then, too, imagination is a strong, restless faculty, which claims to be heard and exercised: are we to be quite deaf to her cry, and insensate to her struggles? When she shows us bright pictures, are we never to look at them, and try to reproduce them? And when she is eloquent, and speaks rapidly and urgently in our ear, are we not to write to her dictation?

"Entertainment or Education? (1936)
Context: The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the way it will always be. The suffering of this or that person grips me because there is no escape for him. That's great art — Everything is self-evident. I am made to cry with those who cry, and laugh with those who laugh. But the theater-goer in the epic theater says: I would never have thought that. You can't do that. That's very strange, practically unbelievable. That has to stop. The suffering of this or that person grips me because there is an escape for him. That's great art — nothing is self-evident. I am made to laugh about those who cry, and cry about those who laugh.

Vol. 1. Translated by W.P.Dickson
Introductory Paragraph to the second part of Volume 1. On the Abolition of the monarchy and the formation of the Republic. The first magistrates of the republic and the conceptualization of the relationship between the magistrates and the body of citizens.
The History of Rome - Volume 1
Context: The strict conception of the unity and omnipotence of the state in all matters pertaining to it, which was the central principle of the Italian constitutions, placed in the hands of the single president nominated for life a formidable power, which was felt doubtless by the enemies of the land, but was not less heavily felt by its citizens. Abuse and oppression could not fail to ensue, and, as a necessary consequence, efforts were made to lessen that power. It was, however, the grand distinction of the endeavours after reform and the revolutions in Rome, that there was no attempt either to impose limitations on the community as such or even to deprive it of corresponding organs of expression—that there never was any endeavour to assert the so-called natural rights of the individual in contradistinction to the community—that, on the contrary, the attack was wholly directed against the form in which the community was represented. From the times of the Tarquins down to those of the Gracchi the cry of the party of progress in Rome was not for limitation of the power of the state, but for limitation of the power of the magistrates: nor amidst that cry was the truth ever forgotten, that the people ought not to govern, but to be governed.

Gravity's Rainbow (1973)
Context: This ascent will be betrayed to Gravity. But the Rocket engine, the deep cry of combustion that jars the soul, promises escape. The victim, in bondage to falling, rises on a promise, a prophecy, of Escape....
Moving now toward the kind of light where at last the apple is apple-colored. The knife cuts through the apple like a knife cutting an apple. Everything is where it is, no clearer than usual, but certainly more present. So much has to be left behind now, so quickly.

Speech http://hansard.millbanksystems.com/commons/1936/nov/12/debate-on-the-address in the House of Commons (12 November 1936).
1936
Context: I put before the whole House my own views with an appalling frankness. From 1933, I and my friends were all very worried about what was happening in Europe. You will remember at that time the Disarmament Conference was sitting in Geneva. You will remember at that time there was probably a stronger pacifist feeling running through this country than at any time since the War. I am speaking of 1933 and 1934... My position as the leader of a great party was not altogether a comfortable one. I asked myself what chance was there... within the next year or two of that feeling being so changed that the country would give a mandate for rearmament? Supposing I had gone to the country and said that Germany was rearming and that we must rearm, does anybody think that this pacific democracy would have rallied to that cry at that moment? I cannot think of anything that would have made the loss of the election from my point of view more certain. I think the country itself learned by certain events that took place during the winter of 1934–35 what the perils might be to it. All I did was to take a moment perhaps less unfortunate than another might have been, and we won the election with a large majority... [In 1935] we got from the country—with a large majority—a mandate for doing a thing that no one, 12 months before, would have believed possible.

Man Is Not Alone : A Philosophy Of Religion (1951), Ch. 26 : The Pious Man; Our Destiny is to Aid
Context: The greatest problem is not how to continue but how to exalt our existence. The call for a life beyond the grave is presumptuous, if there is no cry for eternal life prior to our descending to the grave. Eternity is not perpetual future but perpetual presence. He has planted in us the seed of eternal life. The world to come is not only a hereafter but also a here-now.

"Domination of Black"
Harmonium (1923)
Context: I heard them cry — the peacocks.
Was it a cry against the twilight
Or against the leaves themselves
Turning in the wind,
Turning as the flames
Turned in the fire,
Turning as the tails of the peacocks
Turned in the loud fire,
Loud as the hemlocks
Full of the cry of the peacocks?
Or was it a cry against the hemlocks?

On events after the end of World War II, Part I, Holland, p. 53
To Save a Life: Stories of Holocaust Rescue (2000)
Context: For several months I was incapable of feeling anything, completely inaccessible to my feelings — I did not laugh, I did not cry. The second thing was this amazing trauma, where I forgot the names of everyone I knew. That was very strange. I knew who everyone was: this was a friend from high school, this was my cousin, but I had to relearn every name. It was quite striking, that very strong reaction that I had. They have a name for it, I think: posttraumatic stress syndrome.
I don't sit here conquering great resistance to talk. It is not my way. I don't suffer the reliving of these memories with tremendous pain. It's very odd, but it's finished for me. That, of course, is never quite true. It isn't finished. I am like all of my generation; we are marked people. But I don't suffer; I can talk to you about it. Most of my family was killed. All of my father's and mother's sisters and brothers and their children, my sister and my old grandfather, they're all gone. Four out of five Jews in Holland never came back after the war — 80 percent.

"Non-Violence — The Greatest Force" in The World Tomorrow (5 October 1926)
1920s
Context: The cry for peace will be a cry in the wilderness, so long as the spirit of nonviolence does not dominate millions of men and women.
An armed conflict between nations horrifies us. But the economic war is no better than an armed conflict. This is like a surgical operation. An economic war is prolonged torture. And its ravages are no less terrible than those depicted in the literature on war properly so called. We think nothing of the other because we are used to its deadly effects. …
The movement against war is sound. I pray for its success. But I cannot help the gnawing fear that the movement will fail if it does not touch the root of all evil — man's greed.

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)

Poems and Ballads (1866-89), The Triumph of Time
Context: p>I shall go my ways, tread out my measure,
Fill the days of my daily breath
With fugitive things not good to treasure,
Do as the world doth, say as it saith;
But if we had loved each other — O sweet,
Had you felt, lying under the palms of your feet,
The heart of my heart, beating harder with pleasure
To feel you tread it to dust and death —Ah, had I not taken my life up and given
All that life gives and the years let go,
The wine and honey, the balm and leaven,
The dreams reared high and the hopes brought low?
Come life, come death, not a word be said;
Should I lose you living, and vex you dead?
I never shall tell you on earth; and in heaven,
If I cry to you then, will you hear or know?</p

Source: A Century of Bank Rate (1938), Chapter IV, "Bank Rate and Deflation, 1934-32" p.144-145
Context: Once the gold standard was suspended, there could be no doubt of the purpose of that step. In face of the exchange risk the high rate could not possibly attract foreign money. It could only be intended as a safeguard against inflation. Fantastic fears of inflation were expressed. That was to cry, Fire, Fire, in Noah's Flood. It is after depression and unemployment have subsided that inflation becomes dangerous.

Love is Enough (1872), Song IX: Ho Ye Who Seek Saving
Context: Come — pain ye shall have, and be blind to the ending!
Come — fear ye shall have, mid the sky's overcasting!
Come — change ye shall have, for far are ye wending!
Come — no crown ye shall have for your thirst and your fasting,
But the kissed lips of Love and fair life everlasting!
Cry out, for one heedeth, who leadeth you home!

Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XXII : Grand Master Architect, p. 191
Context: Life is no negative, or superficial or worldly existence. Our steps are evermore haunted with thoughts, far beyond their own range, which some have regarded as the reminiscences of a preesistent state. So it is with us all, in the beaten and worn track of this worldly pilgrimage. There is more here, than the world we live in. It is not all of life to live. An unseen and infinite presence is here; a sense of something greater than we possess; a seeking, through all the void wastes of life, for a good beyond it; a crying out of the heart for interpretation; a memory of the dead, touching continually some vibrating thread in this great tissue of mystery.

The Lost Son, ll. 1-4
The Lost Son and Other Poems (1948)

Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 19. How, Though the Sphere Showed Me Other Mysteries of Spaceland, I Still Desired More; and What Came of It
Context: p>Those who have thus appeared — no one knows whence — and have returned — no one knows whither — have they also contracted their sections and vanished somehow into that more Spacious Space, whither I now entreat you to conduct me?SPHERE (MOODILY). They have vanished, certainly — if they ever appeared. But most people say that these visions arose from the thought — you will not understand me — from the brain; from the perturbed angularity of the Seer.I. Say they so? Oh, believe them not. Or if it indeed be so, that this other Space is really Thoughtland, then take me to that blessed Region where I in Thought shall see the insides of all solid things. There, before my ravished eye, a Cube, moving in some altogether new direction, but strictly according to Analogy, so as to make every particle of his interior pass through a new kind of Space, with a wake of its own — shall create a still more perfect perfection than himself, with sixteen terminal Extra-solid angles, and Eight solid Cubes for his Perimeter. And once there, shall we stay our upward course? In that blessed region of Four Dimensions, shall we linger on the threshold of the Fifth, and not enter therein? Ah, no! Let us rather resolve that our ambition shall soar with our corporal ascent. Then, yielding to our intellectual onset, the gates of the Sixth Dimension shall fly open; after that a Seventh, and then an Eighth —How long I should have continued I know not. In vain did the Sphere, in his voice of thunder, reiterate his command of silence, and threaten me with the direst penalties if I persisted. Nothing could stem the flood of my ecstatic aspirations. Perhaps I was to blame; but indeed I was intoxicated with the recent draughts of Truth to which he himself had introduced me. However, the end was not long in coming. My words were cut short by a crash outside, and a simultaneous crash inside me, which impelled me through space with a velocity that precluded speech. Down! down! down! I was rapidly descending; and I knew that return to Flatland was my doom. One glimpse, one last and never-to-be-forgotten glimpse I had of that dull level wilderness — which was now to become my Universe again — spread out before my eye. Then a darkness. Then a final, all-consummating thunder-peal; and, when I came to myself, I was once more a common creeping Square, in my Study at home, listening to the Peace-Cry of my approaching Wife.</p

The Paris Review interview (2010)
Context: Every so often, late at night, I come downstairs, open one of my books, read a paragraph and say, My God. I sit there and cry because I feel that I’m not responsible for any of this. It’s from God. And I’m so grateful, so, so grateful. The best description of my career as a writer is “at play in the fields of the Lord.” It’s been wonderful fun and I’ll be damned where any of it came from. I’ve been fortunate. Very fortunate.

1770s, "Give me liberty, or give me death!" (1775)
Context: It is vain, sir, to extenuate the matter. Gentlemen may cry, Peace, peace! But there is no peace. The war is actually begun! The next gale that sweeps from the north will bring to our ears the clash of resounding arms! Our brethren are already in the field! Why stand we here idle? What is it that gentlemen wish? What would they have? Is life so dear or peace so sweet as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what course others may take; but as for me, give me liberty or give me death!

"We Could Have Been Sweethearts (You Could Have Been Lonely)" from Spin of the Wheel (1990)
Context: So hold my hand, I'm going down fast,
And if I return, I'll never more be blue
It's not the leaving of all I love that makes me cry
But my darling, when I think of you.

Molloy (1951)
Context: To decompose is to live too, I know, I know, don't torment me, but one sometimes forgets. And of that life too I shall tell you perhaps one day, the day I know that when I thought I knew I was merely existing and that passion without form or stations will have devoured me down to the rotting flesh itself and that when I know that I know nothing, am only crying out as I have always cried out, more or less piercingly, more or less openly. Let me cry out then, it's said to be good for you. Yes let me cry out, this time, then another time perhaps, then perhaps a last time.

"Entertainment or Education? (1936)
Context: The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the way it will always be. The suffering of this or that person grips me because there is no escape for him. That's great art — Everything is self-evident. I am made to cry with those who cry, and laugh with those who laugh. But the theater-goer in the epic theater says: I would never have thought that. You can't do that. That's very strange, practically unbelievable. That has to stop. The suffering of this or that person grips me because there is an escape for him. That's great art — nothing is self-evident. I am made to laugh about those who cry, and cry about those who laugh.

Guardian Camwar, in Ch. 4 : the cooper <!-- p. 41 -->
The Visitor (2002)
Context: Long ago, the people of the world cried out for help. In the reaches of heaven their cry was heard, and a Visitor came in answer to it. The Visitor began helping immediately, but secretly. Now the visitor intends to be known to the people of the world and the people of the world must deal with that knowledge.

CNBC U.S. generic commercial spot in MPEG format registered at DG Systems/SourceTV.com Note: this link no longer works. 7/14/2009 http://www.nbccableinfo.com/insidenbccable/movies/cnbc/daytime.mpg

Quotes 1960s-1980s, 1960s, American Power and the New Mandarins, 1969
Context: No less insidious is the cry for 'revolution,' at a time when not even the germs of new institutions exist, let alone the moral and political consciousness that could lead to a basic modification of social life. If there will be a 'revolution' in America today, it will no doubt be a move towards some variety of fascism. We must guard against the kind of revolutionary rhetoric that would have had Karl Marx burn down the British Museum because it was merely part of a repressive society. It would be criminal to overlook the serious flaws and inadequacies in our institutions, or to fail to utilize the substantial degree of freedom that most of us enjoy, within the framework of these flawed institutions, to modify them or even replace them by a better social order. One who pays some attention to history will not be surprised if those who cry most loudly that we must smash and destroy are later found among the administrators of some new system of repression.

The Kasîdah of Hâjî Abdû El-Yezdî (1870)
Context: When doctors differ who decides amid the milliard-headed throng?
Who save the madman dares to cry: "'Tis I am right, you all are wrong"?
"You all are right, you all are wrong," we hear the careless Soofi say,
"For each believes his glimm'ering lamp to be the gorgeous light of day."
"Thy faith why false, my faith why true? 'tis all the work of Thine and Mine,
"The fond and foolish love of self that makes the Mine excel the Thine."
Cease then to mumble rotten bones; and strive to clothe with flesh and blood
The skel'eton; and to shape a Form that all shall hail as fair and good.

Buffalo Rising interview (2007)
Context: Life is pretty rough for the nearly 400 million people in India who still live on $2 USD or less a day-they are mostly what this show is about.
In America by comparison, the children of the poor may not have access to the latest Dolce & Gabbana or Armani suit, but they at least predominantly have shelter, even though it may not be a castle but it is a warm place to rest and recuperate. So many of the children I come across in such countries as India live and sleep with their families on the street covered by a tarp or a piece of plastic or cardboard. They cry themselves to sleep at night from hunger.
We are very lucky to be living in the U. S. and not there under similar conditions in a country like India, even if being poor here means living simply. If we as people can remember this much from seeing one of my shows, then we are already well on the way toward progress in my opinion.

The Saviors of God (1923)
Context: How does the light of a star set out and plunge into black eternity in its immortal course? The star dies, but the light never dies; such also is the cry of freedom.
Out of the transient encounter of contrary forces which constitute your existence, strive to create whatever immortal thing a mortal may create in this world — a Cry.
And this Cry, abandoning to the earth the body which gave it birth, proceeds and labors eternally.

"The Vision of Sin", sec. 5 (1842)

Source: Nationalism and Culture (1937), Ch. 15 "Nationalism — A Political Religion"
Context: The growth of technology at the expense of human personality, and especially the fatalistic submission with which the great majority surrender to this condition, is the reason why the desire for freedom is less alive among men today and has with many of them given place completely to a desire for economic security. This phenomenon need not appear so strange, for our whole evolution has reached a stage where nearly every man is either ruler or ruled; sometimes he is both. By this the attitude of dependence has been greatly strengthened, for a truly free man does not like to play the part of either the ruler or the ruled. He is, above all, concerned with making his inner values and personal powers effective in a way as to permit him to use his own judgment in all affairs and to be independent in action. Constant tutelage of our acting and thinking has made us weak and irresponsible; hence, the continued cry for the strong man who is to put an end to our distress. This call for a dictator is not a sign of strength, but a proof of inner lack of assurance and of weakness, even though those who utter it earnestly try to give themselves the appearance of resolution. What man most lacks he most desires. When one feels himself weak he seeks salvation from another's strength; when one is cowardly or too timid to move one's own hands for the forging of one's fate, one entrusts it to another. How right was Seume when he said: "The nation which can only be saved by one man and wants to be saved that way deserves a whipping!"

"On the Radio"
Begin to Hope (2006)

Quotes 1960s-1980s, 1960s, American Power and the New Mandarins, 1969
Context: No less insidious is the cry for 'revolution,' at a time when not even the germs of new institutions exist, let alone the moral and political consciousness that could lead to a basic modification of social life. If there will be a 'revolution' in America today, it will no doubt be a move towards some variety of fascism. We must guard against the kind of revolutionary rhetoric that would have had Karl Marx burn down the British Museum because it was merely part of a repressive society. It would be criminal to overlook the serious flaws and inadequacies in our institutions, or to fail to utilize the substantial degree of freedom that most of us enjoy, within the framework of these flawed institutions, to modify them or even replace them by a better social order. One who pays some attention to history will not be surprised if those who cry most loudly that we must smash and destroy are later found among the administrators of some new system of repression.

To ———, after reading a Life and Letters, stanza 4, from Poems (1850)

Source: The Voyage of the Beagle (1839), chapter XXI: "Mauritius To England" (second edition, 1845), pages 499-500 http://darwin-online.org.uk/content/frameset?pageseq=512&itemID=F14&viewtype=image
Context: I thank God, I shall never again visit a slave-country. To this day, if I hear a distant scream, it recalls with painful vividness my feelings, when passing a house near Pernambuco, I heard the most pitiable moans, and could not but suspect that some poor slave was being tortured, yet knew that I was as powerless as a child even to remonstrate. I suspected that these moans were from a tortured slave, for I was told that this was the case in another instance. Near Rio de Janeiro I lived opposite to an old lady, who kept screws to crush the fingers of her female slaves. I have staid in a house where a young household mulatto, daily and hourly, was reviled, beaten, and persecuted enough to break the spirit of the lowest animal. I have seen a little boy, six or seven years old, struck thrice with a horse-whip (before I could interfere) on his naked head, for having handed me a glass of water not quite clean; I saw his father tremble at a mere glance from his master's eye. … And these deeds are done and palliated by men, who profess to love their neighbours as themselves, who believe in God, and pray that his Will be done on earth! It makes one's blood boil, yet heart tremble, to think that we Englishmen and our American descendants, with their boastful cry of liberty, have been and are so guilty: but it is a consolation to reflect, that we at least have made a greater sacrifice, than ever made by any nation, to expiate our sin.

Section 3.13 <!-- p. 183 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: St. John said, "And the light shineth in the darkness; and the darkness comprehended it not." The light shines in the darkness and the darkness does not understand it, and cannot extinguish it ( I need the double meaning here of comprehend). This is the great cry of affirmation that is heard over and over again in our imaginative literature, in all art. It is a light to lighten our darkness, to guide us, and we do not need to know, in the realm of provable fact, exactly where it is going to take us.

Preface of M. Quetelet
A Treatise on Man and the Development of His Faculties (1842)
Context: From the examination of numbers, I believed myself justified in inferring, as a natural consequence, that, in given circumstances, and the influence of the same causes, we may reckon upon witnessing the repetition of the same effects, reproduction of the same crimes, and the same convictions. What has resulted from this exposition? Timorous persons have raised the cry of fatalism. If, however, some one said, "Man is born free; nothing force his free-will; he underlies the influence of external causes; cease to assimilate him to a machine, or to pretend to modify his actions. Therefore, ye legislators, repeal your laws; overturn your prisons; break your chains in pieces; your convictions penalties are of no avail; they are so many acts barbarous revenge. Ye philosophers and priests, speak no more of ameliorations, social or religious; you are materialists, because you assume to society like a piece of gross clay; you are fatalists, because you believe yourselves predestined to influence man in the exercise of his free-will, and to the course of his actions." If, I say, any one held such language to us, we should be disgusted with its excessive folly. And wherefore? Because we are thoroughly convinced that laws, education, and religion exercise a salutary influence on society, and that moral causes have their certain effects.

Source: 1840s, Narrative of the Life of Frederick Douglass, An American Slave (1845), Ch. 2
Context: I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.

Radio From Hell (April 18, 2007)

Oh! Susanna, W.C. Peters & Co. (1848).
Context: Oh I come from Alabama with a banjo on my knee,
I'm going to Louisiana, my true love for to see
It rained all night the day I left, the weather it was dry
The sun so hot I froze to death; Susanna, don't you cry.
Oh, Susanna, don't you cry for me
For I come from Alabama,
With my banjo on my knee.

Source: A Dream of John Ball (1886), Ch. 4: The Voice of John Ball
Context: Forsooth, he that waketh in hell and feeleth his heart fail him, shall have memory of the merry days of earth, and how that when his heart failed him there, he cried on his fellow, were it his wife or his son or his brother or his gossip or his brother sworn in arms, and how that his fellow heard him and came and they mourned together under the sun, till again they laughed together and were but half sorry between them. This shall he think on in hell, and cry on his fellow to help him, and shall find that therein is no help because there is no fellowship, but every man for himself.

"Domination of Black"
Harmonium (1923)
Context: I saw how the night came,
Came striding like the color of the heavy hemlocks.
I felt afraid.
And I remembered the cry of the peacocks.

In a performance during "Beatle Week" in Liverpool (27 August 2006), Donovan sang lyrics he declared that George Harrison had improvised for "Hurdy Gurdy Man":
Hurdy Gurdy Man (1967)
Context: Histories of ages past
Unenlightened shadows cast.
Down through all eternity
The crying of humanity.
'Tis then when the Hurdy Gurdy Man
Comes singing songs of love...

Section 3 : Work Democracy versus Politics. The Natural Social Forces for the Mastery of the Emotional Plague;
Variant translation: The cry for freedom is a sign of suppression. It will never cease as long as man feels himself to be trapped. No matter how different the cries for freedom may be, at bottom they always express one and the same thing: the intolerableness of the organism's rigidity and the mechanical institutions of life, which are sharply at variance with the natural sensations of life. ... Not until man acknowledges that he is fundamentally an animal, will he be able to create a genuine culture.
The Mass Psychology of Fascism (1933), Ch. 10 : Work Democracy
Context: The cry for freedom is a sign of suppression. It will not cease to ring as long as man feels himself captive. As diverse as the cries for freedom may be, basically they all express one and the same thing: The intolerability of the rigidity of the organism and of the machine-like institutions which create a sharp conflict with the natural feelings for life. Not until there is a social order in which all cries for freedom subside will man have overcome his biological and social crippling, will he have attained genuine freedom. Not until man is willing to recognize his animal nature — in the good sense of the word — will he create genuine culture.

"Savior"
I Shall Not Be Moved (1990)

Cassandra (1860)
Context: Give us back our suffering, we cry to Heaven in our hearts — suffering rather than indifferentism; for out of nothing comes nothing. But out of suffering may come the cure. Better have pain than paralysis! A hundred struggle and drown in the breakers. One discovers the new world. But rather, ten times rather, die in the surf, heralding the way to that new world, than stand idly on the shore!

Notes Toward a Supreme Fiction (1942), It Must Be Abstract
Context: p>What chieftain, walking by himself, crying
Most miserable, most victorious,Does not see these separate figures one by one,
And yet see only one, in his old coat,
His slouching pantaloons, beyond the town,Looking for what was, where it used to be?</p

Open letter to the Masters of Dublin (1913)
Context: Cry aloud to heaven for new souls. The souls you have got cast upon the screens of publicity appear like the horrid and writhing creatures enlarged from the insect world, and revealed to us by the cinematographer.
You may succeed in your policy and ensure your own damnation by your victory. The men whose manhood you have broken will loathe you, and will always be brooding and scheming to strike a fresh blow. The children will be taught to curse you. The infant being moulded in the womb will have breathed into its starved body the vitality of hate. It is not they — it is you who are the blind Samsons pulling down the pillars of the social order.

Penn and Teller's How to Play in Traffic (1997), p. 35
1990s

Guardian Camwar in Ch. 4 : the cooper, p. 41
The Visitor (2002)

Janaki Bakhle quoted in Vikram Sampath - Savarkar, Echoes from a Forgotten Past, 1883–1924 (2019)

Delta Autumn (p. 347)
Go Down, Moses (1942)

Disputed, Give me liberty, or give me death! (1775)

2010s, 2019, June, Remarks on the 75th Anniversary of D-Day in Colleville-sur-Mer, France

1750s, Diaries (1750s-1790s)

Though they lay flat the mountains and dry up the sea, Wilt thou yet change, as though God were a god?
Pilgrim’s Regress 186–187
The Pilgrim's Regress (1933)

Anabasis Alexandri, 7.2.6-9

Maitreya's Teachings - The Laws of Life (2005)

Twitter post, https://twitter.com/AOC (2 March 2019)
Twitter Quotes (2019), March 2019

The Shining (1977)

Act V
Peter Pan (1904)

The Guardian
Banging Your Head Against a Brick Wall (2001)