Quotes about light
page 6

Thomas Paine photo
Charles Spurgeon photo

“It is a great deal easier to set a story afloat than to stop it. If you want truth to go round the world you must hire an express train to pull it; but if you want a lie to go round the world, it will fly: it is as light as a feather, and a breath will carry it. It is well said in the old proverb, "A lie will go round the world while truth is pulling its boots on." Nevertheless, it does not injure us; for if light as feather it travels as fast, its effect is just about as tremendous as the effect of down, when it is blown against the walls of a castle; it produces no damage whatever, on account of its lightness and littleness. Fear not, Christian. Let slander fly, let envy send forth its forked tongue, let it hiss at you, your bow shall abide in strength. Oh! shielded warrior, remain quiet, fear no ill; but, like the eagle in its lofty eyrie, look thou down upon the fowlers in the plain, turn thy bold eye upon them and say, "Shoot ye may, but your shots will not reach half-way to the pinnacle where I stand. Waste your powder upon me if ye will; I am beyond your reach."”

Charles Spurgeon (1834–1892) British preacher, author, pastor and evangelist

Then clap your wings, mount to heaven, and there laugh them to scorn, for ye have made your refuge God, and shall find a most secure abode.
"No. 17: Joseph Attacked by the Archers (Genesis 49:23–24, delivered on Sunday 1855-04-01)" pp.130
Sermons delivered in Exeter Hall, Strand, during the enlargement of New Park Street Chapel, Southmark (1855)

Nikola Tesla photo

“What has the future in store for this strange being, born of a breath, of perishable tissue, yet Immortal, with his powers fearful and Divine? What magic will be wrought by him in the end? What is to be his greatest deed, his crowning achievement?
Long ago he recognized that all perceptible matter comes from a primary substance, or a tenuity beyond conception, filling all space, the Akasha or luminiferous ether, which is acted upon by the life-giving Prana or Creative Force, calling into existence, in never ending cycles, all things and phenomena. The primary substance, thrown into infinitesimal whirls of prodigious velocity, becomes gross matter; the force subsiding, the motion ceases and matter disappears, reverting to the primary substance.
Can man control this grandest, most awe-inspiring of all processes in nature? Can he harness her inexhaustible energies to perform all their functions at his bidding? more still cause them to operate simply by the force of his will?
If he could do this, he would have powers almost unlimited and supernatural. At his command, with but a slight effort on his part, old worlds would disappear and new ones of his planning would spring into being. He could fix, solidify and preserve the ethereal shapes of his imagining, the fleeting visions of his dreams. He could express all the creations of his mind on any scale, in forms concrete and imperishable. He could alter the size of this planet, control its seasons, guide it along any path he might choose through the depths of the Universe. He could cause planets to collide and produce his suns and stars, his heat and light. He could originate and develop life in all its infinite forms.”

Nikola Tesla (1856–1943) Serbian American inventor

Man's Greatest Achievement (1908; 1930)

Ramana Maharshi photo

“14. Just as the sun gives light to the moon this heart bestows the effulgence on the mind.”

Ramana Maharshi (1879–1950) Indian religious leader

The Science of the Heart

Frank Popper photo

“One of the main reasons for my interest early on in the art and technology relationship was that during my studies of movement and light in art I was struck by the technical components in this art. Contrary to most, if not all, specialists in the field who put the stress on purely plastic issues and in the first place on the constructivist tradition, I was convinced that the technical and technological elements played a decisive part in this art. One almost paradoxical experience was my encounter with the kinetic artist and author of the book Constructivism, George Rickey, and my discovery of the most subtle technical movements in his mobile sculptures. But what seemed to me still more decisive for my option towards the art and technology problematic was the encounter in the early 1950s with artists like Nicholas Schöffer and Frank Malina whose works were based on some first hand or second hand scientific knowledge and who effectively or symbolically employed contemporary technological elements that gave their works a prospective cultural meaning. The same sentiment prevailed in me when I encountered similar artistic endeavors from the 1950s onwards in the works of Piotr Kowalski, Roy Ascott and many others which confirmed me in the aesthetic option I had taken, particularly when I discovered that this option was not antinomic (contradictory) to another aspect of the creative works of the time, i. e. spectator participation.”

Frank Popper (1918) French art historian

Source: Joseph Nechvatal. in: " Origins of Virtualism: An Interview with Frank Popper http://www.mediaarthistory.org/refresh/Programmatic%20key%20texts/pdfs/Popper.pdf," in: Media Art History, 2004.

Pink (singer) photo
Jawaharlal Nehru photo
Leonardo Da Vinci photo

“A dark object seen against a bright background will appear smaller than it is. A light object will look larger when it is seen against a background darker than itself.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), IV Perspective of Disappearance

C.G. Jung photo

“The whole nature of man presupposes woman, both physically and spiritually. His system is tuned into woman from the start, just as it is prepared for a quite definite world where there is water, light, air, salt, carbohydrates etc..”

C.G. Jung (1875–1961) Swiss psychiatrist and psychotherapist who founded analytical psychology

"Two Essays in Analytical Psychology" In CW 7: P. 188 (1967)

Isaac Newton photo
John Ronald Reuel Tolkien photo

“I do so dearly believe that no half-heartedness and no worldly fear must turn us aside from following the light unflinchingly.”

John Ronald Reuel Tolkien (1892–1973) British philologist and author, creator of classic fantasy works

Letter to Edith, as quoted in J. R. R. Tolkien: a biography (1977) by Humphrey Carpenter, p. 66

Anthony B photo

“The Lord is I light an' salvation
so I won't heed to temptation
….. I know they hate us but Jah love us so
The more they fight we get stronger”

Anthony B (1976) Jamaican deejay and singer

In time of trouble'
Song lyrics, Life over Death (2008)

W.B. Yeats photo
Lady Gaga photo

“Amidst all of these flashing lights I pray The Fame wont take my life.”

Lady Gaga (1986) American singer, songwriter, and actress

Performing "Paparazzi" in MTV VMA'S '09.

A.C. Bhaktivedanta Swami Prabhupada photo
Mark Twain photo
John of the Cross photo
Charles Darwin photo
Lewis Carroll photo
Isaac Newton photo
John of the Cross photo
Thomas Moore photo

“Fly not yet; 't is just the hour
When pleasure, like the midnight flower
That scorns the eye of vulgar light,
Begins to bloom for sons of night
And maids who love the moon.”

Thomas Moore (1779–1852) Irish poet, singer and songwriter

Fly not yet.
Bartlett's Familiar Quotations, 10th ed. (1919)

Bob Marley photo

“Excuse me while I light my spliff, good God I gotta take a lift.”

Bob Marley (1945–1981) Jamaican singer, songwriter, musician

Easy Skanking, from the album Kaya (1978)
Song lyrics

Percy Bysshe Shelley photo

“I love Love — though he has wings,
And like light can flee,
But above all other things,
Spirit, I love thee —
Thou art love and life! Oh come,
Make once more my heart thy home.”

Percy Bysshe Shelley (1792–1822) English Romantic poet

St. 8
Song: Rarely, Rarely, Comest Thou http://www.poetryconnection.net/poets/Percy_Bysshe_Shelley/17889 (1821)

C.G. Jung photo
Lewis Carroll photo
Friedrich Nietzsche photo
Ludwig Feuerbach photo
Kwame Nkrumah photo

“I learnt to see philosophical systems in the context of the social milieu which produced them. I therefore learnt to look for social contention in philosophical systems. It is of course possible to see the history of philosophy in diverse ways, each way of seeing it being in fact an illumination of the type of problem dealt with in this branch of human thought. It is possible, for instance, to look upon philosophy as a series of abstract systems. When philosophy is so seen, even moral philosophers, with regrettable coyness, say that their preoccupation has nothing to do with life. They say that their concern is not to name moral principles or to improve anybody's character, but narrowly to elucidate the meaning of terms used in ethical discourse, and to determine the status of moral principles and ru1es, as regards the obligation which they impose upon us. When philosophy is regarded in the light of a series of abstract systems, it can be said to concern itself with two fundamental questions: first, the question 'what there is'; second, the question how 'what there is' may be explained. The answer to the first question has a number of aspects. It lays down a minimum number of general under which every item in the world can and must be brought. It does this without naming the items themselves, without furnishing us with an inventory, a roll-call of the items, the objects in the world. It specifies, not particu1ar objects, but the basic types of object. The answer further implies a certain reductionism; for in naming only a few basic types as exhausting all objects in the world, it brings object directly under one of the basic types.”

Kwame Nkrumah (1909–1972) Pan Africanist and First Prime Minister and President of Ghana

Source: Consciencism (1964), Philosophy In Retrospect, pp. 5-6.

Friedrich Nietzsche photo

“But what changes come upon the weary desert of our culture, so darkly described, when it is touched by the magic of Dionysus! A storm seizes everything decrepit, rotten, broken, stunted; shrouds it in a whirling red cloud of dust and carries it into the air like a vulture. In vain confusion we seek for all that has vanished; for what we see has risen as if from beneath he earth into the gold light, so full and green, so luxuriantly alive, immeasurable and filled with yearning. Tragedy sits in sublime rapture amidst this abundance of life, suffering and delight, listening to a far-off, melancholy song which tells of the Mothers of Being, whose names are Delusion, Will, Woe. -
Yes, my friends, join me in my faith in this Dionysiac life and the rebirth of tragedy. The age of Socratic man is past: crown yourselves with ivy, grasp the thyrsus and do not be amazed if tigers and panthers lie down fawning at your feet. Now dare to be tragic men, for you will be redeemed. You shall join the Dionysiac procession from India to Greece! Gird yourselves for a hard battle, but have faith in the miracles of your god!”

Aber wie verändert sich plötzlich jene eben so düster geschilderte Wildniss unserer ermüdeten Cultur, wenn sie der dionysische Zauber berührt! Ein Sturmwind packt alles Abgelebte, Morsche, Zerbrochne, Verkümmerte, hüllt es wirbelnd in eine rothe Staubwolke und trägt es wie ein Geier in die Lüfte. Verwirrt suchen unsere Blicke nach dem Entschwundenen: denn was sie sehen, ist wie aus einer Versenkung an's goldne Licht gestiegen, so voll und grün, so üppig lebendig, so sehnsuchtsvoll unermesslich. Die Tragödie sitzt inmitten dieses Ueberflusses an Leben, Leid und Lust, in erhabener Entzückung, sie horcht einem fernen schwermüthigen Gesange - er erzählt von den Müttern des Seins, deren Namen lauten: Wahn, Wille, Wehe.
Ja, meine Freunde, glaubt mit mir an das dionysische Leben und an die Wiedergeburt der Tragödie. Die Zeit des sokratischen Menschen ist vorüber: kränzt euch mit Epheu, nehmt den Thyrsusstab zur Hand und wundert euch nicht, wenn Tiger und Panther sich schmeichelnd zu euren Knien niederlegen. Jetzt wagt es nur, tragische Menschen zu sein: denn ihr sollt erlöst werden. Ihr sollt den dionysischen Festzug von Indien nach Griechenland geleiten! Rüstet euch zu hartem Streite, aber glaubt an die Wunder eures Gottes!
Source: The Birth of Tragedy (1872), p. 98

Laozi photo

“A good traveler has no fixed plans
and is not intent upon arriving.
A good artist lets his intuition
lead him wherever it wants.
A good scientist has freed himself of concepts
and keeps his mind open to what is. Thus the Master is available to all people
and doesn't reject anyone.
He is ready to use all situations
and doesn't waste anything.
This is called embodying the light.”

Variants:
A good traveller has no fixed plan and is not intent on arriving.
As quoted in In Search of King Solomon's Mines‎ (2003) by Tahir Shah, p. 217
A true traveller has no fixed plan, and is not intent on arriving.
Source: Tao Te Ching, Ch. 27, as interpreted by Stephen Mitchell (1992)

Matka Tereza photo

“If I ever become a Saint — I surely be one of "darkness". I will continually be absent from Heaven — to light the light of those in darkness on earth.”

Matka Tereza (1910–1997) Roman Catholic saint of Albanian origin

As quoted in Mother Teresa: Come Be My Light (2007) http://www.awakin.org/read/view.php?tid=189 by Brian Kolodiejchuk <!-- *If I ever become a saint, I will surely be one of 'darkness'. I will be absent from heaven for those in darkness on earth.
-->
2000s

Thomas J. Sargent photo
Cædmon photo

“Light was first
Through the Lord's word Named day:
Beauteous, bright creation!”

Cædmon (657–680) Ancient English poet

Creation. The First Day (c. 670).

Johann Friedrich Herbart photo
Angelus Silesius photo
Nastassja Kinski photo

“It started out as a light romance, but he became demanding and possessive.”

Nastassja Kinski (1961) German actress

On her relationship with Roman Polanski, as quoted in Cameron Docherty, Interview: Nastassja Kinski - Still a daddy's girl, The Independent, September 26, 1997

Virginia Woolf photo
Charles Grandison Finney photo
Joan Rivers photo

“My best birth control now is just to leave the lights on.”

Joan Rivers (1933–2014) American comedian, actress, and television host

As quoted in On Being Blonde (2004), by P. Munier, p. 84

Leonardo Da Vinci photo

“No small hole can so modify the convergence of rays of light as to prevent, at a long distance, the transmission of the true form of the luminous body causing them.”

Leonardo Da Vinci (1452–1519) Italian Renaissance polymath

The Notebooks of Leonardo da Vinci (1883), III Six books on Light and Shade

Richard Bach photo
Rabindranath Tagore photo
Origen photo
Lady Gaga photo
George Carlin photo
Leonardo Da Vinci photo
László Moholy-Nagy photo

“The photogram, image formation outside the camera is the real key to photography, it embodies the essence… that allows us to capture light on light sensitive material without the use of any camera.”

László Moholy-Nagy (1895–1946) Hungarian artist

Art of the 20th century, Part 1 by Karl Ruhrberg, Klaus Honnef, Manfred Schneckenburger, Ingo F. Walther, Christiane Fricke (2000) p. 627.

Bruce Lee photo
Albert Camus photo

“O light! This is the cry of all the characters of ancient drama brought face to face with their fate. This last resort was ours, too, and I knew it now. In the middle of winter I at last discovered that there was in me an invincible summer.”

Albert Camus (1913–1960) French author and journalist

Return to Tipasa (1954)
Variant translation: In the depths of winter, I finally learned that within me there lay an invincible summer.
As translated in Lyrical and Critical Essays (1968), p. 169; also in The Unquiet Vision : Mirrors of Man in Existentialism (1969) by Nathan A. Scott, p. 116

Henri Barbusse photo
Virginia Woolf photo

“A light here required a shadow there.”

Part I, Ch. 9
To the Lighthouse (1927)

Barack Obama photo
Quintilian photo

“To say the truth, whatever improvement private study may produce, there is still a peculiar advantage attendant on our appearance in the forum, where the light is different and there is an appearance of real responsibility quite different from the fictitious cases of the schools. If we estimate the two separately, practice without learning will be of more avail than learning without practice.”
Et hercule quantumlibet secreta studia contulerint, est tamen proprius quidam fori profectus, alia lux, alia veri discriminis facies, plusque, si separes, usus sine doctrina quam citra usum doctrina valeat.

Quintilian (35–96) ancient Roman rhetor

Book XII, Chapter VI, 4; translation by Rev. John Selby Watson
De Institutione Oratoria (c. 95 AD)

Rajneesh photo
Lewis Carroll photo

“All in the waning light she stood,
The star of perfect womanhood.”

Three Sunsets (1861), st. 1
Three Sunsets and Other Poems (1898)

Leonardo Da Vinci photo
Leonardo Da Vinci photo
Aurelius Augustinus photo

“The light will not shame you, if it shows you your own ugliness, and that ugliness so offends you that you perceive the beauty of the light.”

Aurelius Augustinus (354–430) early Christian theologian and philosopher

First Homily, as translated by John Burnaby (1955), p. 262
Ten Homilies on the First Epistle of John (414)

“By candle-light nobody would have taken you for above five-and-twenty.”

Isaac Bickerstaffe (1733–1812) Irish playwright and librettist

The Maide of the Mill (1765), Act i, scene 2.

Caspar David Friedrich photo
Pope Francis photo
Thomas Mann photo

“I have read your book and its terrible documentation with deepest emotion. I cannot describe the mixed feeling of abhorrence and loathing which has filled my heart while perusing these records of human degradation and abominable cruelty.. . . To keep quiet would serve only the moral indifference of the world. . . You have done your duty in publishing this book and bringing these facts to light.”

Thomas Mann (1875–1955) German novelist, and 1929 Nobel Prize laureate

Cited in Awake! magazine, 1995, 8/22; article: The Evils of Nazism Exposed.
In 1933, The Golden Age carried the first of many reports of the existence of concentration camps in Germany. In 1938, Jehovah’s Witnesses published the book Crusade Against Christianity, in French, German, and Polish. It carefully documented the vicious Nazi attacks on the Witnesses and included diagrams of the Sachsenhausen and Esterwegen concentration camps.

Barack Obama photo
Claude Monet photo

“I can no longer work outside because of the intensity of the light.”

Claude Monet (1840–1926) French impressionist painter

in the Summer of 1920, to Gustave Geffroy. Monet in the 20th Century, by Paul Hayes Tucker.
1920 - 1926

Theodor W. Adorno photo

“The center of intellectual self-discipline as such is in the process of decomposition. The taboos that constitute a man’s intellectual stature, often sedimented experiences and unarticulated insights, always operate against inner impulses that he has learned to condemn, but which are so strong that only an unquestioning and unquestioned authority can hold them in check. What is true of the instinctual life is no less of the intellectual: the painter or composer forbidding himself as trite this or that combination of colors or chords, the writer wincing at banal or pedantic verbal configurations, reacts so violently because layers of himself are drawn to them. Repudiation of the present cultural morass presupposes sufficient involvement in it to feel it itching in one’s finger-tips, so to speak, but at the same time the strength, drawn from this involvement, to dismiss it. This strength, though manifesting itself as individual resistance, is by no means of a merely individual nature. In the intellectual conscience possessed of it, the social movement is no less present than the moral super-ego. Such conscience grows out of a conception of the good society and its citizens. If this conception dims—and who could still trust blindly in it—the downward urge of the intellect loses its inhibitions and all the detritus dumped in the individual by barbarous culture—half-learning, slackness, heavy familiarity, coarseness—comes to light. Usually it is rationalized as humanity, desire to be understood by others, worldly-wise responsibility. But the sacrifice of intellectual self-discipline comes much too easily to him who makes it for us to believe his assurance that it is one.”

Das Zentrum der geistigen Selbstdisziplin als solcher ist in Zersetzung begriffen. Die Tabus, die den geistigen Rang eines Menschen ausmachen, oftmals sedimentierte Erfahrungen und unartikulierte Erkenntnisse, richten sich stets gegen eigene Regungen, die er verdammen lernte, die aber so stark sind, daß nur eine fraglose und unbefragte Instanz ihnen Einhalt gebieten kann. Was fürs Triebleben gilt, gilt fürs geistige nicht minder: der Maler und Komponist, der diese und jene Farbenzusammenstellung oder Akkordverbindung als kitschig sich untersagt, der Schriftsteller, dem sprachliche Konfigurationen als banal oder pedantisch auf die Nerven gehen, reagiert so heftig gegen sie, weil in ihm selber Schichten sind, die es dorthin lockt. Die Absage ans herrschende Unwesen der Kultur setzt voraus, daß man an diesem selber genug teilhat, um es gleichsam in den eigenen Fingern zucken zu fühlen, daß man aber zugleich aus dieser Teilhabe Kräfte zog, sie zu kündigen. Diese Kräfte, die als solche des individuellen Widerstands in Erscheinung treten, sind darum doch keineswegs selber bloß individueller Art. Das intellektuelle Gewissen, in dem sie sich zusammenfassen, hat ein gesellschaftliches Moment so gut wie das moralische Überich. Es bildet sich an einer Vorstellung von der richtigen Gesellschaft und deren Bürgern. Läßt einmal diese Vorstellung nach—und wer könnte noch blind vertrauend ihr sich überlassen—, so verliert der intellektuelle Drang nach unten seine Hemmung, und aller Unrat, den die barbarische Kultur im Individuum zurückgelassen hat, Halbbildung, sich Gehenlassen, plumpe Vertraulichkeit, Ungeschliffenheit, kommt zum Vorschein. Meist rationalisiert es sich auch noch als Humanität, als den Willen, anderen Menschen sich verständlich zu machen, als welterfahrene Verantwortlichkeit. Aber das Opfer der intellektuellen Selbstdisziplin fällt dem, der es auf sich nimmt, viel zu leicht, als daß man ihm glauben dürfte, daß es eines ist.
E. Jephcott, trans. (1974), § 8
Minima Moralia (1951)

Thomas Bradwardine photo

“O great and wonderful Lord our God, thou only light of the eyes, open, I implore thee, the eyes of my heart, and of others my fellow-creatures, that we may truly understand and contemplate thy wondrous works. And the more thoroughly we comprehend them, the more may our minds be affected in the contemplation with pious reverence and profound devotion. Who is not struck with awe in beholding thy all-powerful will completely efficacious throughout every part of the creation? It is by this same sovereign and irresistible will, that whom and when thou pleasest thou bringest low and liftest up, killest and makest alive. How intense and how unbounded is thy love to me, O Lord! whereas my love, how feeble and remiss! my gratitude, how cold and inconstant! Far be it from thee that thy love should even resemble mine; for in every kind of excellence thou art consummate. O thou who fillest heaven and earth, why fillest thou not this narrow heart? O human soul, low, abject, and miserable, whoever thou art, if thou be not fully replenished with the love of so great a good, why dost thou not open all thy doors, expand all thy folds, extend all thy capacity, that, by the sweetness of love so great, thou mayest be wholly occupied, satiated, and ravished; especially since, little as thou art, thou canst not be satisfied with the love of any good inferior to the One supreme? Speak the word, that thou mayest become my God and most enviable in mine eyes, and it shall instantly be so, without the possibility of failure. What can be more efficacious to engage the affection than preventing love? Most gracious Lord, by thy love thou hast prevented me, wretch that I am, who had no love for thee, but was at enmity with my Maker and Redeemer. I see, Lord, that it is easy to say and to write these things, but very difficult to execute them. Do thou, therefore, to whom nothing is difficult, grant that I may more easily practise these things with my heart than utter them with my lips. Open thy liberal hand, that nothing may be easier, sweeter, or more delightful to me, than to be employed in these things. Thou, who preventest thy servants with thy gracious love, whom dost thou not elevate with the hope of finding thee?”

Thomas Bradwardine (1300–1349) Theologian; Archbishop of Canterbury

Sample of Bradwardine devotional writing quoted by James Burnes, The Church of England Magazine under the superintendence of clergymen of the United Church of England and Ireland Vol. IV (January to June 1838)

Ambrose Bierce photo
Angelus Silesius photo

“No ray of Light can shine
if severed from its source.
Without my inner Light
I lose my course.”

Angelus Silesius (1624–1677) German writer

The Cherubinic Wanderer

Leonardo Da Vinci photo
Lewis Carroll photo
Claude Monet photo
Ted Chiang photo
Pope Francis photo
Robert Grosseteste photo
H.P. Lovecraft photo
Peter Wessel Zapffe photo

“The immediate facts are what we must relate to. Darkness and light, beginning and end.”

Peter Wessel Zapffe (1899–1990) Norwegian philosopher, mountaineer, and author

Source: The Last Messiah (1933), To Be a Human Being https://www.youtube.com/watch?v=u4m6vvaY-Wo&t=1110s (1989–90)

Napoleon I of France photo

“Well then, I will tell you. Alexander, Caesar, Charlemagne and I myself have founded great empires; but upon what did these creations of our genius depend? Upon force. Jesus alone founded His empire upon love, and to this very day millions will die for Him. I think I understand something of human nature; and I tell you, all these were men, and I am a man: none else is like Him; Jesus Christ was more than a man. I have inspired multitudes with such an enthusiastic devotion that they would have died for me but to do this it was necessary that I should be visibly present with the electric influence of my looks, my words, of my voice. When I saw men and spoke to them, I lighted up the flame of self-devotion in their hearts. Christ alone has succeeded in so raising the mind of man toward the unseen, that it becomes insensible to the barriers of time and space. Across a chasm of eighteen hundred years, Jesus Christ makes a demand which is beyond all others difficult to satisfy; He asks for that which a philosopher may often seek in vain at the hands of his friends, or a father of his children, or a bride of her spouse, or a man of his brother. He asks for the human heart; He will have it entirely to Himself. He demands it unconditionally; and forthwith His demand is granted. Wonderful! In defiance of time and space, the soul of man, with all its powers and faculties, becomes an annexation to the empire of Christ. All who sincerely believe in Him, experience that remarkable, supernatural love toward Him. This phenomenon is unaccountable; it is altogether beyond the scope of man's creative powers. Time, the great destroyer, is powerless to extinguish this sacred flame; time can neither exhaust its strength nor put a limit to its range. This is it, which strikes me most; I have often thought of it. This it is which proves to me quite convincingly the Divinity of Jesus Christ.”

Napoleon I of France (1769–1821) French general, First Consul and later Emperor of the French

In a statement about Jesus Christ. While exiled on the rock of St. Helena, Napoleon called Count Montholon to his side and asked him, "Can you tell me who Jesus Christ was?" Upon the Count declining to respond Napoleon countered. Ravi Zacharias, Jesus Among Other Gods http://books.google.com/books?id=jSI9HnMHdPsC&pg=PA149&lpg=PA149&dq=napoleon+jesus+among+gods&source=bl&ots=CdsDSjamnm&sig=K3l7Ek972r7pyEFT681lbf3PVSQ&hl=en&sa=X&ei=nBqhUf3RL4au9AS37ICwCQ&ved=0CBYQ6AEwAA, p. 149, in Henry Parry Liddon (1868) The Divinity of Our Lord and Saviour Jesus Christ; Eight Lectures. New edition. https://books.google.com/books?id=IcINAAAAYAAJ&pg=PA148&dq#v=onepage&q&f=false pp. 147-148, and in Henry Parry Liddon (1869) The Divinity of Our Lord and Saviour Jesus Christ; Eight Lectures. Fourth edition. https://ia800203.us.archive.org/15/items/divinityofourlord00libbrich/divinityofourlord00libbrich.pdf pp. 147-148.
Attributed

Edvard Munch photo

“The point is that one sees things at different moments with different eyes. Differently in the morning then in the evening. The way in which one sees also depends on one's mood…. coming in from a dark bedroom in the morning into the sitting room one will, for example, see everything in a bluish light. Even the deepest shadows are topped with bright light. After a while one will accustom oneself to the light and the shadows will be deeper and everything will be seen more sharply. If an atmosphere of this kind is being painted it won't do merely to sit and gaze at everything 'just as one sees'. One must paint precisely the fleeting moment of significance – one must capture the exact experience separating that significant moment from the next – the exact moment when the motif struck one… In some circumstances a chair may seem to be just as interesting as a human being. In some way or another it must have caught the interest in which case the onlooker's interest must somehow be engaged in the same way. It's not the chair that should be painted, but what the person has felt at the sight of it [written in Saint Cloud, 1890 - probably related to the chair of Vincent van Gogh”

Edvard Munch (1863–1944) Norwegian painter and printmaker

Quote of Munch from: T 2770, (1890); as cited in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, pp. 83-84
1880 - 1895

Jean-Michel Jarre photo

“I think that you have to seriously have fun, or taking serious things in a light way and obviously, for me, before all, music is made of fun and pleasure and excitement.”

Jean-Michel Jarre (1948) French composer, performer and music producer

Interviewed on the Danish Monitor radio programme 2005-11-30

Claude Monet photo

“For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life - the air and the light which vary continually. For me, it is only the, surrounding atmosphere which gives subjects their true value.”

Claude Monet (1840–1926) French impressionist painter

Claude Monet, 1891; as cited in: National Gallery of Australia, ‎Michael Lloyd, ‎Michael Desmond (1992), European and American paintings and sculptures 1870-1970 in the Australian National Gallery, p. 75
1890 - 1900

Theodore Roosevelt photo
Leonardo Da Vinci photo
Jules Verne photo
Malcolm X photo
Novalis photo
Margaret Mead photo
Thomas Paine photo
Friedrich Schiller photo
Toni Morrison photo
Gregory of Nyssa photo
Lewis Carroll photo

“And as to being in a fright,
Allow me to remark
That Ghosts have just as good a right
In every way, to fear the light,
As Men to fear the dark.”

Lewis Carroll (1832–1898) English writer, logician, Anglican deacon and photographer

Canto 1
Phantasmagoria (1869)

Ramana Maharshi photo
Ramana Maharshi photo
Mike Oldfield photo

“Some are tricks of the light
You'll never know
Make a flickering midnight
Light into a glow…”

Mike Oldfield (1953) English musician, multi-instrumentalist

Song lyrics, Discovery (1984)

Simon Armitage photo
Novalis photo

“The spirit of Poesy is the morning light, which makes the Statue of Memnon sound.”

Novalis (1772–1801) German poet and writer

Novalis (1829)

Newton Lee photo