“A tree cannot grow in its parents’ shadows.”
Source: Parable of the Sower (1993), Chapter 7 (p. 82)
“Perhaps a man's character was like a tree, and his reputation like its shadow; the shadow is what we think of it; the tree is the real thing.”
As quoted in "Lincoln's Imagination" by Noah Brooks, in Scribner's Monthly (August 1879), p. 586 http://books.google.com/books?id=jOoGAQAAIAAJ&pg=PA586
Posthumous attributions
Variant: Character is like a tree and reputation like a shadow. The shadow is what we think of it; the tree is the real thing.
Help us to complete the source, original and additional information
Do you have more details about the quote "Perhaps a man's character was like a tree, and his reputation like its shadow; the shadow is what we think of it; the t…" by Abraham Lincoln?
Abraham Lincoln 618
16th President of the United States 1809–1865Related quotes
Alan Moore
book
Watchmen
Dr. Malcolm Long, Watchmen #6
Watchmen (1986–1987)
Context: I looked at the Rorschach blot. I tried to pretend it looked like a spreading tree, shadows pooled beneath it, but it didn’t. It looked more like a dead cat I once found, the fat, glistening grubs writhing blindly, squirming over each other, frantically tunneling away from the light. But even that is avoiding the real horror. The horror is this: In the end, it is simply a picture of empty meaningless blackness. We are alone. There is nothing else.
Ellsworth Kelly
(1923–2015) American painter, sculptor, and printmaker
Quote in an interview by Henry Geldzahler, 'Art International 1.', February 1964, p. 48
1950 - 1968
“Love is a naked shadow
On a gnarled and naked tree.”
Langston Hughes
(1902–1967) American writer and social activist
"Song for a Dark Girl" (l. 11-12), from Fine Clothes to the Jew (1927)
Octavio Paz
(1914–1998) Mexican writer laureated with the 1990 Nobel Prize for Literature
Source: The Monkey Grammarian (1974), Ch. 8
Context: The Great Monkey closes his eyes, scratches himself again and muses: before the sun has become completely hidden — it is now fleeing amid the tall bamboo trees like an animal pursued by shadows — I shall succeed in reducing this grove of trees to a catalogue. A page of tangled plant calligraphy. A thicket of signs: how to read it, how to clear a path through this denseness? Hanumān smiles with pleasure at the analogy that has just occurred to him: calligraphy and vegetation, a grove of trees and writing, reading and a path. Following a path: reading a stretch of ground, deciphering a fragment of world. Reading considered as a path toward…. The path as a reading: an interpretation of the natural world? He closes his eyes once more and sees himself, in another age, writing (on a piece of paper or on a rock, with a pen or with a chisel?) the act in the Mahanātaka describing his visit to the grove of the palace of Rāvana. He compares its rhetoric to a page of indecipherable calligraphy and thinks: the difference between human writing and divine consists in the fact that the number of signs of the former is limited, whereas that of the latter is infinite; hence the universe is a meaningless text, one which even the gods find illegible. The critique of the universe (and that of the gods) is called grammar…. Disturbed by this strange thought, Hanumān leaps down from the wall, remains for a moment in a squatting position, then stands erect, scrutinizes the four points of the compass, and resolutely makes his way into the thicket.
Henri de Toulouse-Lautrec
(1864–1901) French painter
young Lautrec comments his own paintings of the landscape, when he was c. 15 years old.
Source: 1879-1884, T-Lautrec, by Henri Perruchot, p. 46 - remark to his friend Etienne Devismes - in Nice, 1879
Source: We Have Always Lived in the Castle