Quotes about mood

A collection of quotes on the topic of mood, likeness, people, other.

Best quotes about mood

“I’m not mad. I’m in a perfectly happy mood, you asshole.”

Kurt Cobain (1967–1994) American musician and artist

“I have mood poisoning. Must be something I hate.”

Marilyn Manson (1969) American rock musician and actor

“I am in the mood to dissolve in the sky.”

Virginia Woolf (1882–1941) English writer

“Food sets up your mood.”

Ralph Smart

“Death should take me while I am in the mood.”

Nathaniel Hawthorne book The Blithedale Romance

Source: The Blithedale Romance

“Old God sure was in a good mood when he made this place.”

Hunter S. Thompson The Rum Diary

Source: The Rum Diary

“You can find me in the frozen mood section.”

Henry Rollins (1961) American singer-songwriter

Source: Solipsist

“Clearly God was in some kind of mood on my birthday.”

Jodi Picoult My Sister's Keeper

Source: My Sister's Keeper

“(Audience member): What's your mood watch say?”

Steve Martin (1945) American actor, comedian, musician, author, playwright, and producer

“As thoughts possess the fashion of the mood”

Henry Abbey Faciebat

Faciebat

Quotes about mood

“If I'm in a bad mood, or if I'm uncomfortable, it's probably what I'm wearing that's making me feel that way.”

Billie Eilish (2001) American singer-songwriter

Bad luck, Way, Making love, Feeling

“After knowing that the sun neither sets nor rises except for our imaginations and the limitations of our planet Earth, there can be no more mood swings in the heart and mind.”

Mwanandeke Kindembo (1996) Congolese author

Imagination, Sun, Heart

“I conceived the idea from my personal everyday experience, so what's better than to capture myself in the perfect mood.”

NasserTone (1994) Nasser Ali Albahrani is a director, cinematographer, photographer, producer, & YouTuber, who was born on April 3…

Panorama Magazine Article (September 19, 2010)

Perfection, Idea, Personality

“Education is the ability to listen to almost anything without losing your temper or your self-confidence.”

Robert Frost (1874–1963) American poet

Variant: You are educated when you have the ability to hear almost anything without losing your temper, or your self-confidence.

Education, Self-confidence, Confidence

“To run 100 miles and more is to bring the body to the point of breaking, to bring the mind to the point of destruction, to arrive at that place where you can alter your consciousness. It was to see more clearly. As my yoga teacher would say, “Injuries are our best teachers.” I'm convinced that a lot of people run ultramarathons for the same reason they take mood-altering drugs. I don't mean to minimize the gifts of friendship, achievement, and closeness to nature that I've received in my running career. But the longer and farther I ran, the more I realized that what I was often chasing was a state of mind — a place where worries that seemed monumental melted away, where the beauty and timelessness of the universe, of the present moment, came into sharp focus.”

Scott Jurek (1973) American ultramarthon runner

Source: Eat and Run (2012), Ch. 18, p. 181

Friendship, People, Beauty, Nature

“In contrast to the flux and muddle of life, art is clarity and enduring presence. In the stream of life, few things are perceived clearly because few things stay put. Every mood or emotion is mixed or diluted by contrary and extraneous elements. The clarity of art—the precise evocation of mood in the novel, or of summer twilight in a painting—is like waking to a bright landscape after a long fitful slumber, or the fragrance of chicken soup after a week of head cold.”

Yi-Fu Tuan (1930) Chinese-American geographer

Passing Strange and Wonderful: Aesthetics, Nature, and Culture, ch. 10 (1993).

Life, Art, Summer, Painting

“Sell the kids for food
weather changes moods
spring is here again
reproductive glands”

Kurt Cobain (1967–1994) American musician and artist

Song lyrics, Nevermind (1991)

Food, Spring, Change, Weather

“The weather and my mood have little connection. I have my foggy and my fine days within me; my prosperity or misfortune has little to do with the matter.”

Blaise Pascal (1623–1662) French mathematician, physicist, inventor, writer, and Christian philosopher

Weather

“I am still of [the] opinion that only two topics can be of the least interest to a serious and studious mood--sex and the dead.”

W.B. Yeats (1865–1939) Irish poet and playwright

Sex, Dead

“A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.”

Stanley Kubrick (1928–1999) American film director, screenwriter, producer, cinematographer and editor

Music, Feeling

“Suffering is one very long moment. We cannot divide it by seasons. We can only record its moods, and chronicle their return. With us time itself does not progress. It revolves. It seems to circle round one centre of pain.”

Oscar Wilde (1854–1900) Irish writer and poet

Source: De Profundis and Other Writings

Pain, Suffering, Time, Season

“That is the principal thing-not to remain with the dream, with the intention, with the being-in-the-mood, but always forcibly to convert it all into things.”

Rainer Maria Rilke book Letters to a Young Poet

Source: Letters to a Young Poet

Dreams

“I prefer you like this, when you're in a foul mood, because you tell the truth.”

Carlos Ruiz Zafón book The Angel's Game

Source: The Angel's Game

Truth

“The creations of a great writer are little more than the moods and passions of his own heart, given surnames and Christian names, and sent to walk the earth.”

W.B. Yeats (1865–1939) Irish poet and playwright

Letter to the Editor, Dublin Daily Express (27 February 1895)

Passion, Heart

“MRS ALLONBY Is she such a mystery?
LORD ILLINGWORTH She is more than a mystery - she is a mood.
MRS ALLONBY Moods don't last.
LORD ILLINGWORTH It is their chief charm.”

Oscar Wilde A Woman of No Importance

Source: A Woman of No Importance

“The memory has as many moods as the temper, and shifts its scenery like a diorama.”

George Eliot book Middlemarch

Source: Middlemarch

Memory

“I'll never wake up in a good mood again.
I'm tired of these stinky boots”

Jim Morrison (1943–1971) lead singer of The Doors

Source: An American Prayer

“Don't." Clary raised a warning hand. "I'm not really in the mood right now."
"That's got to be the first time a girl's ever said that to me," Jace mused.”

Cassandra Clare book City of Bones

Source: City of Bones

Girl, Time

“anyone who’s worth anything reads just what he likes, as the mood takes him, and with extravagant enthusiasm.”

Virginia Woolf book Jacob's Room

Variant: But then anyone who's worth anything reads just what he likes, as the mood takes him, and with extravagant enthusiasm.
Source: Jacob's Room

Reading

“My first near-death experience was an accident, a botched anesthesia during a triple bypass. I had listened to several people on TV talk shows who had gone down the blue tunnel to the Pearly Gates, and even beyond the Pearly Gates, or so they said, and then come back to life again. But I certainly wouldn't have set out on such a risky expedition on purpose, without first having survived one …
To go through the Pearly Gates, no matter how tempting the interviewee on the other side, as I myself discovered the hard way, is to run the risk that crotchety Saint Peter, depending on his mood, may never let you out again. Think of how heartbroken your friends and relatives would be if, by going through the Pearly Gates to talk to Napoleon, say, you in effect committed suicide.”

Kurt Vonnegut book God Bless You, Dr. Kevorkian

God Bless You, Dr. Kevorkian (1999)

Life, Death, People, Way

“I've never seen such changeable conditions and I had over 15 canvases under way, going from one to the other and back again, and it was never quite right; a few unfortunate brushstrokes and in the end I lost my nerve and in a temper I packed everything away in crates with no further desire to look out of the window, knowing full well that in this mood I'd only mess things up and all the paintings I'd done were awful, and perhaps they are, more than I suppose.”

Claude Monet (1840–1926) French impressionist painter

Quote of Monet, ca. 1900, London; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 72
1900 - 1920

Way, Painting

“If she's cool and unwilling to be wooed,
Just take it, don't weaken; in time she'll soften her mood.
Bending a bough the right way, gently, makes
It easy; use brute force, and it breaks.
With swimming rivers it's the same—
Go with, not against, the current.”
Si nec blanda satis, nec erit tibi comis amanti, Perfer et obdura: postmodo mitis erit. Flectitur obsequio curvatus ab arbore ramus: Frangis, si vires experiere tuas. Obsequio tranantur aquae: nec vincere possis Flumina, si contra, quam rapit unda, nates.

Ovid book Ars amatoria

Book II, lines 177–182 (tr. James Michie)
Ars Amatoria (The Art of Love)

Way, Time

“The language of imagination is the native language of man. It is the language of his excited intellect, of his aroused passions, of his devotion, of all the higher moods and temperaments of his mind.”

George Gilfillan (1813–1878) Scottish writer

Introduction
Bards of the Bible, 1850

Imagination, Passion

“It is just as ridiculous to get excited & hysterical over a coming cultural change as to get excited & hysterical over one's physical aging... There is legitimate pathos about both processes; but blame & rebellion are essentially cheap, because inappropriate, emotions... It is wholly appropriate to feel a deep sadness at the coming of unknown things & the departure of those around which all our symbolic associations are entwined. All life is fundamentally & inextricably sad, with the perpetual snatching away of all the chance combinations of image & vista & mood that we become attached to, & the perpetual encroachment of the shadow of decay upon illusions of expansion & liberation which buoyed us up & spurred us on in youth. That is why I consider all jauntiness, & many forms of carelessly generalised humour, as essentially cheap & mocking, & occasionally ghastly & corpselike. Jauntiness & non-ironic humour in this world of basic & inescapable sadness are like the hysterical dances that a madman might execute on the grave of all his hopes. But if, at one extreme, intellectual poses of spurious happiness be cheap & disgusting; so at the other extreme are all gestures & fist-clenchings of rebellion equally silly & inappropriate—if not quite so overtly repulsive. All these things are ridiculous & contemptible because they are not legitimately applicable... The sole sensible way to face the cosmos & its essential sadness (an adumbration of true tragedy which no destruction of values can touch) is with manly resignation—eyes open to the real facts of perpetual frustration, & mind & sense alert to catch what little pleasure there is to be caught during one's brief instant of existence. Once we know, as a matter of course, how nature inescapably sets our freedom-adventure-expansion desires, & our symbol-&-experience-affections, definitely beyond all zones of possible fulfilment, we are in a sense fortified in advance, & able to endure the ordeal of consciousness with considerable equanimity... Life, if well filled with distracting images & activities favourable to the ego's sense of expansion, freedom, & adventurous expectancy, can be very far from gloomy—& the best way to achieve this condition is to get rid of the unnatural conceptions which make conscious evils out of impersonal and inevitable limitations... get rid of these, & of those false & unattainable standards which breed misery & mockery through their beckoning emptiness.”

H.P. Lovecraft (1890–1937) American author

Letter to Frank Belknap Long (27 February 1931), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 291
Non-Fiction, Letters, to Frank Belknap Long

Life, Pleasure, Youth, Age

“America - a conservative country without any conservative ideology - appears now before the world a naked and arbitrary power, as, in the name of realism, its men of decision enforce their often crackpot definitions upon world reality. The second-rate mind is in command of the ponderously spoken platitude. In the liberal rhetoric, vagueness, and in the conservative mood, irrationality, are raised to principle. Public relations and the official secret, the trivializing campaign and the terrible fact clumsily accomplished, are replacing the reasoned debate of political ideas in the privately incorporated economy, the military ascendancy, and the political vacuum of modern America.”

C. Wright Mills book The Power Elite

The Power Elite (1956)

Men, Secret, World, Idea

“It is important to focus more on what we need than on what we want, because much of what we want unnecessarily complicates our lives. The answer is to approach the Divinity in the mood of. "Thy will be done. Use me for Your purposes." Even higher than that sentiment is to request that God remove our free will so that we cannot even exercise it. We are then fully available for the Lord's service.”

Bhakti Tirtha Swami (1950–2005) American Hindu writer

Source: Books, Spiritual Warrior, Volume I: Uncovering Spiritual Truths in Psychic Phenomena (Hari-Nama Press, 1996), Chapter 4: Fire and Brimstone, Horns and Tail, p. 67

God, Exercises

“As for your artificial conception of "splendid & traditional ways of life"—I feel quite confident that you are very largely constructing a mythological idealisation of something which never truly existed; a conventional picture based on the perusal of books which followed certain hackneyed lines in the matter of incidents, sentiments, & situations, & which never had a close relationship to the actual societies they professed to depict... In some ways the life of certain earlier periods had marked advantages over life today, but there were compensating disadvantages which would make many hesitate about a choice. Some of the most literarily attractive ages had a coarseness, stridency, & squalor which we would find insupportable... Modern neurotics, lolling in stuffed easy chairs, merely make a myth of these old periods & use them as the nuclei of escapist daydreams whose substance resembles but little the stern actualities of yesterday. That is undoubtedly the case with me—only I'm fully aware of it. Except in certain selected circles, I would undoubtedly find my own 18th century insufferably coarse, orthodox, arrogant, narrow, & artificial. What I look back upon nostalgically is a dream-world which I invented at the age of four from picture books & the Georgian hill streets of Old Providence.... There is something artificial & hollow & unconvincing about self-conscious intellectual traditionalism—this being, of course, the only valid objection against it. The best sort of traditionalism is that easy-going eclectic sort which indulges in no frenzied pulmotor stunts, but courses naturally down from generation to generation; bequeathing such elements as really are sound, losing such as have lost value, & adding any which new conditions may make necessary.... In short, young man, I have no quarrel with the principle of traditionalism as such, but I have a decided quarrel with everything that is insincere, inappropriate, & disproportionate; for these qualities mean ugliness & weakness in the most offensive degree. I object to the feigning of artificial moods on the part of literary moderns who cannot even begin to enter into the life & feelings of the past which they claim to represent... If there were any reality or depth of feeling involved, the case would be different; but almost invariably the neotraditionalists are sequestered persons remote from any real contacts or experience with life... For any person today to fancy he can truly enter into the life & feeling of another period is really nothing but a confession of ignorance of the depth & nature of life in its full sense. This is the case with myself. I feel I am living in the 18th century, though my objective judgment knows better, & realises the vast difference from the real thing. The one redeeming thing about my ignorance of life & remoteness from reality is that I am fully conscious of it, hence (in the last few years) make allowances for it, & do not pretend to an impossible ability to enter into the actual feelings of this or any other age. The emotions of the past were derived from experiences, beliefs, customs, living conditions, historic backgrounds, horizons, &c. &c. so different from our own, that it is simply silly to fancy we can duplicate them, or enter warmly & subjectively into all phases of their aesthetic expression.”

H.P. Lovecraft (1890–1937) American author

Letter to Frank Belknap Long (27 February 1931), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 307
Non-Fiction, Letters, to Frank Belknap Long

Life, Books, Age, World

“When I say that I can write nothing but weird fiction, I am not trying to exalt that medium but am merely confessing my own weakness. The reason I can't write other kinds is not that I don't value & respect them, but merely that my slender set of endowments does not enable me to extract a compellingly acute personal sense of interest & drama from the natural phenomena of life. I know that these natural phenomena are more important & significant than the special & tenuous moods which so absorb me, & that an art based on them is greater than any which fantasy could evoke—but I'm simply not big enough to react to them in the sensitive way necessary for artistic response & literary use. God in heaven! I'd certainly be glad enough to be a Shakespeare or Balzac or Turgeniev if I could!... I respect realism more than any other form of art—but must reluctantly concede that, through my own limitations, it does not form a medium which I can adequately use.”

H.P. Lovecraft (1890–1937) American author

Letter to E. Hoffman Price (29 September 1933), quoted in "H.P. Lovecraft, a Life" by S.T. Joshi, p. 579
Non-Fiction, Letters, to E. Hoffmann Price

Life, God, Art, Way

“I have never believed that the securing of material resources ought to form the central interest of human life—but have instead maintained that personality is an independent flowering of the intellect and emotions wholly apart from the struggle for existence. Formerly I accepted the archaic dictum that only a few can be relieved of the engulfing waste of the material struggle in its bitterest form—a dictum which is, of course, true in an agricultural age having scanty resources. Therefore I adopted an aristocratic attitude; regretfully arguing that life, in any degree of fulness, is only for the fortunate few whose ancestors' prowess has given them economic security and leisure. But I did not take the bourgeois position of praising struggle for its own sake. While recognising certain worthy qualities brought out by it, I was too much impressed by its stultifying attributes to regard it as other than a necessary evil. In my opinion, only the leisured aristocrat really had a chance at adequate life—nor did I despise him because he was not forced to struggle. Instead, I was sorry that so few could share his good fortune. Too much human energy was wasted in the mere scramble for food and shelter. The condition was tolerable only because inevitable in yesterday's world of scanty resources. Millions of men must go to waste in order that a few might really live. Still—if those few were not upheld, no high culture would ever be built up. I never had any use for the American pioneer's worship of work and self-reliance for their own sakes. These things are necessary in their place, but not ends in themselves—and any attempt to make them ends in themselves is essentially uncivilised. Thus I have no fundamental meeting-ground with the rugged Yankee individualist. I represent rather the mood of the agrarian feudalism which preceded the pioneering and capitalistic phases. My ideal of life is nothing material or quantitative, but simply the security and leisure necessary for the maximum flowering of the human spirit.... Well—so much for the past. Now we live in an age of easy abundance which makes possible the fulfilment of all moderate human wants through a relatively slight amount of labour. What shall be the result? Shall we still make resources prohibitively hard to get when there is really a plethora of them? Shall we allow antique notions of allocation—"property," etc.—to interfere with the rational distribution of this abundant stock of resources among all those who require them? Shall we value hardship and anxiety and uncertainty so fatuously as to impose these evils artificially on people who do not need to bear them, through the perpetuation of a set of now irrelevant and inapplicable rules of allocation? What reasonable objection is there to an intelligent centralised control of resources whose primary object shall be the elimination of want in every quarter—a thing possible without removing comfortable living from any one now enjoying it? To call the allocation of resources something "uncontrollable" by man—and in an age when virtually all natural forces are harnessed and utilised—is simply infantile. It is simply that those who now have the lion's share don't want any fresh or rational allocation. It is needless to say that no sober thinker envisages a workless equalitarian paradise. Much work remains, and human capacities differ. High-grade service must still receive greater rewards than low-grade service. But amidst the present abundance of goods and minimisation of possible work, there must be a fair and all-inclusive allocation of the chances to perform work and secure rewards. When society can't give a man work, it must keep him comfortable without it; but it must give him work if it can, and must compel him to perform it when it is needed. This does not involve interference with personal life and habits (contrary to what some reactionaries say), nor is the absence of insecurity anything to deplore.... But of course the real need of change comes not from the mere fact of abundant resources, but from the growth of conditions making it impossible for millions to have any chance of getting any resources under the present outworn set of artificial rules. This development is no myth. Machines had displaced 900,000 men in the U. S. before the crash of '29, and no conceivable regime of "prosperity" (where by a few people will have abundant and flexible resources and successfully exchange them among one another) will ever make it possible to avoid the permanent presence of millions of unemployed, so long as old-fashioned laissez-faire capitalism is adhered to.... And so I have readjusted my ideas. … I have gone almost reluctantly—step by step, as pressed by facts too insistent to deny—and am still quite as remote from Belknap's naive Marxism as I am from the equally naive Republican orthodoxy I have left behind. I am as set as ever against any cultural upheaval—and believe that nothing of the kind is necessary in order to achieve a new and feasible economic equilibrium. The best of culture has always been non-economic.”

H.P. Lovecraft (1890–1937) American author

Hitherto it has grown out of the secure, non-struggling life of the aristocrat. In future it may be expected to grow out of the secure and not-so-struggling life of whatever citizens are personally able to develop it. There need be no attempt to drag culture down to the level of crude minds. That, indeed, would be something to fight tooth and nail! With economic opportunities artificially regulated, we may well let other interests follow a natural course. Inherent differences in people and in tastes will create different social-cultural classes as in the past—although the relation of these classes to the holding of material resources will be less fixed than in the capitalistic age now closing. All this, of course, is directly contrary to Belknap's rampant Stalinism—but I'm telling you I'm no bolshevik! I am for the preservation of all values worth preserving—and for the maintenance of complete cultural continuity with the Western-European mainstream. Don't fancy that the dethronement of certain purely economic concepts means an abrupt break in that stream. Rather does it mean a return to art impulses typically aristocratic (that is, disinterested, leisurely, non-ulterior) rather than bourgeois.
Letter to Clark Ashton Smith (28 October 1934), in Selected Letters V, 1934-1937 edited by August Derleth and Donald Wandrei, pp. 60-64
Non-Fiction, Letters

Life, Men, People, Age

“As for the soul: why did I say I would leave it out? I forget. And the truth is, one can't write directly about the soul. Looked at, it vanishes; but look at the ceiling, at Grizzle, at the cheaper beasts in the Zoo which are exposed to walkers in Regent's Pak, and the soul slips in. Mrs Webb's book has made me think a little what I could say of my own life. But then there were causes in her life: prayer; principle. None in mine. Great excitability and search after something. Great content – almost always enjoying what I'm at, but with constant change of mood. I don't think I'm ever bored. Yet I have some restless searcher in me. Why is there not a discovery in life? Something one can lay hands on and say 'This is it'? What is it? And shall I die before I can find it? Then (as I was walking through Russell Square last night) I see mountains in the sky: the great clouds, and the moon which is risen over Persia; I have a great and astonishing sense of something there, which is 'it' – A sense of my own strangeness, walking on the earth is there too. Who am I, what am I, and so on; these questions are always floating about in me. Is that what I meant to say? Not in the least. I was thinking about my own character; not about the universe. Oh and about society again; dining with Lord Berners at Clive's made me think that. How, at a certain moment, I see through what I'm saying; detest myself; and wish for the other side of the moon; reading alone, that is.”

Virginia Woolf (1882–1941) English writer

Saturday 27 February 1926
A Moment's Liberty (1990)

Life, Truth, Books, Soul

“Inconceivable events and conditions form a class apart from all other story elements, and cannot be made convincing by any mere process of casual narration. They have the handicap of incredibility to overcome; and this can be accomplished only through a careful realism in every other phase of the story, plus a gradual atmospheric or emotional build-up of the utmost subtlety. The emphasis, too, must be kept right—hovering always over the wonder of the central abnormality itself. It must be remembered that any violation of what we know as natural law is in itself a far more tremendous thing than any other event or feeling which could possibly affect a human being. Therefore in a story dealing with such a thing we cannot expect to create any sense of life or illusion of reality if we treat the wonder casually and have the characters moving about under ordinary motivations. The characters, though they must be natural, should be subordinated to the central marvel around which they are grouped. The true "hero" of a marvel tale is not any human being, but simply a set of phenomena. Over and above everything else should tower the stark, outrageous monstrousness of the one chosen departure from Nature. The characters should react to it as real people would react to such a thing if it were suddenly to confront them in daily life; displaying the almost soul-shattering amazement which anyone would naturally display instead of the mild, tame, quickly-passed-over emotions prescribed by cheap popular convention. Even when the wonder is one to which the characters are assumed to be used, the sense of awe, marvel, and strangeness which the reader would feel in the presence of such a thing must somehow be suggested by the author.... Atmosphere, not action, is the thing to cultivate in the wonder story. We cannot put stress on the bare events, since the unnatural extravagance of these events makes them sound hollow and absurd when thrown into too high relief. Such events, even when theoretically possible or conceivable in the future, have no counterpart or basis in existing life and human experience, hence can never form the groundwork of an adult tale. All that a marvel story can ever be, in a serious way, is a vivid picture of a certain type of human mood. The moment it tries to be anything else it becomes cheap, puerile, and unconvincing. Therefore a fantastic author should see that his prime emphasis goes into subtle suggestion—the imperceptible hints and touches of selective and associative detail which express shadings of moods and build up a vague illusion of the strange reality of the unreal—instead of into bald catalogues of incredible happenings which can have no substance or meaning apart from a sustaining cloud of colour and mood-symbolism. A serious adult story must be true to something in life. Since marvel tales cannot be true to the events of life, they must shift their emphasis toward something to which they can be true; namely, certain wistful or restless moods of the human spirit, wherein it seeks to weave gossamer ladders of escape from the galling tyranny of time, space, and natural laws.”

H.P. Lovecraft (1890–1937) American author

"Some Notes on Interplanetary Fiction", Californian 3, No. 3 (Winter 1935): 39-42. Published in Collected Essays, Volume 2: Literary Criticism edited by S. T. Joshi, p. 178
Non-Fiction

Life, People, Law, Way

“People who are so much at the mercy of their moods should never be given serious responsibilities.”

Stefan Zweig book Beware of Pity

Beware of Pity (1939)

People

“Schiller writes in a letter [to Goethe, 17 December 1795] of a ‘poetic mood’. I think I know what he means, I think I am familiar with it myself. It is the mood of receptivity to nature and one in which one’s thoughts seem as vivid as nature itself.”

Ludwig Wittgenstein (1889–1951) Austrian-British philosopher

Source: Culture and Value (1980), p. 75e

Nature, Thinking

“We have been to Rodmell, and as usual I come home depressed – for no reason. Merely moods. Have other people as many as I have? That I shall never now. And sometimes I suppose that even if I came to the end of my incessant search into what people are and feel I should know nothing still.”

Virginia Woolf (1882–1941) English writer

23 May 1921
A Moment's Liberty (1990)

People, Feeling, Home, Search

“If a painting has a soulful effect on the viewer, if it puts his mind into a soulful mood, then it has fulfilled the first requirement of a work of art. However bad it might be in drawing, color, handling, etc.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote of Friedrich's letter 8 Feb. 1809, to 'Akademiedirektor Schulz'; as cited by Helmut Bôrsch-Supan and Karl Wilhelm Jàhnig in Caspar David Friedrich: Gemâlde, Druckgraphik und bildmassige Zeichnungen (Munich: Prestel, 1973), 182-83, esp. 183; translation, David Britt - note 117 http://d2aohiyo3d3idm.cloudfront.net/publications/virtuallibrary/0892366745.pdf <br class="br">1794 - 1840

Art, Color, Soul, Drawing

“For I consider that music is, by its very nature, essentially powerless to express anything at all, whether a feeling, an attitude of mind, a psychological mood, a phenomenon of nature, etc. Expression has never been an inherent property of music. That is by no means the purpose of its existence. If, as is nearly always the case, music appears to express something, this is only an illusion and not a reality. It is simply an additional attribute which, by tacit and inveterate agreement, we have lent it, thrust upon it, as a label, a convention – in short, an aspect which, unconsciously or by force of habit, we have come to confuse with its essential being.”

Igor Stravinsky (1882–1971) Russian composer, pianist and conductor

Igor Stravinsky (1936). An Autobiography, p. 53-54.
1930s

Music, Feeling, Nature, Reality

“I am in a very black mood and profoundly disgusted with painting. It really is a continual torture! Don't expect to see anything new, the little I did manage to do has been destroyed, scraped off, or torn up. You've no idea what appalling weather we've had continuously these two past months. When you're trying to convey the weather, the atmosphere and the general mood, it's enough to make you mad with rage.”

Claude Monet (1840–1926) French impressionist painter

Quote from Monet's letter to art-critic and his friend Gustave Geffroy, Giverny 1890; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 56
1890 - 1900

Idea, Rage, Past, Painting

“I tend to follow a very nocturnal sort of existence mainly because I don't much care for sunlight. Bright colors of any kind depress me, in fact. And my moods are more or less inversely related to the clarity of the sky, on any given day. A matter of fact, my private motto has always been that behind every silver lining there is a cloud.”

Glenn Gould (1932–1982) Canadian pianist

transcribed from The Life and Times of Glenn Gould

Color

“I would like to go mad on one condition, namely, that I would become a happy madman, lively and always in a good mood, without any troubles and obsessions, laughing senselessly from morning to night.”

Emil M. Cioran (1911–1995) Romanian philosopher and essayist

On the Heights of Despair (1934)

Madness, Night, Happiness

“Don't tell me," he said. "You've got a drawing emergency. You need a nude model. Well, I'm not in the mood. You could ask Hodge.”

Cassandra Clare The Mortal Instruments

Jace to Clary, pg. 324
The Mortal Instruments, City of Bones (2007)

Drawing

“I have come to the frightening conclusion that I am the decisive element in the classroom. It is my personal approach that creates the climate. It is my daily mood that makes the weather. As a teacher, I possess a tremendous power to make a child's life miserable or joyous. I can be a tool of torture or an instrument of inspiration. I can humiliate or humor, hurt or heal. In all situations, it is my response that decides whether a crisis will be escalated or de-escalated, a child humanized or de-humanized.”

Haim Ginott (1922–1973) psychologist

Quoted in Fair isn't always equal: assessing & grading in the differentiated classroom By Rick Wormeli, p. 9

Life, Decision, Teachers, Hurt

“As for New England as a seat of weirdness—a little historic reflection will show why it is more naturally redolent of the bizarre & the sinister than any other part of America. It was here that the most gloomy-minded of all the colonists settled; & here that the dark moods & cryptic hills pressed closest. An abnormal Puritan psychology led to all kinds of repression, furtiveness, & grotesque hidden crime, while the long winters & backwoods isolation fostered monstrous secrets which never came to light. To me there is nothing more fraught with mystery & terror than a remote Massachusetts farmhouse against a lonely hill. Where else could an outbreak like the Salem witchcraft have occurred? Rhode Island does not share these tenedencies—its history & settlement being different from those of other parts of New England—but just across the line in the old Bay State the macabre broods at its strongest.”

H.P. Lovecraft (1890–1937) American author

Letter to Elizabeth Toldridge (9 October 1931), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 423
Non-Fiction, Letters

Secret, History, Nature, Light

“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

Way, Light, Painting, Dependency

“Some of you will be successful, and such will need but little philosophy to take them home in cheerful spirits; others will be disappointed, and will be in a less happy mood. To such, let it be said, “Lay it not too much to heart.” Let them adopt the maxim, “Better luck next time”; and then, by renewed exertion, make that better luck for themselves.”

Abraham Lincoln (1809–1865) 16th President of the United States

1850s, Address before the Wisconsin State Agricultural Society (1859)

Disappointment, Home, Time, Success

“The serene and blessed mood which enables us to see into the life of things: that is imaginative reason, that is the Spirit of the Chinese People.”

Gu Hongming book The Spirit of the Chinese People

page 73
The Spirit of the Chinese People (1915), Chinese Spirit

Life, People, Imagination

“Each day he has a new idol, each week a new mood. His authority is public opinion: when that shifts, his frustrated soul shifts with it.”

Fulton J. Sheen (1895–1979) Catholic bishop and television presenter

Source: Peace of Soul (1949), Ch. 1, pp. 7–8
Context: The modern man is no longer a unity, but a confused bundle of complexes and nerves. He is so dissociated, so alienated from himself that he sees himself less as a personality than as a battlefield where a civil war rages between a thousand and one conflicting loyalties. There is no single overall purpose in his life. His soul is comparable to a menagerie in which a number of beasts, each seeking its own prey, turn one upon the other. Or he may be likened to a radio, that is tuned in to several stations; instead of getting any one clearly, it receives only an annoying static.If the frustrated soul is educated, it has a smattering of uncorrected bits of information with no unifying philosophy. Then the frustrated soul may say to itself: "I sometimes think there are two of me a living soul and a Ph. D." Such a man projects his own mental confusion to the outside world and concludes that, since he knows no truth, nobody can know it. His own skepticism (which he universalizes into a philosophy of life) throws him back more and more upon those powers lurking in the dark, dank caverns of his unconsciousness. He changes his philosophy as he changes his clothes. On Monday, he lays down the tracks of materialism; on Tuesday, he reads a best seller, pulls up the old tracks, and lays the new tracks of an idealist; on Wednesday, his new roadway is Communistic; on Thursday, the new rails of Liberalism are laid; on Friday, he-hears a broadcast and decides to travel on Freudian tracks: on Saturday, he takes a long drink to forget his railroading and, on Sunday, ponders why people are so foolish as to go to Church. Each day he has a new idol, each week a new mood. His authority is public opinion: when that shifts, his frustrated soul shifts with it.

Soul

“It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same as for love. No one can really hold that the ecstasy should be static and stand still in one place. It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification of life-not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion. It has denouement. It has an outcome that though unforeseen was predestined from the first image of the original mood-and indeed from the very mood.”

Robert Frost (1874–1963) American poet

The portion of "The figure a poem makes. It begins in delight and ends in wisdom." is often misquoted as: Poetry begins in delight and ends in wisdom.
The Figure a Poem Makes (1939)
Context: It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same as for love. No one can really hold that the ecstasy should be static and stand still in one place. It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification of life-not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion. It has denouement. It has an outcome that though unforeseen was predestined from the first image of the original mood-and indeed from the very mood. It is but a trick poem and no poem at all if the best of it was thought of first and saved for the last. It finds its own name as it goes and discovers the best waiting for it in some final phrase at once wise and sad-the happy-sad blend of the drinking song.

Love, Life, Wisdom, Pleasure

“The fact that the prevailing mood of modern culture was able to transmute the original pessimism of romanticism into an optimistic creed proves the power of this mood.”

Reinhold Niebuhr (1892–1971) American protestant theologian

Faith and History: A Comparison of Christian and Modern Views of History (1949)
Context: The fact that the prevailing mood of modern culture was able to transmute the original pessimism of romanticism into an optimistic creed proves the power of this mood. Only occasionally the original pessimism erupts in full vigor, as in the thought of a Schopenhauer or Nietzsche. The subjugation of romantic pessimism, together with the transmutation of Marxist catastrophism establishes historical optimism far beyond the confines of modern rationalism. Though there are minor dissonances the whole chorus of modern culture learned to sing the new song of hope in remarkable harmony. The redemption of mankind, by whatever means, was assured for the future. It was, in fact, assured by the future.

“Time cools, time clarifies, no mood can be maintained quite unaltered through the course of hours.”

Thomas Mann book The Magic Mountain

Source: The Magic Mountain (1924), Ch. 7
Context: Time cools, time clarifies, no mood can be maintained quite unaltered through the course of hours. In the early dawn, standing weapon in hand, neither of the combatants would be the same man as on the evening of the quarrel. They would be going through it, if at all, mechanically, in obedience to the demands of honour, not, as they would have at first, of their own free will, desire, and conviction; and such a denial of their actual selves in favour of their past ones, it must somehow be possible to prevent.

Time