“But ah! what a drear hell it was we now had to venture through! What a maelstrom of relentless gorging, one creature upon another! The claws and jaws of the upper world are red enough—who denies it?—but the carnage has intermissions, periods of amiable association, zones of green peace and fructification. In the subworlds, the merciless seethe of appetites never simmers down.”

"Why I am Destiny", 6. Trans. R. J. Hollingdale
Ecce Homo (1888)

Cited in: Tuomas Tepora, The Finnish Civil War 1918: History, Memory, Legacy, 2014, p. 191

Source: The Rubaiyat (1120)

1910s, Address to Congress: Analyzing German and Austrian Peace Utterances (1918)

Source: 1905 - 1910, Notes d'un Peintre' (Notes of a Painter) (1908), p. 411

"Anti-Muslim reprisals after Woolwich attack", by Ben Quinn and Conal Urquhart, The Guardian (23 May 2013) http://www.theguardian.com/uk/2013/may/23/woolwich-attack-anti-muslim-reprisals
2013

Letter to Eliza Stodart (29 February 1836).

Christ, Old Student in a New School (1972)
Context: That so much time was wasted in this pain.
Ten thousand years ago he might have let off down
To not return again!
A dreadful laugh at last escapes his lips;
The laughter sets him free.
A Fool lives in the Universe! he cries.
The Fool is me!
And with one final shake of laughter
Breaks his bonds.
The nails fall skittering to marble floors.
And Christ, knelt at the rail, sees miracle
As Man steps down in amiable wisdom
To give himself what no one else can give:
His liberty.

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.