Quotes about classic

A collection of quotes on the topic of classic, time, timing, use.

Quotes about classic

Sergei Rachmaninoff photo
Alexis Karpouzos photo
Italo Calvino photo
Mark Twain photo

“"Classic." A book which people praise and don't read.”

Pudd'nhead Wilson's New Calendar, Ch. XXV
Following the Equator (1897)

Joanna MacGregor photo
Bruce Lee photo
Mark Gatiss photo
Lisa See photo
Kurt Gödel photo
Bruce Lee photo
Hans-Hermann Hoppe photo
Arthur Miller photo

“That is a very good question. I don't know the answer. But can you tell me the name of a classical Greek shoemaker?”

Arthur Miller (1915–2005) playwright from the United States

His reply to a shoe manufacturer who had asked why Miller's job should be subsidized when his was not, as recounted at a London press conference. The Guardian (25 January 1990)

Jay Nordlinger photo
Friedrich Nietzsche photo

“In order to be able thus to misjudge, and thus to grant left-handed veneration to our classics, people must have ceased to know them. This, generally speaking, is precisely what has happened. For, otherwise, one ought to know that there is only one way of honoring them, and that is to continue seeking with the same spirit and with the same courage, and not to weary of the search.”

Um aber unsere Klassiker so falsch beurteilen und so beschimpfend ehren zu können, muß man sie gar nicht mehr kennen: und dies ist die allgemeine Tatsache. Denn sonst müßte man wissen, daß es nur eine Art gibt, sie zu ehren, nämlich dadurch, daß man fortfährt, in ihrem Geiste und mit ihrem Mute zu suchen, und dabei nicht müde wird.
(A. Ludovici trans.), § 1.2
Untimely Meditations (1876)

Barack Obama photo
H.P. Lovecraft photo

“In infancy I was afraid of the dark, which I peopled with all sorts of things; but my grandfather cured me of that by daring me to walk through certain dark parts of the house when I was 3 or 4 years old. After that, dark places held a certain fascination for me. But it is in dreams that I have known the real clutch of stark, hideous, maddening, paralysing fear. My infant nightmares were classics, & in them there is not an abyss of agonising cosmic horror that I have not explored. I don't have such dreams now—but the memory of them will never leave me. It is undoubtedly from them that the darkest & most gruesome side of my fictional imagination is derived. At the ages of 3, 4, 5, 6, 7, & 8 I have been whirled through formless abysses of infinite night and adumbrated horrors as black & as seethingly sinister as any of our friend Fafhrd's [a nickname Lovecraft used for Fritz Leiber] "splatter-stencil" triumphs. That's why I appreciate such triumphs so keenly, I have seen these things! Many a time I have awaked in shrieks of panic, & have fought desperately to keep from sinking back into sleep & its unutterable horrors. At the age of six my dreams became peopled with a race of lean, faceless, rubbery, winged things to which I applied the home-made name of night-gaunts. Night after night they would appear in exactly the same form—& the terror they brought was beyond any verbal description. Long decades later I embodied them in one of my Fungi from Yuggoth pseudo-sonnets, which you may have read. Well—after I was 8 all these things abated, perhaps because of the scientific habit of mind which I was acquiring (or trying to acquire). I ceased to believe in religion or any other form of the supernatural, & the new logic gradually reached my subconscious imagination. Still, occasional nightmares brought recurrent touches of the ancient fear—& as late as 1919 I had some that I could use in fiction without much change. The Statement of Randolph Carter is a literal dream transcript. Now, in the sere & yellow leaf (I shall be 47 in August), I seem to be rather deserted by stark horror. I have nightmares only 2 or 3 times a year, & of these none even approaches those of my youth in soul-shattering, phobic monstrousness. It is fully a decade & more since I have known fear in its most stupefying & hideous form. And yet, so strong is the impress of the past, I shall never cease to be fascinated by fear as a subject for aesthetic treatment. Along with the element of cosmic mystery & outsideness, it will always interest me more than anything else. It is, in a way, amusing that one of my chief interests should be an emotion whose poignant extremes I have never known in waking life!”

H.P. Lovecraft (1890–1937) American author

Letter to Harry O. Fischer (late February 1937), in Selected Letters V, 1934-1937 edited by August Derleth and Donald Wandrei, pp. 416-417
Non-Fiction, Letters

Oscar Wilde photo
Bill Evans photo
H.P. Lovecraft photo
Hermann Minkowski photo
Rita Hayworth photo

“Perhaps if we thought for a second of the classic, simple elegance of the Spanish lady it might help us to be "simply" ourselves.”

Rita Hayworth (1918–1987) American actress, dancer and director

Article written as guest columnist for Arlene Dahl, headlined "Rita Hayworth Sees Simplicity As Part Of Beauty" in The Toledo Blade (11 March 1964)

Paul Dirac photo
Norbert Wiener photo

“Since Leibniz there has perhaps been no man who has had a full command of all the intellectual activity of his day. Since that time, science has been increasingly the task of specialists, in fields which show a tendency to grow progressively narrower… Today there are few scholars who can call themselves mathematicians or physicists or biologists without restriction. A man may be a topologist or a coleopterist. He will be filled with the jargon of his field, and will know all its literature and all its ramifications, but, more frequently than not, he will regard the next subject as something belonging to his colleague three doors down the corridor, and will consider any interest in it on his own part as an unwarrantable breach of privacy… There are fields of scientific work, as we shall see in the body of this book, which have been explored from the different sides of pure mathematics, statistics, electrical engineering, and neurophysiology; in which every single notion receives a separate name from each group, and in which important work has been triplicated or quadruplicated, while still other important work is delayed by the unavailability in one field of results that may have already become classical in the next field.
It is these boundary regions which offer the richest opportunities to the qualified investigator. They are at the same time the most refractory to the accepted techniques of mass attack and the division of labor. If the difficulty of a physiological problem is mathematical in essence, then physiologists ignorant of mathematics will get precisely as far as one physiologists ignorant of mathematics, and no further. If a physiologist who knows no mathematics works together with a mathematician who knows no physiology, the one will be unable to state his problem in terms that the other can manipulate, and the second will be unable to put the answers in any form that the first can understand… A proper exploration of these blank spaces on the map of science could only be made by a team of scientists, each a specialist in his own field but each possessing a thoroughly sound and trained acquaintance with the fields of his neighbors; all in the habit of working together, of knowing one another's intellectual customs, and of recognizing the significance of a colleague's new suggestion before it has taken on a full formal expression. The mathematician need not have the skill to conduct a physiological experiment, but he must have the skill to understand one, to criticize one, and to suggest one. The physiologist need not be able to prove a certain mathematical theorem, but he must be able to grasp its physiological significance and to tell the mathematician for what he should look. We had dreamed for years of an institution of independent scientists, working together in one of these backwoods of science, not as subordinates of some great executive officer, but joined by the desire, indeed by the spiritual necessity, to understand the region as a whole, and to lend one another the strength of that understanding.”

Source: Cybernetics: Or Control and Communication in the Animal and the Machine (1948), p. 2-4; As cited in: George Klir (2001) Facets of Systems Science, p. 47-48

Hjalmar Schacht photo

“It has been shown that, in contrast to everything which classical national economy has hitherto taught, not the producer but the consumer is the ruling factor in economic life.”

Hjalmar Schacht (1877–1970) German politician

As quoted Nazi Conspiracy and Aggression (1946) by the United States Department of State, Vol. 2, p. 746.

Antonin Scalia photo

“If one assumes, however, that the PGA TOUR has some legal obligation to play classic, Platonic golf—and if one assumes the correctness of all the other wrong turns the Court has made to get to this point—then we Justices must confront what is indeed an awesome responsibility. It has been rendered the solemn duty of the Supreme Court of the United States, laid upon it by Congress in pursuance of the Federal Government's power [t]o regulate Commerce with foreign Nations, and among the several States, U. S. Const., Art. I, § 8, cl. 3, to decide What Is Golf. I am sure that the Framers of the Constitution, aware of the 1457 edict of King James II of Scotland prohibiting golf because it interfered with the practice of archery, fully expected that sooner or later the paths of golf and government, the law and the links, would once again cross, and that the judges of this august Court would some day have to wrestle with that age-old jurisprudential question, for which their years of study in the law have so well prepared them: Is someone riding around a golf course from shot to shot really a golfer? The answer, we learn, is yes. The Court ultimately concludes, and it will henceforth be the Law of the Land, that walking is not a fundamental aspect of golf.”

Antonin Scalia (1936–2016) former Associate Justice of the Supreme Court of the United States

PGA Tour, Inc. v. Martin, 532 U.S. 661 http://caselaw.lp.findlaw.com/scripts/getcase.pl?court=us&vol=000&invol=00-24 (2001) (dissenting).
2000s

Otto Stern photo
Lotfi A. Zadeh photo
Igor Stravinsky photo
Frank Zappa photo

“Classical musicians go to the conservatories, rock´n roll musicians go to the garages.”

Frank Zappa (1940–1993) American musician, songwriter, composer, and record and film producer

Interview at Swedish Radio, programme Nightflite (circus 1980) http://home.swipnet.se/bengt-jonsson/zappaint.htm#Bobby

Friedrich Nietzsche photo
Martha C. Nussbaum photo

“When I arrived at Harvard in 1969, my fellow first-year graduate students and I were taken up to the roof of the Widener Library by a well-known professor of classics. He told us how many Episcopal churches could be seen from that vantage point. As a Jew (in fact a convert from Episcopalian Christianity), I knew that my husband and I would have been forbidden to marry in Harvard's church, which had just refused to accept a Jewish wedding. As a woman I could not eat in the main dining room of the faculty club, even as a member's guest. Only a few years before, a woman would not have been able to use the undergraduate library. In 1972 I became the first female to hold the Junior Fellowship that relieved certain graduate students from teaching so that they could get on with their research. At that time I received a letter of congratulation from a prestigious classicist saying that it would be difficult to know what to call a female fellow, since "fellowess" was an awkward term. Perhaps the Greek language could solve the problem: since the masculine for "fellow" in Greek was hetairos, I could be called a hetaira. Hetaira, however, as I knew, is the ancient Greek word not for “fellowess” but for “courtesan.””

Martha C. Nussbaum (1947) American philosopher

[Martha C. Nussbaum, Cultivating Humanity, https://books.google.com/books?id=V7QrAwAAQBAJ&pg=PA6, 1 October 1998, Harvard University Press, 978-0-674-73546-0, 6–7]

Benito Mussolini photo
John S. Bell photo
Marie von Ebner-Eschenbach photo

“People who read only the classics are sure to remain up-to-date.”

Marie von Ebner-Eschenbach (1830–1916) Austrian writer

Wenn man nur die Alten liest, ist man sicher, immer neu zu bleiben.
Source: Aphorisms (1880/1893), p. 24.

Oswald Spengler photo

“p>To the new International that is now in the irreversible process of preparation we can contribute the ideas of worldwide organization and the world state; the English can suggest the idea of worldwide exploitation and trusts; the French can offer nothing….
Thus we find two great economic principles opposed to each other in the modern world. The Viking has become a free-tradesman; the Teutonic knight is now an administrative official. There can be no reconciliation. Each of these principles is proclaimed by a German people, Faustian men par excellence. Neither can accept a restriction of its will, and neither can be satisfied until the whole world has succumbed to its particular idea. This being the case, war will be waged until one side gains final victory. Is world economy to be worldwide exploitation, or worldwide organization? Are the Caesars of the coming empire to be billionaires or universal administrators? Shall the population of the earth, so long as this empire of Faustian civilization holds together, be subjected to cartels and trusts, or to men such as those envisioned in the closing pages of Goethe’s Faust, Part II? Truly, the destiny of the world is at stake….
This brings us to the political aspects of the English-Prussian antithesis. Politics is the highest and most powerful dimension of all historical existence. World history is the history of states; the history of states is the history of wars. Ideas, when they press for decisions, assume the form of political units: countries, peoples, or parties. They must be fought over not with words but with weapons. Economic warfare becomes military warfare between countries or within countries. Religious associations such as Jewry and Islam, Huguenots and Mormons, constitute themselves as countries when it becomes a matter of their continued existence or their success. Everything that proceeds from the innermost soul to become flesh or fleshly creation demands a sacrifice of flesh in return. Ideas that have become blood demand blood. War is the eternal pattern of higher human existence, and countries exist for war’s sake; they are signs of readiness for war. And even if a tired and blood-drained humanity desired to do away with war, like the citizens of the Classical world during its final centuries, like the Indians and Chinese of today, it would merely exchange its role of war-wager for that of the object about and with which others would wage war. Even if a Faustian universal harmony could be attained, masterful types on the order of late Roman, late Chinese, or late Egyptian Caesars would battle each other for this Empire—for the possession of it, if its final form were capitalistic; or for the highest rank in it, if it should become socialistic.”

Oswald Spengler (1880–1936) German historian and philosopher

Prussianism and Socialism (1919)

Adolf A. Berle photo
Li Yundi photo

“My fans really love me, so they want to understand classical music and I want to help them.”

Li Yundi (1982) Chinese pianist

telegraph.co.uk http://www.telegraph.co.uk/culture/music/classicalmusic/10863146/Lang-Lang-Weve-never-met.html

Thomas Mann photo
Alfred de Musset photo
H.P. Lovecraft photo

“Everything I loved had been dead for two centuries—or, as in the case of Graeco-Roman classicism, for two milenniums. I am never a part of anything around me—in everything I am an outsider. Should I find it possible to crawl backward through the Halls of Time to that age which is nearest my own fancy, I should doubtless be bawled out of the coffee-houses for heresy in religion, or else lampooned by John Dennis till I found refuge in the deep, silent Thames, that covers many another unfortunate. Yes, I seem to be a decided pessimist!—But pray do not think, gentlemen, that I am utterly forlorn and misanthropick creature. … Despite my solitary life, I have found infinite joy in books and writing, and am by far too much interested in the affairs of the world to quit the scene before Nature shall claim me. Though not a participant in the Business of life; I am, like the character of Addison and Steele, an impartial (or more or less impartial) Spectator, who finds not a little recreation in watching the antics of those strange and puny puppets called men. A sense of humour has helped me to endure existence; in fact, when all else fails, I never fail to extract a sarcastic smile from the contemplation of my own empty and egotistical career!”

H.P. Lovecraft (1890–1937) American author

Letter to "The Keicomolo"—Kleiner, Cole, and Moe (October 1916), in Selected Letters I, 1911-1924 edited by August Derleth and Donald Wandrei, p. 27
Non-Fiction, Letters

Jascha Heifetz photo

“I have discovered three things which know no geographical borders - classical music, American jazz, and applause as the sign of the public's favor.”

Jascha Heifetz (1901–1987) Lithuanian violinist

Heifetz official web site http://www.jaschaheifetz.com/about/quotes.html

Paul Dirac photo
John Nash photo
C.G. Jung photo
Mark Twain photo

“Definition of a classic — something that everybody wants to have read and nobody wants to read.”

Mark Twain (1835–1910) American author and humorist

Quoting or paraphrasing a Professor Winchester in "Disappearance of Literature" http://etext.lib.virginia.edu/etcbin/toccer-new2?id=TwaSpee.sgm&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=52&division=div1, speech at the Nineteenth Century Club, New York, 20 November 1900, in Mark Twain's Speeches (1910), ed. William Dean Howells, p. 194 http://books.google.com/books?id=7etXZ5Q17ngC&pg=PA194
Variant: A classic – something that everybody wants to have read and nobody wants to read.

Niels Bohr photo
Natalie Portman photo

“I grew up in the classic American-Jewish suburbia, which has a whole different sense of what it means to be Jewish than anywhere else in the world.”

Natalie Portman (1981) Israeli-American actress

Interview, Jewish Chronicle, 6 July 2007 http://thejc.com/home.aspx?AId=44797&ATypeId=1&search=true2&srchstr=Natalie%20Portman&srchtxt=1&srchhead=1&srchauthor=1&srchsandp=1&scsrch=0

Karl Marx photo
Bertrand Russell photo
Paul Dirac photo
H.P. Lovecraft photo
Friedrich Nietzsche photo

“Philological considerations have slowly but surely taken the place of profound explorations of eternal problems. The question becomes: What did this or that philosopher think or not think? And is this or that text rightly ascribed to him or not? And even: Is this variant of a classical text preferable to that other? Students in university seminars today are encouraged to occupy themselves with such emasculated inquiries. As a result, of course, philosophy itself is banished from the university altogether.”

Friedrich Nietzsche (1844–1900) German philosopher, poet, composer, cultural critic, and classical philologist

So ist langsam an Stelle einer tiefsinnigen Ausdeutung der ewig gleichen Probleme ein historisches, ja selbst ein philologisches Abwägen und Fragen getreten: was der und jener Philosoph gedacht habe oder nicht, oder ob die und jene Schrift ihm mit Recht zuzuschreiben sei oder gar ob diese oder jene Lesart den Vorzug verdiene. Zu einem derartigen neutralen Sichbefassen mit Philosophie werden jetzt unsere Studenten in den philosophischen Seminarien unserer Universitäten angereizt: weshalb ich mich längst gewöhnt habe, eine solche Wissenschaft als Abzweigung der Philologie zu betrachten und ihre Vertreter danach abzuschätzen, ob sie gute Philologen sind oder nicht. Demnach ist nun freilich die Philosophie selbst von der Universität verbannt: womit unsre erste Frage nach dem Bildungswert der Universitäten beantwortet ist.
Anti-Education (1872)

Friedrich Nietzsche photo
Charles Bukowski photo
Janet Yellen photo
Frank Zappa photo

“I think that people are entitled to be amused, and entertained. If they see deviations from this classical norm, it's probably good for their mental health.”

Frank Zappa (1940–1993) American musician, songwriter, composer, and record and film producer

Cocaine Decisions (1983) http://youtube.com/watch?v=RDEwJ2xlSXk
Context: I'll tell you what classical music is, for those of you who don't know. Classical music is this music that was written by a bunch of dead people a long time ago. And it's formula music, the same as top forty music is formula music. In order to have a piece be classical, it has to conform to academic standards that were the current norms of that day and age … I think that people are entitled to be amused, and entertained. If they see deviations from this classical norm, it's probably good for their mental health.

Hermann Hesse photo

“Beginners learned how to establish parallels, by means of the Game's symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations.”

The Glass Bead Game (1943)
Context: Under the shifting hegemony of now this, now that science or art, the Game of games had developed into a kind of universal language through which the players could express values and set these in relation to one another. Throughout its history the Game was closely allied with music, and usually proceeded according to musical and mathematical rules. One theme, two themes, or three themes were stated, elaborated, varied, and underwent a development quite similar to that of the theme in a Bach fugue or a concerto movement. A Game, for example, might start from a given astronomical configuration, or from the actual theme of a Bach fugue, or from a sentence out of Leibniz or the Upanishads, and from this theme, depending on the intentions and talents of the player, it could either further explore and elaborate the initial motif or else enrich its expressiveness by allusions to kindred concepts. Beginners learned how to establish parallels, by means of the Game's symbols, between a piece of classical music and the formula for some law of nature. Experts and Masters of the Game freely wove the initial theme into unlimited combinations.

Bruce Lee photo

“All of his classical techniques and standard styles are minimized, if not wiped out, and nothingness prevails. He is no longer confined.”

Bruce Lee (1940–1973) Hong Kong-American actor, martial artist, philosopher and filmmaker

Source: The Warrior Within : The Philosophies of Bruce Lee (1996), p. 108-109
Context: The Three Stages of Cultivation — The first is the primitive stage. It is a stage of original ignorance in which a person knows nothing about the art of combat. In a fight, he simply blocks and strikes instinctively without a concern for what is right and wrong. Of course, he may not be so-called scientific, but, nevertheless, being himself, his attacks or defenses are fluid. The second stage — the stage of sophistication, or mechanical stage — begins when a person starts his training. He is taught the different ways of blocking, striking, kicking, standing, breathing, and thinking — unquestionably, he has gained the scientific knowledge of combat, but unfortunately his original self and sense of freedom are lost, and his action no longer flows by itself. His mind tends to freeze at different movements for calculations and analysis, and even worse, he might be called “intellectually bound” and maintain himself outside of the actual reality. The third stage — the stage of artlessness, or spontaneous stage — occurs when, after years of serious and hard practice, the student realizes that after all, gung fu is nothing special. And instead of trying to impose on his mind, he adjusts himself to his opponent like water pressing on an earthen wall. It flows through the slightest crack. There is nothing to try to do but try to be purposeless and formless, like water. All of his classical techniques and standard styles are minimized, if not wiped out, and nothingness prevails. He is no longer confined.

Billie Joe Armstrong photo
Steven Weinberg photo
Steven Weinberg photo
Tulsidas photo

“The Ramacharitamanas undoubtedly is the great poem worthy to rank among the great classical masterpieces of world literature.”

Tulsidas (1532–1623) Hindu poet-saint

Source: On Tulsidas’s epic Ramacharritamanas, P.E.Keay in "A Garden of Deeds: Ramacharitmanas, a Message of Human Ethics", p. 35

Leonardo DiCaprio photo
Max Planck photo

“I also knew the formula that expresses the energy distribution in the normal spectrum. A theoretical interpretation therefore had to be found at any cost, no matter how high. It was clear to me that classical physics could offer no solution to this problem, and would have meant that all energy would eventually transfer from matter to radiation. ...This approach was opened to me by maintaining the two laws of thermodynamics. The two laws, it seems to me, must be upheld under all circumstances. For the rest, I was ready to sacrifice every one of my previous convictions about physical laws. ...[One] finds that the continuous loss of energy into radiation can be prevented by assuming that energy is forced at the outset to remain together in certain quanta. This was purely a formal assumption and I really did not give it much thought except that no matter what the cost, I must bring about a positive result.”

Max Planck (1858–1947) German theoretical physicist

Letter to Robert W. Wood (October 7, 1931) in Archive for the History of Quantum Physics, Microfilm 66, 5, as cited in Thomas S. Kuhn, Black-Body Theory and the Quantum Discontinuity, 1894–1912 (1978) pp. 132, 288. Translation of the entire letter, which is follow above is in Armin Hermann, Frühgeschiche der Quantentheorie (1899–1913) Mosbach/Baden: Physik Verlag (1969), transl. Claude W. Nash, p. 23 of the translation; and also in M. S. Longair,Theoretical Concepts in Physics(Cambridge and NewYork: Cambridge University Press, 1984), ch. 6–12, p. 222. All as quoted/cited by Clayton A. Gearhart, "Planck, the Quantum, and the Historians" http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.613.4262&rep=rep1&type=pdf, Physics in Perspective, 4 (2002) 170-215.

Mwanandeke Kindembo photo
J.M. Coetzee photo
Sylvia Day photo
Edith Wharton photo
Hiro Mashima photo
Jim Butcher photo
William Goldman photo
Jon Stewart photo
Charles Bukowski photo

“I was fairly poor
but most of my money went
for wine and
classical music.
I loved to mix the two
together.”

Charles Bukowski (1920–1994) American writer

Source: The Last Night of the Earth Poems

Elizabeth Wurtzel photo

“Hemingway has his classic moment in "The Sun Also Rises" when someone asks Mike Campbell how he went bankrupt. All he can say is, "Gradually, then suddenly." That's how depression hits. You wake up one morning, afraid that you're gonna live.”

Variant: There is a classic moment in ‘The Sun Also Rises’ when someone asks Mike Campbell how he went bankrupt, and all he can say in response is, “Gradually and then suddenly.” When someone asks how I lost my mind, that’s all I can say too.
Source: Prozac Nation

Jennifer Weiner photo
Alan Bennett photo
Tim Gunn photo

“As long as we have Netfix, Turner Classic Movies, Amazon, YouTube, and bookstores, there is no excuse ever to lack inspiration.”

Tim Gunn (1953) American actor and fashion consultant

Source: Gunn's Golden Rules: Life's Little Lessons for Making It Work

Cassandra Clare photo
Paulo Coelho photo
Niall Ferguson photo

“So much of liberalism in its classical sense is taken for granted in the West today and even disrespected. We take freedom for granted, and because of this we don't understand how incredibly vulnerable it is.”

Niall Ferguson (1964) British historian

"Niall Ferguson: 'Westerners don't understand how vulnerable freedom is'" https://www.theguardian.com/books/2011/feb/20/niall-ferguson-interview-civilization, The Guardian, February 20, 2011.

Robert A. Heinlein photo
Alain de Botton photo
F. Scott Fitzgerald photo
Jim Al-Khalili photo
Gertrude Stein photo
William Goldman photo
Christopher Moore photo
Mark Tobey photo

“There has been 32 isms since the advent of Cubism, yet after all there are essentially the same two old strings, the Romantic and the Classical. We've just be confused by the storm. Science and psychology have played a great part to say nothing of sex.”

Mark Tobey (1890–1976) American abstract expressionist painter

The Tigers Eye 1, Mark Tobey, 1952; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p. 103
1950's

Silvia Colloca photo
Jeremy Rifkin photo
John R. Commons photo
Mani Madhava Chakyar photo

““Mani Madhava Chakyar was the personification of all the greatness of this rich Indian classical art tradition”
- Kapila Vatsyayan (leading scholar of classical Indian dance), 1990”

Mani Madhava Chakyar (1899–1990) Indian actor

Abhinaya and Netrābhinaya
Source: Kapila Vatsyayan, Gurupuja, Mathrubhumi weekly, February (11-17) 1990, p. 7.

Washington Irving photo
Victor Davis Hanson photo