Quotes about composer

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Source: Isaiah's Job (1936), I
Context: This story is much worth recalling just now when so many wise men and soothsayers appear to be burdened with a message to the masses. … I can not remember a time when so many energumens were so variously proclaiming the Word to the multitude and telling them what they must do to be saved. This being so, it occurred to me, as I say, that the story of Isaiah might have something in it to steady and compose the human spirit until this tyranny of windiness is overpast. I shall paraphrase the story in our common speech, since it has to be pieced out from various sources; and inasmuch as respectable scholars have thought fit to put out a whole new version of the Bible in the American vernacular, I shall take shelter behind them, if need be, against the charge of dealing irreverently with the Sacred Scriptures.

Autobiography of Values (1978)
Context: I know myself as mortal, but this raises the question: "What is I?" Am I an individual, or am I an evolving life stream composed of countless selves? … As one identity, I was born in AD 1902. But as AD twentieth-century man, I am billions of years old. The life I consider as myself has existed though past eons with unbroken continuity. Individuals are custodians of the life stream — temporal manifestations of far greater being, forming from and returning to their essence like so many dreams. … I recall standing on the edge of a deep valley in the Hawaiian island of Maui, thinking that the life stream is like a mountain river — springing from hidden sources, born out of the earth, touched by stars, merging, blending, evolving in the shape momentarily seen. It is molecules probing through time, found smooth-flowing, adjusted to shaped and shaping banks, roiled by rocks and tree trunks — composed again. Now it ends, apparently, at a lava brink, a precipitous fall.
Near the fall's brink, I saw death as death cannot be seen. I stared at the very end of life, and at life that forms beyond, at the fact of immortality. Dark water bent, broke, disintegrated, transformed to apparition — a tall, stately ghost soul emerged from body, and the finite individuality of the whole becomes the infinite individuality of particles. Mist drifted, disappeared in air, a vanishing of spirit. Far below in the valley, I saw another river, reincarnated from the first, its particles reorganized to form a second body. It carried the same name. It was similar in appearance. It also ended at a lava brink. Flow followed fall, and fall followed flow as I descended the mountainside. The river was mortal and immortal as life, as becoming.

Address at Yale University, New Haven, Connecticut (9 June 1957).
Context: Could Hamlet have been written by a committee, or the Mona Lisa painted by a club? Could the New Testament have been composed as a conference report? Creative ideas do not spring from groups. They spring from individuals. The divine spark leaps from the finger of God to the finger of Adam, whether it takes ultimate shape in a law of physics or a law of the land, a poem or a policy, a sonata or a mechanical computer.

Book of Taliesin (c. 1275?), The Fold of the Bards
Context: The rock wave-surrounded, by great arrangement,
Will convey for us a defence, a protection from the enemy.
The rock of the chief proprietor, the head of tranquillity.
The intoxication of meads will cause us to speak.
I am a cell, I am a cleft, I am a restoration,
I am the depository of song; I am a literary man;
I love the high trees, that afford a protection above,
And a bard that composes, without earning anger;
I love not him that causes contention;
He that speaks ill of the skilful shall not possess mead.

Black Boy (1945)

On Chopin's Preludes in Histoire de Ma Vie (1902-04), Vo. IV, p. 439
Context: It was there he composed these most beautiful of short pages which he modestly entitled the Preludes. They are masterpieces. Several bring to mind visions of deceased monks and the sound of funeral chants; others are melancholy and fragrant; they came to him in times of sun and health, in the clamor of laughing children under he window, the faraway sound of guitars, birdsongs from the moist leaves, in the sight of the small pale roses coming in bloom on the snow. … Still others are of a mournful sadness, and while charming your ear, they break your heart. There is one that came to him through an evening of dismal rain — it casts the soul into a terrible dejection. Maurice and I had left him in good health one morning to go shopping in Palma for things we needed at out "encampment." The rain came in overflowing torrents. We made three leagues in six hours, only to return in the middle of a flood. We got back in absolute dark, shoeless, having been abandoned by our driver to cross unheard of perils. We hurried, knowing how our sick one would worry. Indeed he had, but now was as though congealed in a kind of quiet desperation, and, weeping, he was playing his wonderful Prelude. Seeing us come in, he got up with a cry, then said with a bewildered air and a strange tone, "Ah, I was sure that you were dead." When he recovered his spirits and saw the state we were in, he was ill, picturing the dangers we had been through, but he confessed to me that while waiting for us he had seen it all in a dream, and no longer distinguished the dream from reality, he became calm and drowsy while playing the piano, persuaded that he was dead himself. He saw himself drowned in a lake. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. He was even angry that I should intepret this in terms of imitative sounds. He protested with all his might — and he was right to — against the childishness of such aural imitations. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky. … The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.

Antifederalist Papers http://teachingamericanhistory.org/library/index.asp?subcategory=73 John DeWitt IV http://teachingamericanhistory.org/library/index.asp?document=1649 (1787)
Attributed
Context: It is asserted by the most respectable writers upon Government, that a well regulated militia, composed of the yeomanry of the country have ever been considered as the bulwark of a free people; and, says the celebrated Mr. Hume, "without it, it is folly to think any free government will have stability or security. When the sword is introduced, as in our constitution (speaking of the British) the person entrusted will always neglect to discipline the militia, in order to have a pretext for keeping up a standing army; and it is evident this is a mortal distemper in the British parliament, of which it must finally inevitably perish."

Confessions Of A Sceptic
The Nemesis of Faith (1849)
Context: Belief is the result of the proportion, whatever it he, in which the many elements which go to make the human being are combined. In some the grosser nature preponderates; they believe largely in their stomachs, in the comforts and conveniences of life, and being of such kind, so long as these are not threatened, they gravitate steadily towards the earth. Numerically this is the largest class of believers, with very various denominations indeed; bearing the names of every faith beneath the sky, and composing the conservative elements in them, and therefore commonly persons of much weight in established systems. But they are what I have called them: their hearts are where I said they were, and as such interests are commonly selfish, and self separates instead of unites, they are not generally powerful against any heavy trial. Others of keener susceptibility are yet volatile, with slight power of continuance, and fly from attraction to attraction in the current of novelty. Others of stronger temper gravitate more slowly, but combine more firmly, and only disunite again when the idea or soul of the body into which they form dies out, or they fall under the influence of some very attractive force indeed. It may be doubted, indeed, whether a body which is really organised by a living idea can lose a healthy member except by violence.

Anarchism: Its Philosophy and Ideal (1896)
Context: It is not without a certain hesitation that I have decided to take the philosophy and ideal of Anarchy as the subject of this lecture.
Those who are persuaded that Anarchy is a collection of visions relating to the future, and an unconscious striving toward the destruction of all present civilization, are still very numerous; and to clear the ground of such prejudices of our education as maintain this view we should have, perhaps, to enter into many details which it would be difficult to embody in a single lecture. Did not the Parisian press, only two or three years ago, maintain that the whole philosophy of Anarchy consisted in destruction, and that its only argument was violence?
Nevertheless Anarchists have been spoken of so much lately, that part of the public has at last taken to reading and discussing our doctrines. Sometimes men have even given themselves trouble to reflect, and at the present moment we have at least gained a point: it is willingly admitted that Anarchists have an ideal. Their ideal is even found too beautiful, too lofty for a society not composed of superior beings.

Source: Vestiges of the Natural History of Creation (1844), p. 35
Context: It is remarkable of the simple substances that they are generally in some compound form. Thus oxygen and nitrogen, though in union they form the aerial envelope of the globe, are never found separate in nature. Carbon is pure only in the diamond. And the metallic bases of the earths, though the chemist can disengage them, may well be supposed unlikely to remain long uncombined, seeing that contact with moisture makes them burn. Combination and re-combination are principles largely pervading nature. There are few rocks, for example, that are not composed of at least two varieties of matter, each of which is again a compound of elementary substances. What is still more wonderful with respect to this principle of combination, all the elementary substances observe certain mathematical proportions in their unions. It is hence supposed that matter is composed of infinitely minute particles or atoms, each of which belonging to any one substance, can only (through the operation of some as yet hidden law) associate with a certain number of the atoms of any other.

Act IV, scene 1, as translated by Getrude Hall
Cyrano de Bergerac (1897)
Context: Valvert: Villain, clod-poll, flat-foot, refuse of the earth!
Cyrano: [taking off his hat and bowing as if the Vicomte had been introducing himself] Ah? … And mine, Cyrano-Savinien-Hercule of Bergerac!
Valvert: [exasperated] Buffoon!
Cyrano: [giving a sudden cry, as if seized with a cramp] Aï! …
Valvert: [who had started toward the back, turning] What is he saying now?
Cyrano: [screwing his face as if in pain] It must have leave to stir … it has a cramp! It is bad for it to be kept still so long!
Valvert: What is the matter?
Cyrano: My rapier prickles like a foot asleep!
Valvert: [drawing] So be it!
Cyrano: I shall give you a charming little hurt!
Valvert: [contemptous] Poet!
Cyrano: Yes, a poet, … and, to such an extent, that while we fence, I will, hop!, extempore, compose you a ballade!
Valvert: A ballade?
Cyrano: I fear you do not know what that is.
Valvert: But …
Cyrano: [as if saying a lesson] The ballade is composed of three stanzas of eight lines each …
Valvert: [stamps with his feet] Oh!
Cyrano: [continuing] And an envoi of four.
Valvert: You …
Cyrano: I will with the same breath fight you and compose one. And, at the last line, I will hit you. Valvert: Indeed you will not!
Cyrano: No? … [Declaiming]
Ballade of the duel which in Burgundy house
Monsieur de Bergerac fought with a jackanape …
Valvert: And what is that, if you please?
Cyrano: That is the title.
[ … ]
Cyrano: [closing his eyes a second] Wait. I am settling upon the rhymes. There. I have them. [in declaiming, he suits the action to the word]
Of my broad felt made lighter,
I cast my mantle broad,
And stand, poet and fighter,
To do and to record.
I bow, I draw my sword …
En garde! With steel and wit
I play you at first abord …
At the last line, I hit! [They begin fencing] You should have been politer;
Where had you best be gored?
The left side or the right — ah?
Or next your azure cord?
Or where the spleen is stored?
Or in the stomach pit?
Come we to quick accord …
At the last line, I hit! You falter, you turn whiter?
You do so to afford
Your foe a rhyme in "iter"? …
You thrust at me — I ward —
And balance is restored.
Laridon! Look to your spit! …
No, you shall not be floored
Before my cue to hit! [He announces solemnly] Envoi Prince, call upon the Lord! …
I skirmish … feint a bit …
I lunge! … I keep my word!
[The Vicomte staggers, Cyrano bows. ]
At the last line, I hit!

“Morality and literature,” pp. 161-162
On Science, Necessity, and the Love of God (1968)
Context: It is not only in literature that fiction generates immorality. It does it also in life itself. For the substance of our life is almost exclusively composed of fiction. We fictionalize our future, and, unless we are heroically devoted to truth, we fictionalize our past, refashioning it to our taste. We do not study other people; we invent what they are thinking, saying, and doing. Reality provides us with some raw material, just as novelists often take a theme from a news item, but we envelop it in a fog in which, as in all fiction, values are reversed, so that evil is attractive and good is tedious.

Debussy Letters (1987) edited by Francois Lesure and Roger Nichols

"Lies and consequences." in The American Prospect (19 May 2002) http://prospect.org/cs/articles?article=lies_and_consequences&gId=6282
Context: To rationalize their lies, people — and the governments, churches, or terrorist cells they compose — are apt to regard their private interests and desires as just. Clinton may have lied to preserve his power while telling himself that he was lying to protect “the people” who benefited from his presidency. Liars — especially liars in power — often conflate their interest with the public interest. (What’s good for General Motors is good for the United States.) Or they consider their lies sanctified by the essential goodness they presume to embody, like terrorists who believe that murder is sanctified by the godliness of their aspirations. Sanctimony probably engenders at least as much lying as cynicism. We can’t condemn lying categorically, but we should categorically suspect it.

Astronomical Observations relating to the Construction of the Heavens... (1811), p. 270

As quoted in The Jewish Encyclopedia (12 vols. 1901-1906) http://www.jewishencyclopedia.com/view.jsp?artid=905&letter=M
Guide for the Perplexed (c. 1190), Introduction
Context: I have composed this work neither for the common people, nor for beginners, nor for those who occupy themselves only with the Law as it is handed down without concerning themselves with its principles. The design of this work is rather to promote the true understanding of the real spirit of the Law, to guide those religious persons who, adhering to the Torah, have studied philosophy and are embarrassed by the contradictions between the teachings of philosophy and the literal sense of the Torah.

Ch LXXIII.
Magick Without Tears (1954)
Context: As soon as you put men together, they somehow sink, corporatively, below the level of the worst of the individuals composing it. Collect scholars on a club committee, or men of science on a jury; all their virtues vanish, and their vices pop out, reinforced by the self-confidence which the power of numbers is bound to bestow.

Introduction
Cosmopolis (1892)
Context: You, who know better than any one the motley world of cosmopolites, understand why I have confined myself to painting here only a fragment of it. That world, indeed, does not exist, it can have neither defined customs nor a general character. It is composed of exceptions and of singularities. We are so naturally creatures of custom, our continual mobility has such a need of gravitating around one fixed axis, that motives of a personal order alone can determine us upon an habitual and voluntary exile from our native land. It is so, now in the case of an artist, a person seeking for instruction and change; now in the case of a business man who desires to escape the consequences of some scandalous error; now in the case of a man of pleasure in search of new adventures; in the case of another, who cherishes prejudices from birth, it is the longing to find the "happy mean;" in the case of another, flight from distasteful memories. The life of the cosmopolite can conceal all beneath the vulgarity of its whims, from snobbery in quest of higher connections to swindling in quest of easier prey, submitting to the brilliant frivolities of the sport, the sombre intrigues of policy, or the sadness of a life which has been a failure. Such a variety of causes renders at once very attractive and almost impracticable the task of the author who takes as a model that ever-changing society so like unto itself in the exterior rites and fashions, so really, so intimately complex and composite in its fundamental elements. The writer is compelled to take from it a series of leading facts, as I have done, essaying to deduce a law which governs them.

The Saviors of God (1923)
Context: Every man has his own circle composed of trees, animals, men, ideas, and he is in duty bound to save this circle. He, and no one else. If he does not save it, he cannot be saved.
These are the labors each man is given and is in duty bound to complete before he dies. He may not otherwise be saved. For his own soul is scattered and enslaved in these things about him, in trees, in animals, in men, in ideas, and it is his own soul he saves by completing these labors.

Part I, ch. XII.
Letters of Two Brides (1841-1842)
Context: A country is strong which consists of wealthy families, every member of whom is interested in defending a common treasure; it is weak when composed of scattered individuals, to whom it matters little whether they obey seven or one, a Russian or a Corsican, so long as each keeps his own plot of land, blind in their wretched egotism, to the fact that the day is coming when this too will be torn from them.

Moreover, it has a beginning, a middle, and an end.
I. 1. as translated by William Whewell and as quoted by Florian Cajori, A History of Physics in its Elementary Branches (1899) as Aristotle's proof that the world is perfect.
On the Heavens

Introduction
Capitalism and Freedom (1962)
Context: To the free man, the country is the collection of individuals who compose it, not something over and above them. He is proud of a common heritage and loyal to common traditions. But he regards government as a means, an instrumentality, neither a grantor of favors and gifts, nor a master or god to be blindly worshipped and served.

What Will Get Us Ready (1944)
Context: If we are to reach and garner the present day seekers who exist in every neighborhood, persons who are disillusioned over the effectiveness and value of the ordinary run of church service, our Quaker meetings must become unique centers of spiritual life, where there is felt a thrill of reality. That means that they must be occasions when life is lifted up and seen and felt in its true divine possibilities.
I am looking for a time, and not counting on it, when we shall have a Society of Friends not composed of a few awakened leaders and a body of unkindled quiescent members who move in the ancient grooves of habit and routine. But instead a live membership of persons who have thought out their principles of life and not merely adopted them second hand.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 73

Histories, VI, 56:10-12
Often quoted in the version found in The Fine Art of Baloney Detection by Carl Sagan from The Demon-Haunted World:
Since the masses of the people are inconstant, full of unruly desires, passionate, and reckless of consequences, they must be filled with fears to keep them in order. The ancients did well, therefore, to invent gods, and the belief in punishment after death.
The Histories

Source: The Philosophical and Mathematical Commentaries of Proclus on the First Book of Euclid's Elements Vol. 1 (1788), Ch. IV.

Alexis (1929)
Context: Every silence is composed of nothing but unspoken words. Perhaps that is why I became a musician. Someone had to express this silence, make it render up all the sadness it contained, make it sing as it were. Someone had to use not words, which are always too precise not to be cruel, but simply music.

"New Maps of Hyperspace" (1989); originally published in Magical Blend magazine, also in The Archaic Revival: Speculations on Psychedelic Mushrooms, the Amazon, Virtual Reality, UFOs, Evolution, Shamanism, the Rebirth of the Goddess, and the End of History (1992)]
Context: The alternative physics is a physics of light. Light is composed of photons, which have no antiparticle. This means that there is no dualism in the world of light. The conventions of relativity say that time slows down as one approaches the speed of light, but if one tries to imagine the point of view of a thing made of light, one must realize that what is never mentioned is that if one moves at the speed of light there is no time whatsoever. There is an experience of time zero. … The only experience of time that one can have is of a subjective time that is created by one's own mental processes, but in relationship to the Newtonian universe there is no time whatsoever. One exists in eternity, one has become eternal, the universe is aging at a staggering rate all around one in this situation, but that is perceived as a fact of this universe — the way we perceive Newtonian physics as a fact of this universe. One has transited into the eternal mode. One is then apart from the moving image; one exists in the completion of eternity.

Source: Sir William Herschel: His Life and Works (1880), Ch.4 "Life and Works"
Context: Nebulæ can be selected so that an insensible gradation shall take place from a coarse cluster like the Pleiades down to a milky nebulosity like that in Orion, every intermediate step being represented. This tends to confirm the hypothesis that all are composed of stars more or less remote.

As quoted in Setting the Tempo : Fifty Years of Great Jazz Liner Notes (1996) by Tom Piazza. p. 339
Context: What do you think happens to a composer who is sincere and loves to write and has to wait thirty years to have someone play a piece of his music? Had I been born in a different country or had I been born white, I am sure I would have expressed my ideas long ago. Maybe they wouldn't have been as good because when people are born free — I can't imagine it, but I've got a feeling that if it's so easy for you — the struggle and the initiative are not as strong as they are for a person who has to struggle and therefore has more to say.

Book X
The Columbiad (1807)
Context: Here then, said Hesper, with a blissful smile,
Behold the fruits of thy long years of toil.
To yon bright borders of Atlantic day
Thy swelling pinions led the trackless way,
And taught mankind such useful deeds to dare,
To trace new seas and happy nations rear;
Till by fraternal hands their sails unfurl'd
Have waved at last in union o'er the world. Then let thy steadfast soul no more complain
Of dangers braved and griefs endured in vain,
Of courts insidious, envy's poison'd stings,
The loss of empire and the frown of kings;
While these broad views thy better thoughts compose
To spurn the malice of insulting foes;
And all the joys descending ages gain,
Repay thy labors and remove thy pain.

Book II, Ch. I, pp. 93-94.
Physics

Leon M. Lederman, p.103 The God Particle: If the Universe is the Answer, what is the Question? (1993) https://books.google.hr/books?id=-v84Bp-LNNIC
Context: The phrase "ahead of his time" is overused. I'm going to use it anyway. I'm not referring to Galileo or Newton. Both were definitely right on time, neither late or early. Gravity, experimentation, measurement, mathematical proofs … all these things were in the air. Galileo, Kepler, Brahe, and Newton were accepted - heralded! - in their own time, because they came up with ideas that scientific community was ready to accept. Not everyone is so fortunate. Roger Jospeh Boscovich … speculated that this classical law must break down altogether at the atomic scale, where the forces of attraction are replaced by an oscillation between attractive and repulsive forces. An amazing thought for a scientist in the eighteenth century. Boscovich also struggled with the old action-at-a-distance problem. Being a geometer more than anything else, he came up with the idea of "fields of force" to explain how forces exert control over objects at a distance. But wait, there's more! Boscovich had this other idea, one that was real crazy for the eighteenth century (or perhaps any century). Matter is composed of invisible, indivisible a-toms, he said. Nothing particularly new there. Leucippus, Democritus, Galileo, Newton, and other would have agreed with him. Here's the good part: Boscovich said these particles had no size; that is, they were geometrical points … a point is just a place; it has no dimensions. And here's Boscovich putting forth the proposition that matter is composed of particles that have no dimensions! We found a particle just a couple of decades ago that fits a description. It's called a quark.

Interview with Gunther Schuller (1965, p. 34), quoted in Sound Structure in Music (1975) bu Robert Erickson; University of California Press. .
Context: I was not influenced by composers as much as by natural objects and physical phenomena. As a child, I was tremendously impressed by the qualities and character of the granite I found in Burgundy, where I often visited my grandfather... So I was always in touch with things of stone and with this kind of pure structural architecture — without frills or unnecessary decoration. All of this became an integral part of my thinking at a very early stage.

1963, Speech at Amherst College
Context: If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth. And as Mr. MacLeish once remarked of poets, there is nothing worse for our trade than to be in style. In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society — in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost's hired man, the fate of having "nothing to look backward to with pride, and nothing to look forward to with hope."

Variant translation:
With gaudy words their lines are formed
And further adorned by novel and curious phrases.
Yet if they fail to express what is in their own minds
What is the use, no matter
How many poems they compose!
"Zen Poetics of Ryokan" in Simply Haiku: A Quarterly Journal of Japanese Short Form Poetry (Summer 2006)
Dewdrops on a Lotus Leaf : Zen Poems of Ryokan (1993)

Upon the Sovereign Sun (362)
Context: On the same subject you will obtain more complete and more abstruse information by consulting the works upon it composed by the divine Iamblichus: you will find there the extreme limit of human wisdom attained. May the mighty Sun grant me to attain to no less knowledge of himself, and to teach it publicly to all, and privately to such as are worthy to receive it: and as long as the god grants this to us, let us consult in common his well-beloved Iamblichus; out of whose abundance a few things, that have come into my mind, I have here set down. That no other person will treat of this subject more perfectly than he has done, I am well aware; not even though he should expend much additional labour in making new discoveries in the research; for in all probability he will go astray from the most correct conception of the nature of the god.

1920s, First State of the Union Address (1923)
Context: Already a considerable sum is appropriated to give the negroes vocational training in agriculture. About half a million dollars is recommended for medical courses at Howard University to help contribute to the education of 500 colored doctors needed each year. On account of the integration of large numbers into industrial centers, it has been proposed that a commission be created, composed of members from both races, to formulate a better policy for mutual understanding and confidence. Such an effort is to be commended. Everyone would rejoice in the accomplishment of the results which it seeks. But it is well to recognize that these difficulties are to a large extent local problems which must be worked out by the mutual forbearance and human kindness of each community. Such a method gives much more promise of a real remedy than outside interference.

Source:"Defence and Illustration of Classical Construction," Cahiers du Cinéma (Paris, Sept. 15, 1952).
Cited in: Fayek S. Hourani, Daily Bread for Your Mind and Soul: A Handbook of Transcultural Proverb and Sayings https://books.google.nl/books?id=ASN8DVH2AgYC&pg=PA169&lpg=PA169&dq=%22Beauty+is+composed+of+an+eternal,+invariable+element+whose+quantity+is+extremely+difficult+to+determine%22&source=bl&ots=JwrnY2eVbL&sig=1XbUReB25BMZsF5sXNTPqHqhwJU&hl=nl&sa=X&ved=0ahUKEwiMjZS2rJ_LAhUqGZoKHfIWBvMQ6AEIOzAE#v=onepage&q=%22Beauty%20is%20composed%20of%20an%20eternal%2C%20invariable%20element%20whose%20quantity%20is%20extremely%20difficult%20to%20determine%22&f=false, 2012, p. 169

1930s, Obituary for Emmy Noether (1935)
Context: The efforts of most human-beings are consumed in the struggle for their daily bread, but most of those who are, either through fortune or some special gift, relieved of this struggle are largely absorbed in further improving their worldly lot. Beneath the effort directed toward the accumulation of worldly goods lies all too frequently the illusion that this is the most substantial and desirable end to be achieved; but there is, fortunately, a minority composed of those who recognize early in their lives that the most beautiful and satisfying experiences open to humankind are not derived from the outside, but are bound up with the development of the individual's own feeling, thinking and acting. The genuine artists, investigators and thinkers have always been persons of this kind. However inconspicuously the life of these individuals runs its course, none the less the fruits of their endeavors are the most valuable contributions which one generation can make to its successors.

"The Composer on His Work : Meditation on a Twelve-Tone Horse", in Classic Essays on Twentieth-Century Music : A Continuing Symposium (1996) edited by Richard Kostelanetz and Joseph Darby, , p. 169
Context: A composer's awareness of the plurality of functions of his own tools forms the basis for his responsibility just as, in everyday life, every man's responsibility begins with the recognition of the multiplicity of human races, conditions, needs, and ideals. I would go as far as to say (as my anger comes back) that any attempt to codify musical reality into a kind of imitation grammar (I refer mainly to the efforts associated with the Twelve-Tone System) is a brand of fetishism which shares with Fascism and racism the tendency to reduce live processes to immobile, labeled objects, the tendency to deal with formalities rather than substance. Claude Lévi-Strauss describes (though to illustrate a different point) a captain at sea, his ship reduced to a frail raft without sails, who, by enforcing a meticulous protocol on his crew, is able to distract them from nostalgia for a safe harbor and from the desire for a destination.

As quoted in an interview with José Rodriguez (c. 1936) in Schoenberg‎ (1971) by Merle Armitage, p. 149
after 1930
Context: I see the work as a whole first. Then I compose the details. In working out, I always lose something. This cannot be avoided. There is always some loss when we materialize. But there is compensating gain in vitality.

p. 1 https://archive.org/details/cu31924029302191/page/n13
History of New Testament Criticism (1910)

On an article by Quanta magazine(when asked: Is there one big question that has always guided you?) https://www.quantamagazine.org/michael-atiyahs-mathematical-dreams-20160303

Source: The Story of Jesus (1938), Chapter 1

The Transhumanism Handbook, 2019

Metaphysics by Aristotle – Book 1, ClassicalWisdom.com
The second sentence is in Metaphysics A 2, 928^b 17–20, Aristotle: Metaphysics Beta: Symposium Aristotelicum, Michel Crubellier & Andre´ Laks, eds. (Oxford University Press, 2009), p. 4.
Metaphysics
Variant: [And] one who experiences a difficulty and who feels wonder thinks that he does not understand..., so that, if it is to escape ignorance that they have practised philosophy, then it is clearly for the sake of knowing, and not for any practical purpose, that they have pursued understanding.

Chronicle "Interdit aux hommes" (Forbidden to men), by Doris Veillette-Hamel, Journal Le Nouvelliste, December 8, 1973, page 19.
Chronicle "Forbidden to men", 1973

And something unspeakably holy—I don't know how else to say this—underlies our discovery and confirmation of the actual details that made our world and also, in realms of contingency, assured the minutiae of its construction in the manner we know, and not in any one of a trillion other ways, nearly all of which would not have included the evolution of a scribe to record the beauty, the cruelty, the fascination, and the mystery.
Source: The Structure of Evolutionary Theory (2002), p. 1342

Peter J. Rabinowitz in Fanfare - The Magazin for Serious Record Collectors, USA, January/February 2011, Chopin-Schumann Anniversary Edition 2010 in the interpretation of Burkard Schliessmann, Volume 34, Number 3, p. 255

"Human Nature is Defective", speech to the Young People's Socialist League, The Chicago Tribune, 20 Oct. 1910

Source: Democracy for the Few (2010 [1974]), sixth edition, Chapter 3, p. 33

Speech to St James's Church, Piccadilly (2 March 1983), quoted in The Times (3 March 1983), p. 14
1980s

Letter to Richard Burke (c. 10 October 1789), quoted in Alfred Cobban and Robert A. Smith (eds.), The Correspondence of Edmund Burke, Volume VI: July 1789–December 1791 (Cambridge University Press, 1967), p. 30
1780s

The Rigveda and the Avesta (2008)

Michael Witzel – An Examination of his Review of my Book (2001)

The Rigveda: A Historical Analysis (2000), Chapter 8 : Misinterpretations of Rigvedic History

Source: Beyond a Boundary (1963), p. 51

2017
Nicolas Krauze, conductor, the Orchestre de Chambre Nouvelle Europe (France). “He loved Ukraine above all”. The Day. Кyiv.ua. - 2017. - 7 March. https://day.kyiv.ua/en/article/culture/he-loved-ukraine-above-all

Essays and Dialogues (1882), Dialogue between Nature and an Icelander

What Art Is (2013), Chap. 1 : Wakeful Dreams

It was held that, through one of these attributes, this substance has the capacity for moving and, through the other, the capacity for being moved.
Source: The Natural History of the Soul (1745), Ch. V Concerning the Moving Force of Matter

Source: Kama Sutra , translated by Richard Francis Burton Preface https://en.wikisource.org/wiki/Kama_Sutra/Introductory/Preface, Wikisource

In, p. 244.
Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures

Prince Rama Varma in: "Murali And Me: A tribute by Prince Rama Varma".

Prince Rama Varma in: Murali And Me: A tribute by Prince Rama Varma http://www.webindia123.com/music/musicians/murali1.htm, Webindia123.com.

K.M Panikkar quoted in pp.63-64
About Swathi Thirunal, Singing the Classical, Voicing the Modern: The Postcolonial Politics of ...

V. K. Subramanian (2013), in "101 Mystics of India", p, 181
About Swathi Thirunal

Shungoony Menon, in "The Monarch musician"
About Swathi Thirunal

Quoted in "Artists, Writers, and Musicians", page=185

Michael Kennedy The Concise Oxford Dictionary of Music (1980) p. 593.

Nicolas Slonimsky in The Musical Quarterly, 1942; reprinted in his Writings on Music (2005), p. 84.

Paraphrased as "Film is the score and the print is the performance."
Sheff
David
May 1983
Playboy
http://davidsheff.com/article/ansel-adams/
Playboy Interview: Ansel Adams
226

Sacco e Vanzetti (1971)

The Believer interview (2013)

Virginia Woolf, The Common Reader (1925)

Source: Autobiography (1873)
Source: https://archive.org/details/autobiography01mill/page/230/mode/1up pp. 230-233

Speech about Declaration of Independence (1776)

Napoleon the Little (1852), Book VIII, IV
Napoleon the Little (1852)

1940s, Excerpt, A Propos of Measuring a Mobile (1943)

1930s, Statement from Modern Painting and Sculpture (1933)

Source: The Philosophy of Anarchism (1940), P. 11-12

Max Muller (Collected Works, Vol.II, p.91). Quoted in https://talageri.blogspot.com/2016/07/the-recorded-history-of-indo-european_27.html

‘To the Freemen of Coventry’, Political Register (4 April 1818), p. 404
1810s

Source: The Santaroga Barrier (1968), Chapter Ten

62. The Need For The Red Army; It's Class Composition
ABC's of Communism

The Ecstasy, line 45

Interview: The Man Behind the Music - Jason Graves http://www.pushsquare.com/news/2015/05/interview_the_man_behind_the_music_-_jason_graves (May 16, 2015)

On the gender stereotypes surrounding salsa singers in “CELIA CRUZ: AT THE TOP OF SALSA” https://www.nytimes.com/1985/11/19/arts/celia-cruz-at-the-top-of-salsa.html in New York Times (1985 Nov 19).

As quoted in [McInerney, Daniel John, The Fortunate Heirs of Freedom: Abolition & Republican Thought, https://books.google.com/books?id=ZrnV5Rj6eckC, 1994, U of Nebraska Press, 0-8032-3172-5, 83-4]

Original: (it) La notte è fatta per sognare, immaginare, viaggiare e comporre intense melodie che descrivono la profondità della propria anima.
Source: prevale.net

Original: (it) La notte compongo pensieri e desideri che descrivono attimi di profonda libertà. Attimi infiniti da vivere con te.
Source: prevale.net

Jeff Danna Interview https://www.ign.com/articles/2004/08/28/jeff-danna-interview (27 August 2004)

SilverScreenIndia Article - Making A Zero Budget Movie: The Tale Of Assamese Filmmaker Rima Das’s ‘Village Rockstars’ - 20 November 2017 https://silverscreenindia.com/movies/features/interviews/making-a-zero-budget-movie-the-tale-of-assamese-filmmaker-rima-dass-village-rockstars/ - Archive https://web.archive.org/web/20210728183808/https://silverscreenindia.com/movies/features/interviews/making-a-zero-budget-movie-the-tale-of-assamese-filmmaker-rima-dass-village-rockstars/

Quotes related to the Congo Free State
Source: King Leopold's Ghost https://vimeo.com/ondemand/kingleopoldsghost Newspaper interview, 1906.

Original: (pt) Isso fez do português este tipo que nós somos. Nós não temos raça nenhuma. Não se pode falar na raça portuguesa. Se houvesse uma raça, nós éramos uma anti-raça. Feita com gente vinda de toda a parte ao longo de milhões de anos.
Source: "História Essencial de Portugal", episode 1

Source: The Laundry Files, The Labyrinth Index (2018), Chapter 8, “A Game of Vampires” (p. 244)