Quotes about bellows

A collection of quotes on the topic of bellows, likeness, god, thinking.

Quotes about bellows

Dante Alighieri photo

“I came into a place void of all light,
which bellows like the sea in tempest,
when it is combated by warring winds.”

Canto V, lines 28–30 (tr. Charles S. Singleton).
The Divine Comedy (c. 1308–1321), Inferno

Charles Péguy photo

“He who does not bellow the truth when he knows the truth makes himself the accomplice of liars and forgers.”

Charles Péguy (1873–1914) French poet, essayist, and editor

"Lettre du Provincial" (21 December 1899)
Basic Verities, Prose and Poetry (1943)

Tamora Pierce photo
Albertus Magnus photo

“This dumb ox will fill the world with his bellowing.”

Albertus Magnus (1206–1280) Dominican friar

Attributed to Albertus Magnus in: Anne Jackson Fremantle (1962) The Great Ages of Western Philosophy : The Age of Belief : The Medieval Philosophers
Albertus Magnus, in response to other of his students calling Thomas Aquinas a "dumb ox" because of his quietude.

Roald Dahl photo
Rick Riordan photo
Rick Riordan photo
Markus Zusak photo
Rick Riordan photo
James Patterson photo
Rick Riordan photo
Margaret Caroline Anderson photo
Jonathan Stroud photo
Zia Haider Rahman photo
P.G. Wodehouse photo
Victor Villaseñor photo
Philip K. Dick photo
Halldór Laxness photo
Edmund Spenser photo
Vincent Van Gogh photo

“What surprising fellows those French painters are. A Millet, Delacroix, Corot, Troyon, Daubigny, Rousseau, and a Daumier.... Something else about Delacroix - he had a discussion with a friend about the question of working absolutely from nature, and said on that occasion that one should take one's 'studies' from nature - but that the 'actual painting' had to be made 'by heart'. This friend was walking along the boulevard when they had this discussion - which was already fairly heated. When they parted the other man was still not entirely persuaded. After they parted, Delacroix let him stroll on for a bit - then (making a trumpet of his two hands) bellowed after him in the middle of the street - to the consternation of the worthy passers-by:
'By heart! By heart!”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

(Par coeur! Par coeur!)
I can't tell you how much I enjoyed reading this article and some other things about Delacroix..
In his letter to Anthon van Rappard, from Nuenen, The Netherlands, 8 and c. 15 August 1885 - original manuscript, letter 526, at Van Gogh Museum, location Amsterdam - inv. nos. b8390 V/2006, http://vangoghletters.org/vg/letters/let526/letter.html
See for this anecdote, taken from Charles Blanc, Les artistes de mon temps, letter 496, n. 7.
1880s, 1885

Victor Villaseñor photo
John Ruskin photo
Dave Eggers photo

“Hand took a breath and opened his palms, as if accepting the gift of rain. "YOU SHALL KNOW OUR VELOCITY!" he bellowed into the cold exhausted city.”

Dave Eggers (1970) memoirist, novelist, short story writer, editor, publisher

You Shall Know Our Velocity! (2002)

Martin Luther King, Jr. photo

“I must say that when my Southern Christian Leadership Conference began its work in Birmingham, we encountered numerous Negro church reactions that had to be overcome. Negro ministers were among other Negro leaders who felt they were being pulled into something that they had not helped to organize. This is almost always a problem. Negro community unity was the first requisite if our goals were to be realized. I talked with many groups, including one group of 200 ministers, my theme to them being that a minister cannot preach the glories of heaven while ignoring social conditions in his own community that cause men an earthly hell. I stressed that the Negro minister had particular freedom and independence to provide strong, firm leadership, and I asked how the Negro would ever gain freedom without his minister's guidance, support and inspiration. These ministers finally decided to entrust our movement with their support, and as a result, the role of the Negro church today, by and large, is a glorious example in the history of Christendom. For never in Christian history, within a Christian country, have Christian churches been on the receiving end of such naked brutality and violence as we are witnessing here in America today. Not since the days of the Christians in the catacombs has God's house, as a symbol, weathered such attack as the Negro churches.
I shall never forget the grief and bitterness I felt on that terrible September morning when a bomb blew out the lives of those four little, innocent girls sitting in their Sunday-school class in the 16th Street Baptist Church in Birmingham. I think of how a woman cried out, crunching through broken glass, "My God, we're not even safe in church!" I think of how that explosion blew the face of Jesus Christ from a stained-glass window. It was symbolic of how sin and evil had blotted out the life of Christ. I can remember thinking that if men were this bestial, was it all worth it? Was there any hope? Was there any way out?… time has healed the wounds -- and buoyed me with the inspiration of another moment which I shall never forget: when I saw with my own eyes over 3000 young Negro boys and girls, totally unarmed, leave Birmingham's 16th Street Baptist Church to march to a prayer meeting -- ready to pit nothing but the power of their bodies and souls against Bull Connor's police dogs, clubs and fire hoses. When they refused Connor's bellowed order to turn back, he whirled and shouted to his men to turn on the hoses. It was one of the most fantastic events of the Birmingham story that these Negroes, many of them on their knees, stared, unafraid and unmoving, at Connor's men with the hose nozzles in their hands. Then, slowly the Negroes stood up and advanced, and Connor's men fell back as though hypnotized, as the Negroes marched on past to hold their prayer meeting. I saw there, I felt there, for the first time, the pride and the power of nonviolence.
Another time I will never forget was one Saturday night, late, when my brother telephoned me in Atlanta from Birmingham -- that city which some call "Bombingham" -- which I had just left. He told me that a bomb had wrecked his home, and that another bomb, positioned to exert its maximum force upon the motel room in which I had been staying, had injured several people. My brother described the terror in the streets as Negroes, furious at the bombings, fought whites. Then, behind his voice, I heard a rising chorus of beautiful singing: "We shall overcome."”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

Tears came into my eyes that at such a tragic moment, my race still could sing its hope and faith.
Interview in Playboy (January 1965) https://web.archive.org/web/20080706183244/http://www.playboy.com/arts-entertainment/features/mlk/04.html
1960s

Marc Chagall photo

“Two or three o'clock in the morning. The sky is blue. Dawn is breaking. Down there, a little way off, they slaughtered cattle, cows bellowed, and I painted them. I used to sit up like that all night long. It's already a week since the studio was cleaned out. Frames, eggshells, empty two-sou soup tins lie about higgledy-piggledy... On the shelves, reproductions of El Greco and Cézanne lay next tot the remains of a herring I had cut in two, the head for the first day, the tail for the next, and Thank God, a few crusts of bread.”

Marc Chagall (1887–1985) French artist and painter

Quote in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, pp. 29-30
Chagall describes a morning in his studio in Paris, c. 1911, in 'La Ruche' an old factory where many artists as Soutine, Archipenko, Léger and Modigliani had their studio
1920's, My life (1922)

Michael Ende photo

“You were compelled to?' he repeated. 'You mean you weren't sufficiently powerful to resist?'
'In order to seize power,' replied the dictator, 'I had to take it from those that had it, and in order to keep it I had to employ it against those that sought to deprive me of it.'
The chef's hat gave a nod. 'An old, old story. It has been repeated a thousand times, but no one believes it. That's why it will be repeated a thousand times more.'
The dictator felt suddenly exhausted. He would gladly have sat down to rest, but the old man and the children walked on and he followed them.
'What about you?' he blurted out, when he had caught the old man up. 'What do you know of power? Do you seriously believe that anything great can be achieved on earth without it?'
'I?' said the old man. 'I cannot tell great from small.'
'I wanted power so that I could give the world justice,' bellowed the dictator, and blood began to trickle afresh from the wound in his forehead, 'but to get it I had to commit injustice, like anyone who seeks power. I wanted to end oppression, but to do so I had to imprison and execute those who opposed me - I became an oppressor despite myself. To abolish violence we must use it, to eliminate human misery we must inflict it, to render war impossible we must wage it, to save the world we must destroy it. Such is the true nature of power.'
Chest heaving, he had once more barred the old man's path with his pistol ready.'
'Yet you love it still,' the old man said softly.
'Power is the supreme virture!' The dictator's voice quavered and broke. 'But its sole shortcoming is sufficient to spoil the whole: it can never be absolute - that's what makes it so insatiable. The only true form of power is omnipotence, which can never be attained, hence my disenchantment with it. Power has cheated me.'
'And so,' said the old man, 'you have become the very person you set out to fight. It happens again and again. That is why you cannot die.'
The dictator slowly lowered his gun. 'Yes,' he said, 'you're right. What's to be done?'
'Do you know the legend of the Happy Monarch?' asked the old man.

'When the Happy Monarch came to build the huge, mysterious palace whose planning alone had occupied ten whole years of his life, and to which marvelling crowds made pilgrimage long before its completion, he did something strange. No one will ever know for sure what made him do it, whether wisdom or self-hatred, but the night after the foundation stone had been laid, when the site was dark and deserted, he went there in secret and buried a termites' nest in a pit beneath the foundation stone itself. Many decades later - almost a life time had elapsed, and the many vicissitudes of his turbulent reign had long since banished all thought of the termites from his mind - when the unique building was finished at last and he, its architect and author, first set foot on the battlements of the topmost tower, the termites, too, completed their unseen work. We have no record of any last words that might shed light on his motives, because he and all his courtiers were buried in the dust and rubble of the fallen palace, but long-enduring legend has it that, when his almost unmarked body was finally unearthed, his face wore a happy smile.”

Michael Ende (1929–1995) German author

"Mirror in the Mirror", page 193

Steven Pressfield photo
Garth Nix photo
Amit Chaudhuri photo
D. S. Bradford photo

“Stolen away were the bitter ends of yesterday
Marked for destruction
Mark these words
Bellowed from the collective consciousness
Of all that is pure
A life that we don't understand”

D. S. Bradford (1982) musician

A Call To The Stars II: A Home In The Sky, verse 2, lines 5-11
A Call To The Stars II: A Home In The Sky (2016)

John Kennedy Toole photo
Bernard Cornwell photo
Owen Lovejoy photo

“Is it desired to call attention to this fact? Proclaim it upon the house-tops! Write it upon every leaf that trembles in the forest! Make it blaze from the sun at high noon and shine forth in the radiance of every star that bedecks the firmament of God. Let it echo through all the arches of heaven, and reverberate and bellow through all the deep gorges of hell, where slave catchers will be very likely to hear it. Owen Lovejoy lives at Princeton, Illinois, three-quarters of a mile east of the village, and he aids every fugitive that comes to his door and asks it. Thou invisible demon of slavery! Dost thou think to cross my humble threshold, and forbid me to give bread to the hungry and shelter to the houseless? I bid you defiance in the name of my God.”

Owen Lovejoy (1811–1864) American politician

As quoted in His Brother's Blood: Speeches and Writings, 1838–64 https://books.google.com/books?id=qMEv8DNXVbIC&pg=PA178 (2004), edited by William Frederick Moore and Jane Ann Moore, p. 178
Also quoted in The History of Abraham Lincoln, and the Overthrow of Slavery http://books.google.com/books?id=RW0FAAAAQAAJ&pg=PA225, by Isaac Newton Arnold
Also quoted as Yes, I do assist fugitive slaves to escape! Proclaim it upon the house-tops; write it upon every leaf that trembles in the forest; make it blaze from the sun at high noon, and shine forth in the radiance of every star that bedecks the firmament of God. Let it echo through all the arches of heaven, and reverberate and bellow through all the deep gorges of hell, where slave catchers will be very likely to hear it. Owen Lovejoy lives at Princeton, Illinois, and he aids every fugitive that comes to his door and asks it. Thou invisible demon of slavery! Dost thou think to cross my humble threshold, and forbid me to give bread to the hungry and shelter to the houseless? I bid you defiance in the name of God.
1850s, The Fanaticism of the Democratic Party (February 1859)

Oliver Wendell Holmes photo

“Storms, thunders, waves!
Howl, crash, and bellow till ye get your fill;
Ye sometimes rest; men never can be still
But in their graves.”

Oliver Wendell Holmes (1809–1894) Poet, essayist, physician

"Daily Trials" in Companion Poets (1871).

Siegfried Sassoon photo

“October's bellowing anger breakes and cleaves
The bronzed battalions of the stricken wood”

"Autumn"
The Counter-Attack and Other Poems (1918)
Context: October's bellowing anger breakes and cleaves
The bronzed battalions of the stricken wood
In whose lament I hear a voice that grieves
For battle's fruitless harvest, and the feud
Of outrage men. Their lives are like the leaves
Scattered in flocks of ruin, tossed and blown
Along the westering furnace flaring red.
O martyred youth and manhood overthrown,
The burden of your wrongs is on my head.

I. A. Richards photo

“A book is a machine to think with, but it need not, therefore, usurp the functions either of the bellows or the locomotive.”

I. A. Richards (1893–1979) English literary critic and rhetorician

[Richards, I. A., Principles of Literary Criticism, 1924]
Principles of Literary Criticism

J. Howard Moore photo

“Kinship is universal. The orders, families, species, and races of the animal kingdom are the branches of a gigantic arbour. Every individual is a cell, every species is a tissue, and every order is an organ in the great surging, suffering, palpitating process. Man is simply one portion of the immense enterprise. He is as veritably an animal as the insect that drinks its little fill from his veins, the ox he goads, or the wild-fox that flees before his bellowings. Man is not a god, nor in any imminent danger of becoming one. He is not a celestial star-babe dropped down among mundane matters for a time and endowed with wing possibilities and the anatomy of a deity. He is a mammal of the order of primates, not so lamentable when we think of the hyena and the serpent, but an exceedingly discouraging vertebrate compared with what he ought to be. He has come up from the worm and the quadruped. His relatives dwell on the prairies and in the fields, forests, and waves. He shares the honours and partakes of the infirmities of all his kindred. He walks on his hind-limbs like the ape; he eats herbage and suckles his young like the ox; he slays his fellows and fills himself with their blood like the crocodile and the tiger; he grows old and dies, and turns to banqueting worms, like all that come from the elemental loins. He cannot exceed the winds like the hound, nor dissolve his image in the mid-day blue like the eagle. He has not the courage of the gorilla, the magnificence of the steed, nor the plaintive innocence of the ring-dove. Poor, pitiful, glory-hunting hideful! Born into a universe which he creates when he comes into it, and clinging, like all his kindred, to a clod that knows him not, he drives on in the preposterous storm of the atoms, as helpless to fashion his fate as the sleet that pelts him, and lost absolutely in the somnambulism of his own being.”

J. Howard Moore (1862–1916)

"Conclusion", p. 101
The Universal Kinship (1906), The Physical Kinship

Aisha photo
Victor Villaseñor photo