Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 18. How I came to Spaceland, and What I Saw There
Context: An unspeakable horror seized me. There was a darkness; then a dizzy, sickening sensation of sight that was not like seeing; I saw a Line that was no Line; Space that was not Space: I was myself, and not myself. When I could find voice, I shrieked aloud in agony, "Either this is madness or it is Hell." "It is neither," calmly replied the voice of the Sphere, "it is Knowledge; it is Three Dimensions: open your eye once again and try to look steadily."I looked, and, behold, a new world! There stood before me, visibly incorporate, all that I had before inferred, conjectured, dreamed, of perfect Circular beauty. What seemed the centre of the Stranger's form lay open to my view: yet I could see no heart, nor lungs, nor arteries, only a beautiful harmonious Something — for which I had no words; but you, my Readers in Spaceland, would call it the surface of the Sphere.
“I could see many of the younger Counsellors start back in manifest horror, as the Sphere's circular section widened before them.”
Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 18. How I came to Spaceland, and What I Saw There
Context: I could see many of the younger Counsellors start back in manifest horror, as the Sphere's circular section widened before them. But on a sign from the presiding Circle — who shewed not the slightest alarm or surprise — six Isosceles of a low type from six different quarters rushed upon the Sphere. "We have him," they cried; "No; yes; we have him still! he's going! he's gone!" "My Lords," said the President to the Junior Circles of the Council, "there is not the slightest need for surprise; the secret archives, to which I alone have access, tell me that a similar occurrence happened on the last two millennial commencements. You will, of course, say nothing of these trifles outside the Cabinet."
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Edwin Abbott Abbott 87
British theologian and author 1838–1926Related quotes
Interview at Am Hauptbahn No. 4 in Frankfurt Am Main, West Germany (1964), quoted in The Oscar Schindler Story (2012) http://www.auschwitz.dk/id2.htm.
Context: The persecution of Jews in occupied Poland meant that we could see horror emerging gradually in many ways. In 1939, they were forced to wear Jewish stars, and people were herded and shut up into ghettos. Then, in the years '41 and '42 there was plenty of public evidence of pure sadism. With people behaving like pigs, I felt the Jews were being destroyed. I had to help them. There was no choice.
“Older men start wars, but younger men fight them.”
Rolling Stone interview (2005)
Context: I'm wary of faith outside of actions. I'm wary of religiosity that ignores the wider world. In 2001, only seven percent of evangelicals polled felt it incumbent upon themselves to respond to the AIDS emergency. This appalled me. I asked for meetings with as many church leaders as would have them with me. I used my background in the Scriptures to speak to them about the so-called leprosy of our age and how I felt Christ would respond to it. And they had better get to it quickly, or they would be very much on the other side of what God was doing in the world.
Amazingly, they did respond. I couldn't believe it. It almost ruined it for me — 'cause I love giving out about the church and Christianity. But they actually came through: Jesse Helms, you know, publicly repents for the way he thinks about AIDS.
I've started to see this community as a real resource in America. I have described them as "narrow-minded idealists." If you can widen the aperture of that idealism, these people want to change the world. They want their lives to have meaning.
Describing the reaction of a 60,000 crowd of American Football fans and his bodyguard, while appearing as Bruno (the flamboyantly homosexual fashion journalist) at an NFL match http://www.timesonline.co.uk/article/0,,2092-2557633.html
quoted in Bonnard; by Sarah Witfield and John Elderfield; Harry N. Abrams Inc., New York, 1998 - ISBN 0-8109-4021-3, p. 9
Bonnard did not paint from life but rather drew his subject and made notes on the colors. He then painted the canvas in his studio from the sketches and his notes