Quotes about silence

page 15

Source: The Revolt of the Angels (1914), Ch. XXXV
Context: The archangel Michael took supreme command. He reassured their minds by his serenity. His countenance, wherein his soul was visible, expressed contempt for danger. By his orders, the chiefs of the thunderbolts, the Kerûbs, grown dull with the long interval of peace, paced with heavy steps the ramparts of the Holy Mountain, and, letting the gaze of their bovine eyes wander over the glittering clouds of their Lord, strove to place the divine batteries in position. After inspecting the defences, they swore to the Most High that all was in readiness. They took counsel together as to the plan they should follow. Michael was for the offensive. He, as a consummate soldier, said it was the supreme law. Attack, or be attacked, — there was no middle course.
"Moreover," he added, "the offensive attitude is particularly suitable to the ardour of the Thrones and Dominations."
Beyond that, it was impossible to obtain a word from the valiant chief, and this silence seemed the mark of a genius sure of himself.

The Saviors of God (1923)
Context: Joy! Joy! I did not know that all this world is so much part of me, that we are all one army, that windflowers and stars struggle to right and left of me and do not know me; but I turn to them and hail them.
The Universe is warm, beloved, familiar, and it smells like my own body. It is Love and War both, a raging restlessness, persistence and uncertainty.
Uncertainty and terror. In a violent flash of lightning I discern on the highest peak of power the final, the most fearful pair embracing:
Terror and Silence. And between them, a Flame.

The Nuts of Knowledge (1903)
Context: It was the warrior within
Who called 'Awake, prepare for fight:
Yet lose not memory in the din:
Make of thy gentleness thy might:
'Make of thy silence words to shake
The long-enthroned kings of earth:
Make of thy will the force to break
Their towers of wantonness and mirth.

Vol. II, p. 30
1980s, Letters to the Schools (1981, 1985)
Context: Attention involves seeing and hearing. We hear not only with our ears but also we are sensitive to the tones, the voice, to the implication of words, to hear without interference, to capture instantly the depth of a sound. Sound plays an extraordinary part in our lives: the sound of thunder, a flute playing in the distance, the unheard sound of the universe; the sound of silence, the sound of one’s own heart beating; the sound of a bird and the noise of a man walking on the pavement; the waterfall. The universe is filled with sound. This sound has its own silence; all living things are involved in this sound of silence. To be attentive is to hear this silence and move with it.

Savitri (1918-1950), Book One : The Book Of Beginnings
Context: It was the hour before the Gods awake.
Across the path of the divine Event
The huge foreboding mind of Night, alone
In her unlit temple of eternity,
Lay stretched immobile upon Silence' marge.
Almost one felt, opaque, impenetrable,
In the sombre symbol of her eyeless muse
The abysm of the unbodied Infinite;
A fathomless zero occupied the world.

Letter to his fiancée Lee, (31 July 1978), published in Gerald Durrell: An Authorized Biography by Douglas Botting (1999)
Context: I have seen a thousand sunsets and sunrises, on land where it floods forest and mountains with honey coloured light, at sea where it rises and sets like a blood orange in a multicoloured nest of cloud, slipping in and out of the vast ocean. I have seen a thousand moons: harvest moons like gold coins, winter moons as white as ice chips, new moons like baby swans’ feathers.
I have seen seas as smooth as if painted, coloured like shot silk or blue as a kingfisher or transparent as glass or black and crumpled with foam, moving ponderously and murderously. … I have known silence: the cold earthy silence at the bottom of a newly dug well; the implacable stony silence of a deep cave; the hot, drugged midday silence when everything is hypnotised and stilled into silence by the eye of the sun; the silence when great music ends.
I have heard summer cicadas cry so that the sound seems stitched into your bones. … I have seen hummingbirds flashing like opals round a tree of scarlet blooms, humming like a top. I have seen flying fish, skittering like quicksilver across the blue waves, drawing silver lines on the surface with their tails. I have seen Spoonbills fling home to roost like a scarlet banner across the sky. I have seen Whales, black as tar, cushioned on a cornflower blue sea, creating a Versailles of fountain with their breath. I have watched butterflies emerge and sit, trembling, while the sun irons their winds smooth. I have watched Tigers, like flames, mating in the long grass. I have been dive-bombed by an angry Raven, black and glossy as the Devil’s hoof. I have lain in water warm as milk, soft as silk, while around me played a host of Dolphins. I have met a thousand animals and seen a thousand wonderful things… but —
All this I did without you. This was my loss.
All this I want to do with you. This will be my gain.
All this I would gladly have forgone for the sake of one minute of your company, for your laugh, your voice, your eyes, hair, lips, body, and above all for your sweet, ever surprising mind which is an enchanting quarry in which it is my privilege to delve.

"A Summer Night"
By Still Waters (1906)
Context: Silence and coolness now the earth enfold:
Jewels of glittering green, long mists of gold,
Hazes of nebulous silver veil the height,
And shake in tremors through the shadowy night.
Heard through the stillness, as in whispered words,
The wandering God-guided wings of birds
Ruffle the dark. The little lives that lie
Deep hid in grass join in a long-drawn sigh
More softly still; and unheard through the blue
The falling of innumerable dew,
Lifts with grey fingers all the leaves that lay
Burned in the heat of the consuming day.

"Child of Europe" (1946)
Daylight (1953)
Context: He who invokes history is always secure.
The dead will not rise to witness against him.You can accuse them of any deeds you like.
Their reply will always be silence.Their empty faces swim out of the deep dark.
You can fill them with any features desired.Proud of dominion over people long vanished,
Change the past into your own, better likeness.

"True Love"
Context: In silence the heart raves. It utters words
Meaningless, that never had
A meaning. I was ten, skinny, red-headed,
Freckled. In a big black Buick,
Driven by a big grown boy, with a necktie, she sat
In front of the drugstore, sipping something
Through a straw. There is nothing like
Beauty. It stops your heart. It
Thickens your blood. It stops your breath. It
Makes you feel dirty. You need a hot bath.
I leaned against a telephone pole, and watched.
I thought I would die if she saw me.

The Clerk's Vision (1949)
Context: I remember my loves, my conversation, my friendships. I remember it all, see it all, see them all. With melancholy, but without nostalgia. And above all, without hope. I know that it is immortal, and that, if we are anything, we are the hope of something. For me, expectation has spent itself. I quit the nevertheless, the even, the in spite of everything, the moratoriums, the excuses and forgiving. I know the mechanism of the trap of morality and the drowsiness of certain words. I have lost faith in all those constructions of stone, ideas, ciphers. I quit. I no longer defend this broken tower. And, in silence, I await the event.

Source: Oresteia (458 BC), Agamemnon, line 548 (tr. E. D. A. Morshead)

The Sound of Silence
Song lyrics, Wednesday Morning, 3 A.M. (1964)
Context: And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the sign said "The words of the prophets
Are written on the subway walls
And tenement halls
And whispered in the sound of silence"

Source: Christ's Object Lessons (1900), Ch. 1, p. 22
Context: Christ had truths to present which the people were unprepared to accept or even to understand. For this reason also He taught them in parables. By connecting His teaching with the scenes of life, experience, or nature, He secured their attention and impressed their hearts. Afterward, as they looked upon the objects that illustrated His lessons, they recalled the words of the divine Teacher. To minds that were open to the Holy Spirit, the significance of the Saviour's teaching unfolded more and more. Mysteries grew clear, and that which had been hard to grasp became evident.
Jesus sought an avenue to every heart. By using a variety of illustrations, He not only presented truth in its different phases, but appealed to the different hearers. Their interest was aroused by figures drawn from the surroundings of their daily life. None who listened to the Saviour could feel that they were neglected or forgotten. The humblest, the most sinful, heard in His teaching a voice that spoke to them in sympathy and tenderness.
And He had another reason for teaching in parables. Among the multitudes that gathered about Him, there were priests and rabbis, scribes and elders, Herodians and rulers, world-loving, bigoted, ambitious men, who desired above all things to find some accusation against Him. Their spies followed His steps day after day, to catch from His lips something that would cause His condemnation, and forever silence the One who seemed to draw the world after Him. The Saviour understood the character of these men, and He presented truth in such a way that they could find nothing by which to bring His case before the Sanhedrim. In parables He rebuked the hypocrisy and wicked works of those who occupied high positions, and in figurative language clothed truth of so cutting a character that had it been spoken in direct denunciation, they would not have listened to His words, and would speedily have put an end to His ministry. But while He evaded the spies, He made truth so clear that error was manifested, and the honest in heart were profited by His lessons.

Address to the American Political Science Association at St. Louis, Missouri (29 December 1926), published as "Time, Technology, and the Creative Spirit in Political Science" in The American Political Science Review Vol. 21, Issue 1 (February 1927), p. 11
Context: What hope lies anywhere save in the widest freedom to inquire and expound — always with respect to the rights and opinions of others? As my friend, James Harvey Robinson, once remarked, the conservative who imagines that things will never change is always wrong; the radical is nearly always wrong too, but he does insure some slight risk of being right in his guess as to the direction of evolution. It is in silence, denial, evasion and suppression that danger really lies, not in open and free analysis and discussion … everywhere there seems to be a fear of reliance upon that ancient device so gloriously celebrated by John Milton three hundred years ago — the device of unlimited inquiry. Let us put aside resolutely that great fright, tenderly and without malice, daring to be wrong in something important rather than right in some meticulous banality, fearing no evil while the mind is free to search, imagine, and conclude, inviting our countrymen to try other instruments than coercion and suppression in the effort to meet destiny with triumph, genially suspecting that no creed yet calendared in the annals of politics mirrors the doomful possibilities of infinity.

Part I, section xxii, stanza 3
Maud; A Monodrama (1855)

Source: Seven Against Thebes (467 BC), line 619 (tr. Anna Swanwick)

The Lost Son, ll. 24 - 35
The Lost Son and Other Poems (1948)

quote in Arp on Arp: poems, essays, memories, Viking, 1972, p. 231
Attributed from posthumous publications
Context: Soon silence will have passed into legend. Man has turned his back on silence. Day after day he invents machines and devices that increase noise and distract humanity from the essence of life, contemplation, meditation.... tooting, howling, screeching, booming, crashing, whistling, grinding, and trilling bolster his ego. His anxiety subsides. His inhuman void spreads monstrously like a gray vegetation.

"Fear", pp. 31, Harper Row 1966
Native Son (1940)

"Crucifixion" http://web.cecs.pdx.edu/~trent/ochs/lyrics/crucifixion.html
Pleasures of the Harbor (1967)
Context: In the green fields a turnin', a baby is born
His cries crease the wind and mingle with the morn
An assault upon the order, the changing of the guard
Chosen for a challenge that is hopelessly hard
And the only single sound is the sighing of the stars
But to the silence and distance they are sworn.

"Intoxicated by the Wine of Love" as translated by Margaret Smith from "The Jawhar Al-Dhat"
Variant translation:
From each, Love demands a mystic silence.
As translated in Essential Sufism, by James Fadiman and Robert Frager
Context: From each a mystic silence Love demands.
What do all seek so earnestly? 'Tis Love.
What do they whisper to each other? Love.
Love is the subject of their inmost thoughts.
In Love no longer "thou" and "I" exist,
For Self has passed away in the Beloved.

An Appeal to the Young (1880)
Context: If you reason instead of repeating what is taught you; if you analyze the law and strip off those cloudy fictions with which it has been draped in order to conceal its real origin, which is the right of the stronger, and its substance, which has ever been the consecration of all the tyrannies handed down to mankind through its long and bloody history; when you have comprehended this, your contempt for the law will be profound indeed. You will understand that to remain the servant of the written law is to place yourself every day in opposition to the law of conscience, and to make a bargain on the wrong side; and, since this struggle cannot go on forever, you will either silence your conscience and become a scoundrel, or you will break with tradition, and you will work with us for the utter destruction of all this injustice, economic, social and political.

"Clowns' Houses"
Clowns' Houses (1918)
Context: Tall windows show Infinity;
And, hard reality,
The candles weep and pry and dance
Like lives mocked at by Chance. The rooms are vast as Sleep within;
When once I ventured in,
Chill Silence, like a surging sea,
Slowly enveloped me.

"In the Secular Night"
Morning in the Burned House (1995)
Context: There is so much silence between the words,
you say. You say, The sensed absence
of God and the sensed presence
amount to much the same thing,
only in reverse.
You say, I have too much white clothing.
You start to hum.
Several hundred years ago
this could have been mysticism
or heresy. It isn’t now.
Outside there are sirens.
Someone’s been run over.
The century grinds on.

Book I, line 277 (tr. E. Ridley).
Pharsalia

With Open Hands (1972)
Context: Only within this kind of life does a spoken prayer make sense. A prayer in church, at table or in school is only a witness to what we want to make of our entire lives. Such a prayer reminds us that praying is living and it invites us to make this an ever-greater reality. Thus, there are as many ways to pray as there are moments in life. Sometimes we seek out a quiet spot and want to be alone, sometimes we look for a friend and want to be together. Sometimes we like a book, sometimes we prefer music. Sometimes we want to sing out with hundreds, sometimes only whisper with a few. Sometimes we want to say it with words, sometimes with a deep silence.

A response to the Nazi book burnings, in "To Posterity" (1939) as translated by H. R. Hays (1947)
Context: Do not treat me in this fashion. Don't leave me out. Have I not
Always spoken the truth in my books? And now
You treat me like a liar! I order you:
Burn me!
Those who lead the country into the abyss
Call ruling too difficult
For ordinary men.
Ah, what an age it is
When to speak of trees is almost a crime
For it is a kind of silence about injustice!

Source: Power and Innocence (1972), Ch. 11 : The Humanity of the Rebel
Context: The authentic rebel knows that the silencing of all his adversaries is the last thing on earth he wishes: their extermination would deprive him and whoever else remains alive from the uniqueness, the originality, and the capacity for insight that these enemies — being human — also have and could share with him. If we wish the death of our enemies, we cannot talk about the community of man. In the losing of the chance for dialogue with our enemies, we are the poorer.

Nobel Prize Lecture (1993)
Context: A dead language is not only one no longer spoken or written, it is unyielding language content to admire its own paralysis. Like statist language, censored and censoring. Ruthless in its policing duties, it has no desire or purpose other than maintaining the free range of its own narcotic narcissism, its own exclusivity and dominance. However moribund, it is not without effect for it actively thwarts the intellect, stalls conscience, suppresses human potential. Unreceptive to interrogation, it cannot form or tolerate new ideas, shape other thoughts, tell another story, fill baffling silences.

"The Abyss"
The Far Field (1964)
Context: A terrible violence of creation,
A flash into the burning heart of the abominable;
Yet if we wait, unafraid, beyond the fearful instant,
The burning lake turns into a forest pool,
The fire subsides into rings of water,
A sunlit silence.

Alexis (1929)
Context: Every silence is composed of nothing but unspoken words. Perhaps that is why I became a musician. Someone had to express this silence, make it render up all the sadness it contained, make it sing as it were. Someone had to use not words, which are always too precise not to be cruel, but simply music.

In Search of the Miraculous (1949)
Context: A man can keep silence in such a ways that no one will even notice it. The whole point is that we say a good deal too much. If we limited ourselves to what is actually necessary, this alone would be keeping the silence. And it is the same with everything else, with food, with pleasures, with sleep; with everything there is a limit to what is necessary. After this "sin" begins. This is something that must be grasped, a "sin" is something which is not necessary.

"The Prodigal Son" (1958)
Context: Possibly all art flowers more readily in silence. Certainly the state of simplicity and humility is the only desirable one for artist or for man. While to reach it may be impossible, to attempt to do so is imperative. Stripped of almost everything that I had considered desirable and necessary, I began to try. Writing, which had meant the practice of an art by a polished mind in civilised surroundings, became a struggle to create completely fresh forms out of the rocks and sticks of words. I began to see things for the first time. Even the boredom and frustration presented avenues for endless exploration; even the ugliness, the bags and iron of Australian life, acquired a meaning. As for the cat's cradle of human intercourse, this was necessarily simplified, often bungled, sometimes touching. Its very tentativeness can be reward. There is always the possibility that the book lent, the record played, may lead to communication between human beings. There is the possibility that one may be helping to people a barely inhabited country with a race possessed of understanding.
These, then, are some of the reasons why an expatriate has stayed, in the face of those disappointments which follow inevitably upon his return.

Source: Aeneid (29–19 BC), Book II, Line 255 (tr. Fairclough)

Choruses from The Rock (1934)
Context: O perpetual revolution of configured stars,
O perpetual recurrence of determined seasons,
O world of spring and autumn, birth and dying!
The endless cycle of idea and action,
Endless invention, endless experiment,
Brings knowledge of motion, but not of stillness;
Knowledge of speech, but not of silence;
Knowledge of words, and ignorance of The Word.
All our knowledge brings us nearer to our ignorance,
All our ignorance brings us nearer to death,
But nearness to death no nearer to God.
Where is the Life we have lost in living?
Where is the wisdom we have lost in knowledge?
Where is the knowledge we have lost in information?
The cycles of Heaven in twenty centuries
Brings us farther from God and nearer to the Dust.

Source: Simone Weil : An Anthology (1986), Human Personality (1943), p. 59
Context: A modern factory reaches perhaps almost the limit of horror. Everybody in it is constantly harassed and kept on edge by the interference of extraneous wills while the soul is left in cold and desolate misery. What man needs is silence and warmth; what he is given is an icy pandemonium.
Physical labour may be painful, but it is not degrading as such. It is not art; it is not science; it is something else, possessing an exactly equal value with art and science, for it provides an equal opportunity to reach the impersonal stage of attention.

The Ticket That Exploded (1962)
Context: The 'Other Half' is the word. The 'Other Half' is an organism. Word is an organism. The presence of the 'Other Half' is a separate organism attached to your nervous system on an air line of words can now be demonstrated experimentally. One of the most common 'hallucinations' of subject during sense withdrawal is the feeling of another body sprawled through the subject's body at an angle... yes quite an angle it is the 'Other Half' worked quite some years on a symbiotic basis. From symbiosis to parasitism is a short step. The word is now a virus. The flu virus may have once been a healthy lung cell. It is now a parasitic organism that invades and damages the central nervous system. Modern man has lost the option of silence. Try halting sub-vocal speech. Try to achieve even ten seconds of inner silence. You will encounter a resisting organism that forces you to talk. That organism is the word.

The Saviors of God (1923)
Context: This ultimate stage of our spiritual exercise is called Silence. Not because its contents are the ultimate inexpressible despair or the ultimate inexpressible joy and hope. Nor because it is the ultimate knowledge which does not condescend to speak, or the ultimate ignorance which cannot.
Silence means: Every person, after completing his service in all labors, reaches finally the highest summit of endeavor, beyond every labor, where he no longer struggles or shouts, where he ripens fully in silence, indestructibly, eternally, with the entire Universe.

Iran: Unleashing Her Potential Through Freedom, Democracy and Human Rights http://www.rezapahlavi.org/details_article.php?article=465&page=1, Milton S. Eisenhower Symposium, Johns Hopkins University, Oct. 12, 2010.
Speeches, 2010

Middlemarch (1871)

Rule of Saint Benedict (516 AD), as edited by Timothy Fry, O. S. B (1981), p. 15

18 December 1935

Patanjali, in East of existentialism: the Tao of the West http://books.google.co.in/books?id=2WyyAAAAIAAJ, p. 266.

Introduction
The History Of Magic (1860)

On wrestling with the idea of “protecting your elders” in “Hilton Als, The Art of the Essay No. 3” https://www.theparisreview.org/interviews/7178/hilton-als-the-art-of-the-essay-no-3-hilton-als in The Paris Review (Summer 2018)

Postscriptum
Cagliostro’s Letter to the English People (1787)

Overcome Depression and Gloom
Autobiography of Swami Sivananda

Vol. I; CLXXXIII
Lacon (1820)

quote in Arp on Arp: poems, essays, memories, Viking, 1972, p. 231
Attributed from posthumous publications

JP X2A 167
1840s, The Journals of Søren Kierkegaard, 1840s

On making your own artistic opportunities in the book Conversations with Diego Rivera: The Monster in His Labyrinth https://books.google.com/books?id=KpZRDwAAQBAJ&printsec=frontcover&dq

Bulgaria's autocratic model," https://neweasterneurope.eu/2018/09/27/bulgarias-autocratic-model/", New Eastern Europe (September 27, 2018)

On how distractions might affect creativity in “Questlove Aims To Save Your Brain: 'Creativity Might Be In Jeopardy'” https://www.npr.org/2018/05/01/600852801/questlove-aims-to-save-your-brain-creativity-might-be-in-jeopardy in NPR (2018 May 1)

Publisher: Faber and Faber, 2017, p. 133
Sleep no more: Six Murderous Tales, published posthumously in 2017

"Mother Love", p. 61
Savage Survivals (1916), Wild Survivals in Domesticated Animals

"Crucifying Julian Assange" (2018)

Preface to 1961 edition
History of Madness (1961)

Cited in "Extinction Rebellion begins legal challenge against protest ban" https://www.theguardian.com/uk-news/2019/oct/24/extinction-rebellion-begin-legal-challenge-against-protest-ban, The Guardian, 24 October 2019.
2019

Letter to the French Directory, November 1792

July 10, 2019 on Tucker Carlson Tonight ([Tucker Carlson Taunts Critics After Racist Rant: Fox News Has My Back, Nick, Visser, July 10, 2019, HuffPost, https://www.huffpost.com/entry/tucker-carlson-ilhan-omar-fox-news_n_5d269326e4b0cfb596006121]; [Tucker Carlson Says Fox News Has 'Got Our Back' After Ilhan Omar Calls for Host to Be Fired, Ramsey, Touchberry, July 10, 2019, Newsweek, https://www.newsweek.com/tucker-carlson-ilhan-omar-feud-fox-news-boycott-response-1448707])
2010s, 2019

Source: Between Man and Man (1965), p. 33

Louis Althusser and Étienne Balibar, Reading Capital (1968), Part One: From Capital to Marx’s Philosophy
A - F, Louis Althusser

The Brothers Karamazov (1879–1880), The Grand Inquisitor

.... The vast cradle of Hindu culture is literally littered with ruins of temples and monasteries belonging to all sects of Sanatana Dharma - Buddhist, Jain, Saiva, Shakta, Vaishnava and the rest. ... The story of how Islamic invaders sought to destroy the very foundations of Hindu society and culture is long and extremely painful. It would certainly be better for everybody to forget the past, but for the prescriptions of Islamic theology which remain intact and make it obligatory for believers to destroy idols and idol temples.
Hindu Temples – What Happened to Them, Volume I (1990)

Source: The Way Towards The Blessed Life or the Doctrine of Religion 1806, P. 17

Jane Sinnett, trans 1846 p.123
The Vocation of Man (1800), Faith

The government’s treatment of gay refugees shames Britain https://www.theguardian.com/commentisfree/2018/jun/07/lgbt-rights-deportation-gay-lesbian-refugees (7 June 2018), The Guardian.

Dirty Money in London event (2016)

Goel, Sita Ram (editor) (1998). Freedom of expression: Secular theocracy versus liberal democracy. https://web.archive.org/web/20171026023112/http://www.bharatvani.org:80/books/foe/index.htm Ch. 6

Floyd Dell quotes

After working with Satyajit Ray, working in Bombay was confusing: Sharmila Tagore

Interview with Uwe Boll http://www.ubyssey.bc.ca/2007/11/23/worlds-worst-filmmaker/.
2000s

The geometric point has, therefore, been given its material form, in the first instance, in writing. It belongs to language and signifies silence.
1920 - 1930, Point and line to plane, 1926

An Ape About the House, p. 802
2000s and posthumous publications, The Collected Stories of Arthur C. Clarke (2001)

1960s, Address to Cornell College (1962)

Two Ages: The Age of Revolution and the Present Age. A Literary Review. By Soren Kierkegaard, 1846 edited and translated by Howard V. Hong and Edna H. Hong 1978 Princeton University Press P. 21
1840s, Two Ages: A Literary Review (1846)

2000s

"I never closed my eyes at all – I saw that ship sink. And I saw that ship break in half.
Interview from 1993, https://www.youtube.com/watch?v=MD5J43Z9AWI, quoted in New York Times, 16 February 1996

Writing About Jews (1963)

Vol. I, Letter 1
Letters That Have Helped Me (1891)

Ash-Wednesday (1930)

Ash-Wednesday (1930)

Caravan of Fools (co-written with Dan Auerbach and Pat McLaughlin)
Song lyrics, The Tree of Forgiveness (2018)

Given (2005), Sabbaths 2001

On needing solitary time to produce works in “5 Ways Katori Hall Gave In to Life, Love and Her Own Creativity” http://www.oprah.com/spirit/katori-hall-playwright-interview-the-mountaintop-play#ixzz65lY0pzMR in O Magazine

Ain-i-Akbari. Quoted in Lal, K. S. (2001). Historical essays. New Delhi: Radha.(II.203)

Source: The Devil in Massachusetts: A Modern Enquiry into the Salem Witch Trials (1949), Chapter 18, “The Ghost of Mary Esty” (p. 215)

"Clowns' Houses"
Clowns' Houses (1918)

Source: Mary, the Mother of Jesus: An Essay (1912), Ch. IV. "The Mother", p. 40

New York Times Magazine (30 September 1951)

First Journal of Travel (1840)

"Greenwald: Democratic Party the epitome of fascism they claim to fight" https://www.foxnews.com/transcript/greenwald-democratic-party-the-epitome-of-fascism-they-claim-to-fight, Fox News, 25 January 2021.