Quotes about breeze
A collection of quotes on the topic of breeze, likeness, tree, look.
Quotes about breeze
“Sometimes I wish I was a cloud… Just floating along, going wherever the breeze takes me.”

Corot's description of the beginning of a day in Switzerland, Château de Gruyères, 1857; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963
1850s

Translated by Edward Rosen, Kepler's Conversation with Galileo's Sidereal Messenger (1965), p. 39
Unsourced variant translation: Provide ships or sails fit for the winds of heaven, and some will brave even that great void.
Dissertatio cum Nuncio Sidereo (1610)
Context: It is not improbable, I must point out, that there are inhabitants not only on the moon but on Jupiter too, or (as was delightfully remarked at a recent gathering of certain philosophers) that those areas are now being unveiled for the first time. But as soon as somebody demonstrates the art of flying, settlers from our species of man will not be lacking. Who would once have thought that the crossing of the wide ocean was calmer and safer than of the narrow Adriatic Sea, Baltic Sea, or English Channel? Given ships or sails adapted to the breezes of heaven, there will be those who will not shrink from even that vast expanse. Therefore, for the sake of those who, as it were, will presently be on hand to attempt this voyage, let us establish the astronomy, Galileo, you of Jupiter, and me of the moon.

As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 105.
Context: To seek in nature the fairest forms and to find the movement which expresses the soul of these forms — this is the art of the dancer. It is from nature alone that the dancer must draw his inspirations, in the same manner as the sculptor, with whom he has so many affinities. Rodin has said: "To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature." Rodin is right; and in my art I have by no means copied, as has been supposed, the figures of Greek vases, friezes and paintings. From them I have learned to regard nature, and when certain of my movements recall the gestures that are seen in works of art, it is only because, like them, they are drawn from the grand natural source.
My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm, between gentleness and the soft breeze, and the like, and I always endeavour to put into my movements a little of that divine continuity which gives to the whole of nature its beauty and its life.

“Your thighs are appletrees. Your knees are a southern breeze.”
Source: The Farmers' Daughters

Quote in a letter, from Paris 14 June 1869, to family-friend Ferdinand Martin; as cited by Colin B. Bailey in The Annenberg Collection: Masterpieces of Impressionism and Post-impressionism, publisher, Metropolitan Museum of Art, New York, 2009, p. 7
Boudin felt himself detained in the big city Paris and longed fort the beach
1850s - 1870s

"Strange Fruit" (1939). Though Holiday's renditions made this anti-lynching song famous, it was written by Abel Meeropol (using his pseudonym "Lewis Allen").
Misattributed

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 12.
Source: The Rag and Bone Shop (2000), p. 154

“He is truly a man who will not permit himself to be unduly elated when fortune’s breeze is favorable, or cast down when it is adverse.”
Is demum vir erit, cuius animum neque prosperae res flatu suo efferent nec adversae infringent
Book XLV, sec. 8
History of Rome
Source: Notes of Thought (1883), p. 91

The Tomorrow Show with Tom Snyder (27th June 1980)

Stanza 1
Ye Mariners of England http://www.poetsgraves.co.uk/Classic%20Poems/Campbell/ye%20mariners_of_england.htm (1800)

He'd say, "Any place is better than here."
Speech (9 November 1963). p. 11.
Malcolm X Speaks (1965)

Lays of Sorrow No. 2, opening lines
The Rectory Umbrella

“You see the dilemma?” Ham asked. “I see an idiot,” Breeze mumbled.”
Source: The Final Empire

“You cannot kill a breeze, a wind, a fragrance; you cannot kill a dream or an ambition.”

Stanza 1.
I Wandered Lonely as a Cloud http://www.bartleby.com/145/ww260.html (1804)
Source: I Wander'd Lonely as a Cloud

“My soul is awakened, my spirit is soaring and carried aloft on the wings of the breeze.”
Poems by Currer, Ellis, and Acton Bell (1846), Lines Composed in a Wood on a Windy Day (1842)
Context: My soul is awakened, my spirit is soaring <br/> And carried aloft on the wings of the breeze; <br/> For above and around me the wild wind is roaring, <br/> Arousing to rapture the earth and the seas.
Context: My soul is awakened, my spirit is soaring
And carried aloft on the wings of the breeze;
For above and around me the wild wind is roaring,
Arousing to rapture the earth and the seas.

Variant: That there are no random acts. That we are all connected. That you can no more separate on life from another than you can separate a breeze from the wind.
Source: The Five People You Meet in Heaven (2003)
Context: "All the people you meet here have one thing to teach you." Eddie was skeptical. His fists stayed clenched. "What?" he said. "That there are no random acts. That we are all connected. That you can no more separate one life from another than you can separate a breeze from the wind."
Source: We Have Always Lived in the Castle

“Summer bachelors like summer breezes, are never as cool as they pretend to be.”

“You should try not to talk so much, friend. You'll sound far less stupid that way.
- Breeze”
Source: The Final Empire

Source: Story People: Selected Stories & Drawings of Brian Andreas

“Sailors on a becalmed sea, we sense the stirring of a breeze.”
Source: Pale Blue Dot: A Vision of the Human Future in Space

Source: The Ultimate Hitchhiker's Guide: Five Complete Novels and One Story

En breu brizara'l temps braus
E'l biza, e'l brus e'l blancx
Qui s'entresenhon trastuig
De sobre claus ram de fuelha.
"En breu brizara'l temps braus", line 1; translation from Ezra Pound Instigations (1920) p. 309.

“Behold me, Lucius; moved by thy prayers, I appear to thee; I, who am Nature, the parent of all things, the mistress of all the elements, the primordial offspring of time, the supreme among Divinities, the queen of departed spirits, the first of the celestials, and the uniform manifestation of the Gods and Goddesses; who govern by my nod the luminous heights of heaven, the salubrious breezes of the ocean, and the anguished silent realms of the shades below: whose one sole divinity the whole orb of the earth venerates under a manifold form, with different rites, and under a variety of appellations.”
En adsum tuis commota, Luci, precibus, rerum naturae parens, elementorum omnium domina, saeculorum progenies initialis, summa numinum, regina manium, prima caelitum, deorum dearumque facies uniformis, quae caeli luminosa culmina, maris salubria flamina, inferum deplorata silentia nutibus meis dispenso: cuius numen unicum multiformi specie, ritu vario, nomine multiiugo totus veneratus orbis.
Bk. 11, ch. 5; p. 226.
Metamorphoses (The Golden Ass)

Excerpt from Ahmad Shah's letter to Madho Singh Raja of Jaipur, cited from M. J. Akbar The Shade of Swords: Jihad and the Conflict Between Islam and Christianity p. 129.

10 July 1834
Table Talk (1821–1834)

Poem XIX, translated by Wu Fusheng and Graham Hartill in The Poem of Ruan Ji (2006), p. 39, as reported in Constructing Irregular Theology (2009) by Paul S. Chung, p. 13

Heimsljós (World Light) (1940), Book Three: The House of the Poet

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter IV, Sec. 6
Lama’at (Divine Flashes)
The Owner Built Home: A How-to-do-it Book (1972)

"Afterthoughts on Afterlife", Instauration magazine (August 1980)
1970s, 1980s

“A breeze, a forgotten summer, a smile, all can fit into a storefront window.”
“Things,” p. 87
The Sun Watches the Sun (1999), Sequence: “A Game”

excerpt of her Journal (1897); as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 196
1897

<p>Perdigão perdeu a pena
Não há mal que lhe não venha.</p><p>Perdigão que o pensamento
Subiu a um alto lugar,
Perde a pena do voar,
Ganha a pena do tormento.
Não tem no ar nem no vento
Asas com que se sustenha:
Não há mal que lhe não venha.</p><p>Quis voar a üa alta torre,
Mas achou-se desasado;
E, vendo-se depenado,
De puro penado morre.
Se a queixumes se socorre,
Lança no fogo mais lenha:
Não há mal que lhe não venha.</p>
"Perdigão que o pensamento", tr. Landeg White in The Collected Lyric Poems of Luis de Camoes (2016), p. 251
Listen to the poem in Portuguese https://www.youtube.com/watch?v=5P4_2W-ZwV8&feature=youtu.be&t=10m31s
Lyric poetry, Songs (redondilhas)

The Strange Lady http://www.gutenberg.org/files/16341/16341-h/16341-h.htm#page211, st. 6 (1835)

He here quotes statements made about William Shakespeare by Samuel Johnson, and then one made in reference to Timon by Alexander Pope in Moral Essays.
Oration at Plymouth (1802)

"Carolina", st. VII, 2–3
An adaptation of this poem , edited by G.R. Goodwin and set to music by Anne Curtis Burgess, was adopted as the official state song of Carolina in 1911.

Quote from John Constable's letter to C.R. Leslie (March 1833), from The Letters of John Constable, R.A. to C. R. Leslie, R.A. 1826-1837 (Constable & Co., 1931), p. 104
1830s

La verginella e simile alla rosa
Ch'in bel giardin' su la nativa spina
Mentre sola e sicura si riposa
Ne gregge ne pastor se le avvicina;
L'aura soave e l'alba rugiadosa,
L'acqua, la terra al suo favor s'inchina:
Gioveni vaghi e donne inamorate
Amano averne e seni e tempie ornate.<p>Ma no si tosto dal materno stelo
Rimossa viene, e dal suo ceppo verde
Che quato havea dagli huoi e dal cielo
Favor gratia e bellezza tutto perde.
Canto I, stanzas 42–43 (tr. G. Waldman)
Compare:
Ut flos in saeptis secretus nascitur hortis,
Ignotus pecori, nullo contusus aratro,
Quem mulcent aurae, firmat sol, educat imber;
Multi illum pueri, multae optavere puellae:
idem cum tenui carptus defloruit ungui,
nulli illum pueri, nullae optavere puellae:
sic virgo, dum intacta manet, dum cara suis est;
cum castum amisit polluto corpore florem,
nec pueris iucunda manet, nec cara puellis.
As a flower springs up secretly in a fenced garden, unknown to the cattle, torn up by no plough, which the winds caress, the sun strengthens, the shower draws forth, many boys, many girls, desire it: so a maiden, whilst she remains untouched, so long she is dear to her own; when she has lost her chaste flower with sullied body, she remains neither lovely to boys nor dear to girls.
Catullus, Carmina, LXII (tr. Francis Warre-Cornish)
Orlando Furioso (1532)