Quotes about arch

A collection of quotes on the topic of arch, likeness, greatness, time.

Quotes about arch

Virginia Woolf photo
Wolfgang Amadeus Mozart photo

“I must give you a piece of intelligence that you perhaps already know — namely, that the ungodly arch-villain Voltaire has died miserably like a dog — just like a brute. That is his reward!”

Wolfgang Amadeus Mozart (1756–1791) Austrian Romantic composer

Letter to Leopold Mozart (3 July 1778), from The letters of Wolfgang Amadeus Mozart, 1769-1791, translated, from the collection of Ludwig Nohl, by Lady [Grace] Wallace (Oxford University Press, 1865, digitized 2006) vol. I, # 107 (p. 218) http://books.google.com/books?vid=0SGwLiCNxu7qZ5ch&id=KEgBAAAAQAAJ&printsec=titlepage&dq=%22The+letters+of+Wolfgang+Amadeus+Mozart,+1769-1791%22#PRA1-PA218,M1

Virginia Woolf photo
Vladimir Lenin photo

“Socialized medicine is the keystone to the arch of the socialist state.”

Vladimir Lenin (1870–1924) Russian politician, led the October Revolution

Fabricated quote from The Voluntary Way is the American Way (1949) by PR firm Whitaker and Baxter. According to The Heart of Power by David Blumenthal and James Morone (pp. 91-92)
: Whitaker and Baxter published a fifteen-page pamphlet of questions and answers entitled The Voluntary Way is the American Way, which, deep in the Q&A, concocted a quotation from Lenin:
:: Q: Would socialized medicine lead to socialization of other phases of American life?
:: A: Lenin thought so. He declared: socialized medicine is the keystone to the arch of the socialist state.
: Senator Murray asked the Library of Congress to track down the quote and, as expected, they found nothing like it—most scholars assume Whitaker and Baxter dreamed it up.
Alternate form: "Socialized medicine is a keystone to the establishment of a socialist state."
Misattributed

John Cassian photo
Edvard Munch photo

“I thought I should make something – I felt it would be so easy – it would take form under my hands like magic.
Then people would see!
A strong naked arm – a tanned powerful neck a young woman rests her head on the arching chest.
She closes her eyes and listens with open and quivering lips to the words he whispers into her long flowing hair.
I should paint that image just as I saw it – but in the blue haze.
Those two at that moment, no longer merely themselves, but simply a link in the chain binding generation to generation.
People should understand the significance, the power of it. They should remove their hats like they do in church.
There should be no more pictures of interiors, of people reading and women knitting.
There would be pictures of real people who breathed, suffered, felt, loved.
I felt impelled – it would be easy. The flesh would have volume – the colours would be alive.
There was an interval. The music stopped. I was a little sad. I remembered how many times I had had similar thoughts – and that once I had finished the painting – they had simply shaken their heads and smiled.
Once again I found myself out on the Boulevard des Italiens.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

written in Saint Cloud, 1889
Quotes from his text: 'Saint Cloud Manifesto', Munch (1889): as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, pp. 120 -121
1880 - 1895

Friedrich Schiller photo
H.P. Lovecraft photo
Ivo Andrič photo
Henry Miller photo
Karen Marie Moning photo
Rick Riordan photo
Rick Riordan photo
Richelle Mead photo
Cassandra Clare photo
Diana Gabaldon photo
Jane Austen photo
Richard Bach photo
Anne Rice photo
Barbara Kingsolver photo
Rick Riordan photo
Italo Calvino photo
Richard Salter Storrs photo
Yury Dombrovsky photo
Sinclair Lewis photo
Gwendolyn Brooks photo
Robinson Jeffers photo
Kazimir Malevich photo

“Papuans bored, but
Cottage second-class
Ticket. Park. Arch.”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Kazimir Malevich, Jan. 1916, from his letter to Mikhail Matiushin; private archive, Frankfurt (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 26
Malevich' example of the new poetic structures (the 3 lines loosely match his painting 'Stantsiia bez ostanovki Kuntsevo' (Through Station: Kuntsevo), 1913)
1910 - 1920

Richard Cobden photo
Francois Rabelais photo
Marshall McLuhan photo
Eugene V. Debs photo
Bertolt Brecht photo
Walter de la Mare photo
William Blake photo

“Pancrass & Kentish-town repose
Among her golden pillars high:
Among her golden arches which
Shine upon the starry sky.”

William Blake (1757–1827) English Romantic poet and artist

Source: 1800s, Jerusalem The Emanation of The Giant Albion (c. 1803–1820), Ch. 1, plate 27, "To the Jews" 1) lines 9-12

Letitia Elizabeth Landon photo
Oscar Niemeyer photo
John Milton photo
Richard Rodríguez photo
Norman Spinrad photo

“Flaming torches arching from hand to hand, the silken rolling of flesh on flesh, tautened wire vibrating to the human word, ideogrammatic gestures of fear, love, and rage, the mathematical grace of bodies moving through space—all seemed revealed as shadows on the void, the pauvre panoply of man’s attempt to transcend the universe of space and time through the transmaterial purity of abstract form.
Yet beyond this noble dance of human art, the highest expression of our spirit’s striving to transcend the realm of time and form, lay that which could not be encompassed by the artifice of man. From nothing are we born, to nothing do we go; the universe we know is but the void looped back upon itself, and form is but illusion’s final veil.
We touch that which lies beyond only in those fleeting rare moments when the reality of form dissolves—through molecule and charge, the perfection of the meditative trance, orgasmic ego-loss, transcendent peaks of art, mayhap the instant of our death.
Vraiment, is not the history of man from pigments smeared on the walls of caves to our present starflung age, our sciences and arts, our religions and our philosophies, our cultures and our noble dreams, our heroics and our darkest deeds, but the dance of spirit round this central void, the striving to transcend, and the deadly fear of same?”

Source: The Void Captain's Tale (1983), Chapter 10 (p. 117)

Bill Bryson photo
Uri Avnery photo
Thomas Campbell photo

“On Prague's proud arch the fires of ruin glow,
His blood-dyed waters murmuring far below.”

Thomas Campbell (1777–1844) British writer

Part I, line 385
Pleasures of Hope (1799)

Richard Kalich photo
Cyrus David Foss photo

“Underneath all the arches of Scripture history, throughout the whole grand temple of the Scriptures, these two voices ever echo, man is ruined, man is redeemed.”

Cyrus David Foss (1834–1910) American bishop

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 489.

“The long-range trend toward federal regulation, which found its beginnings in the Interstate Commerce Act of 1887 and the Sherman Act of 1890, which was quickened by a large number of measures in the Progressive era, and which has found its consummation in our time, was thus at first the response of a predominantly individualistic public to the uncontrolled and starkly original collectivism of big business. In America the growth of the national state and its regulative power has never been accepted with complacency by any large part of the middle-class public, which has not relaxed its suspicion of authority, and which even now gives repeated evidence of its intense dislike of statism. In our time this growth has been possible only under the stress of great national emergencies, domestic or military, and even then only in the face of continuous resistance from a substantial part of the public. In the Progressive era it was possible only because of widespread and urgent fear of business consolidation and private business authority. Since it has become common in recent years for ideologists of the extreme right to portray the growth of statism as the result of a sinister conspiracy of collectivists inspired by foreign ideologies, it is perhaps worth emphasizing that the first important steps toward the modern organization of society were taken by arch-individualists — the tycoons of the Gilded Age — and that the primitive beginning of modern statism was largely the work of men who were trying to save what they could of the eminently native Yankee values of individualism and enterprise.”

Richard Hofstadter (1916–1970) American historian

Source: The Age of Reform: from Bryan to F.D.R. (1955), Chapter VI, part II, p. 233

William McGonagall photo

“BEAUTIFUL Railway Bridge of the Silvery Tay!
With your numerous arches and pillars in so grand array
And your central girders, which seem to the eye
To be almost towering to the sky.”

William McGonagall (1825–1902) weaver, actor, poet

Written before the disaster.
Poetry, The Railway Bridge of the Silvery Tay (1878)

“Heaven-gates are not so highly arched
As princes' palaces; they that enter there
Must go upon their knees.”

John Webster (1578–1634) English dramatist

Act IV, scene ii.
Duchess of Malfi (1623)

Manuel Castells photo
George William Curtis photo

“Mayor Macbeth, of Charleston, told General Howard that he did not believe that a bureau at Washington could manage the social relations of the people from the Potomac to the Rio Grande. But the answer to Mayor Macbeth is that he and his companions have managed those relations at a cost to the country of four years of civil war, three thousand millions of dollars, and hundreds of thousands of lives. The Freedmen's Bureau will hardly be as expensive as that. And while such a bureau merely defends the rights of a certain class under the laws, the aid societies give them that education which in the present state of local feeling would be inevitably withheld. The mighty arch of Sherman, wasting and taming the land, is followed by the noiseless steps of the band of unnamed heroes and heroines who are teaching the people. The soldier drew the furrow, the teacher drops the seed. There is many and many a devoted woman, hidden at this moment in the lowliest cabins of the South, whose name poets will not sing nor historians record, but whose patient toil the eye that marks the sparrow's fall beholds and approves. Not more noble, not more essential, was the work of the bravest and most famous of the heroes who fell in the wild storm of battle, than that of many a woman to us unknown, faithful through privation and exposure and disease, and perishing at the lonely outpost of duty in the act of helping the nation keep its word.”

George William Curtis (1824–1892) American writer

1860s, The Good Fight (1865)

Perry Anderson photo
Thomas Babington Macaulay, 1st Baron Macaulay photo
Joseph Strutt photo
Christopher Pitt photo
Richard Roxburgh photo
Samuel Pepys photo
Ralph Waldo Emerson photo

“By the rude bridge that arched the flood,
Their flag to April's breeze unfurled,
Here once the embattled farmers stood,
And fired the shot heard round the world.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

Hymn sung at the Completion of the Battle Monument
Bartlett's Familiar Quotations, 10th ed. (1919)

Letitia Elizabeth Landon photo

“When years have past
Over the fallen arch, the ruin'd hall,
It seems but course of time, the one great doom,
Whose influence is alike upon us all;”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

A History of the Lyre
The Venetian Bracelet (1829)

D.H. Lawrence photo
Amir Khusrow photo

““But see the mercy with which he regarded the brokenhearted, for, after seizing the rai, he set him free again. He destroyed the temples of the idolaters, and erected pulpits and arches for mosques.”67”

Amir Khusrow (1253–1325) Indian poet, writer, musician and scholar

About Sultan Jalalu’d -Din Khalji (AD 1290-1296) in Devagiri (Maharashtra) Elliot and Dowson, History of India as told by its own historians, Vol. III, p. 542.ff
Miftahu'l-Futuh

Robert Frost photo

“The sun was warm but the wind was chill.
You know how it is with an April day
When the sun is out and the wind is still,
You´re one month on in the middle of May.
But if you so much as dare to speak,
A cloud comes over the sunlit arch,
A wind comes off a frozen peak,
And you´re two months back in the middle of March.”

Robert Frost (1874–1963) American poet

" Two Tramps in Mud-Time http://www.unz.org/Pub/SaturdayRev-1934oct06-00156", first published in The Saturday Review of Literature, 6 October 1934, st. 3 http://books.google.com/books?id=AmggAQAAMAAJ&q=%22The+sun+was+warm+but+the+wind+was+chill+You+know+how+it+is+with+an+April+day+When+the+sun+is+out+and+the+wind+is+still+You're+one+month+on+in+the+middle+of+May+But+if+you+so+much+as+dare+to+speak+A+cloud+comes+over+the+sunlit+arch+A+wind+comes+off+a+frozen+peak+And+you're+two+months+back+in+the+middle+of+March%22&pg=PA156#v=onepage
1930s

Sören Kierkegaard photo

“After a considerable walk through the forest, where I became acquainted with several of the little lakes I am so fond of, I came to Hestehaven and Lake Carl. Here is one of the most beautiful regions I have ever seen. The countryside is somewhat isolated and slopes steeply down to the lake, but with the beech forests growing on either side, it is not barren. A growth of rushes forms the background and the lake itself the foreground; a fairly large part of the lake is clear, but a still larger part is overgrown with the large green leaves of the waterlily, under which the fish seemingly try to hide but now and then peek out and flounder about on the surface in order to bathe in sunshine. The land rises on the opposite side, a great beech forest, and in the morning light the lighted areas make a marvelous contrast to the shadowed areas. The church bells call to prayer, but not in a temple made by human hands. If the birds do not need to be reminded to praise God, then ought men not be moved to prayer outside of the church, in the true house of God, where heaven's arch forms the ceiling of the church, where the roar of the storm and the light breezes take the place of the organ's bass and treble, where the singing of the birds make up the congregational hymns of praise, where echo does not repeat the pastor's voice as in the arch of the stone church, but where everything resolves itself in an endless antiphony — Hillerød, July 25, 1835”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

1830s, The Journals of Søren Kierkegaard, 1830s

Mickey Spillane photo

“Nobody ever walked across the bridge, not on a night like this. The rain was misty enough to be almost fog-like, a cold gray curtain that separated me from the pale ovals of white that were faces locked behind the steamed-up windows of the cars that hissed by. Even the brilliance that was Manhattan by night was reduced to a few sleepy, yellow lights off in the distance.
Some place over there I had left my car and started walking, burying my head in the collar of my raincoat, with the night pulled in around me like a blanket. I walked and I smoked and I flipped the spent butts ahead of me and watched them arch to the pavement and fizzle out with one last wink. If there was life behind the windows of the buildings on either side of me, I didn't notice it. The street was mine, all mine. They gave it to me gladly and wondered why I wanted it so nice and all alone.
There were others like me, sharing the dark and the solitude, but they were huddled in the recessions of the doorways not wanting to share the wet and the cold. I could feel their eyes follow me briefly before they turned inward to their thoughts again.
So I followed the hard concrete footpaths of the city through the towering canyons of the buildings and never noticed when the sheer cliffs of brick and masonry diminished and disappeared altogether, and the footpath led into a ramp then on to the spidery steel skeleton that was the bridge linking two states.
I climbed to the hump in the middle and stood there leaning on the handrail with a butt in my fingers, watching the red and green lights of the boats in the river below. They winked at me and called in low, throaty notes before disappearing into the night.
Like eyes and faces. And voices.
I buried my face in my hands until everything straightened itself out again, wondering what the judge would say if he could see me now. Maybe he'd laugh because I was supposed to be so damn tough, and here I was with hands that wouldn't stand still and an empty feeling inside my chest.”

One Lonely Night (1951)

Francis Thompson photo
Erasmus Darwin photo

“O city ladies'
Your coats wrapped,
Your hips a possession
Your shoes arched
Your walk is sharp
Your breasts
Pertain to lingerie”

George Oppen (1908–1984) American poet

from "Discrete Series", 1934; New Collected Poems, New Directions, 2002, ISBN 0-811-21488-5

Robert Burns photo

“That hour, o' night's black arch the keystane.”

Source: Tam o' Shanter (1790), Line 69

F. Scott Fitzgerald photo
Norman Mailer photo
Letitia Elizabeth Landon photo
Francis Wayland Parker photo
Joanna Newsom photo
Henry Adams photo

“All experience is an arch, to build upon.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

The Education of Henry Adams (1907)

Primo Levi photo
Bernard Harcourt photo
L. Ron Hubbard photo

“The creation of Dianetics is a milestone for Man comparable to his discovery of fire and superior to his inventions of the wheel and the arch.”

L. Ron Hubbard (1911–1986) American science fiction author, philosopher, cult leader, and the founder of the Church of Scientology

Opening line.
Dianetics : The Modern Science of Mental Health (1950)

Richard Rodríguez photo
Erasmus Darwin photo
David Brin photo

“Loneliness, her arch enemy, never seemed content.”

Source: Glory Season (1993), Chapter 9 (p. 150)

Wyndham Lewis photo
Roy Campbell (poet) photo
Denise Levertov photo

“Down through the tomb's inward arch
He has shouldered out into Limbo
to gather them, dazed, from dreamless slumber…”

Denise Levertov (1923–1997) Poet

A Door in the Hive (1989), Ikon: The Harrowing of Hell

Ryan Zinke photo

“During the recent centennial of our National Park Service, I found myself at the ceremony at Yellowstone National Park, our first National Park established by Congress and signed into law by President Ulysses S. Grant on March 1, 1872. As I enjoyed the celebration under the famous Roosevelt arch, I could not help but notice the words etched in the stone at the top of the arch “For the benefit and enjoyment of the people.” And, on the side of the right pillar was a plaque with the words “Created by Act of Congress.””

Ryan Zinke (1961) 52nd and current United States Secretary of the Interior and former Congressman from Montana

I thought “What a perfect symbol’ of what our land policy in a Nation as great as ours should be.
Before the Senate Committee on Energy and Natural Resources https://www.energy.senate.gov/public/index.cfm/files/serve?File_id=383FE96D-4714-4769-BF7E-089C40FB4C63 (January 17, 2017)

Henry Moore photo