Quotes about composition (385 quotes, page 4)

From an interview, 28 July 1935, in the Italian daily newspaper 'Lavoro fascista'; as quoted in Kandinsky in Paris: 1934-1944 - exhibition catalog, published by The Solomon K. Guggenheim Foundation, New York, 1985, p. 30
1930 - 1944

Books , Dreams , Drawing , Painting

“In the religious traditions of the Hindus, the most important author of sacred texts is Krishna Dvaipayana Vyasa. He is traditionally credited with the arrangement of the Veda into four texts as well as the composition of the epic Mahbharata (Mbh), many Puranas, and other works. Vyasa, however, has been described as mythical as his existence is impossible to prove except in myths and legends such as are preserved in the epic.”

Vyasa central and revered figure in most Hindu traditions

In p. 1.
Sources, Seer of the Fifth Veda: Kr̥ṣṇa Dvaipāyana Vyāsa in the Mahābhārata

“The Ainu, with their improvisational style of both composing music and dancing, greatly influenced me. I became very different from the other music students, who had been raised with European pieces, because of this. They had been taught that composition is very difficult, but to me, it seemed relatively easy because of the freedom allowed for by the improvisational style of the Ainu.”

Akira Ifukube (1914–2006) Japanese composer

As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

Music , Freedom , Dance

“Young Prokofiev was attentive to new musical trends. We can find traces of various influences in his early compositions. Some of the piano works from the set Visions fugitives, op. 22 (1915–17), are reminiscent of Debussy; the Andante assai section of the First Piano Concerto, op. 10 (1911–12), sounds like Rachmaninov; and the harmonies of the symphonic poem Osen neye(Autumnor Autumnal Sketch), op. 8 (1910), harken back to Scriabin. These, however, were rather passing influences. Others proved to be more enduring.
One of them was the fairy-tale streak in Russian music. Russians have always been fond of fairy tales, which to this day continue to be an important part of every child’s upbringing. …
Another significant influence was the Classical style.”

Boris Berman (1948) Russian/American musician

Prokofiev’s piano sonatas : a guide for the listener and the performer (2008), Prokofiev: His Life and the Evolution of His Musical Language

Music , Autumn , Parting

“A time will come when the picture will no longer be enough. Its immobility will become an archaism with the vertiginous movement of human life. The eye of man will perceive colours as feelings within itself. Multiplied colours will not need form to be understood and paintings will be swirling musical compositions of great coloured gases, which, on the scene of a free horizon, will move and electrify the complex soul of a crowd that we cannot yet conceive of.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Quote in his lecture at the Associazione Artistica Internationale, Rome May 1911, Boccioni's lecture 'La Pittura Futurista', 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 55.
1911

Life , Music , Feeling , Soul

“There exists among the most primitive tribes of Australia and Africa a system of numeration which has neither 5, 10, nor 20 for base. It is a binary system, i. e., of base two. These savages have not yet reached finger counting. They have independent numbers for one and two, and composite numbers up to six. Beyond six everything is denoted by “heap.””

Tobias Dantzig (1884–1956) American mathematician

Number: The Language of Science (1930)

“An entire composition written in jazz could not live.”

George Gershwin (1898–1937) American composer and pianist

Page 388
The Composer in the Machine Age (1933)

“A work of art must carry in itself its complete significance and impose it upon the beholder even before he can identify the subject-matter. When I see the Giotto frescoes at Padua I do not trouble to recognize which scene of the life of Christ I have before me, but I perceive instantly the sentiment which radiates from it and which is instinct in the composition in every line and color.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 413

Life , Art , Color , Christ

“Majorities are of two sorts: (1) Communal majority and (ii) political majority. A political majority is changeable in its class composition. A political majority grows. A communal majority is born. The admission to a political majority is open. The door in a communal majority is closed. The politics of political majority are free to all to make and unmake. The politics of community majority are made by its own members born in it.”

Bhimrao Ramji Ambedkar (1891–1956) Father of republic India, champion of human rights, father of India's Constitution, polymath, revolutionary…

Political Science for Civil Services Main Examination (2010)

Communication

“I noticed an immediate difference and so did my friends and teammates. My body composition changed — my body fat went down, my lean muscle went up, and I got stronger. I could also run faster and my recovery time improved.”

Griff Whalen (1990) American Football player

About his switch to a vegan diet. "NFL Player Griff Whalen on the Perks of Being a Plant-Powered Athlete", interview with ForksOverKnives.com (15 December 2016) https://www.forksoverknives.com/nfl-player-griff-whalen-perks-plant-powered-athlete/#gs.FZBR210.

Change , Time

“Every candid eye, I think, will read the Koran far otherwise than so. It is the confused ferment of a great rude human soul; rude, untutored, that cannot even read; but fervent, earnest, struggling vehemently to utter itself in words. With a kind of breathless intensity he strives to utter himself; the thoughts crowd on him pell-mell: for very multitude of things to say, he can get nothing said. The meaning that is in him shapes itself into no form of composition, is stated in no sequence, method, or coherence;—they are not shaped at all, these thoughts of his; flung out unshaped, as they struggle and tumble there, in their chaotic inarticulate state.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Prophet

Soul , Thinking , Reading

“There is an impelling proportion of tones that may lead me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of a composition I strive towards it and keep on working. Then a moment comes when all the parts have found their definite relationships, and from then on it would be impossible for me to add a stroke to my picture without having to repaint it entirely.”

Henri Matisse (1869–1954) French artist

1905 - 1910, Notes of a Painter' (1908)

Change , Parting

“Harmony…. it is all embracing and should reign throughout—harmony in purpose, harmony in dimensions, harmony in form and harmony in color. In good design discord can have no place…. all may unite to form a complete, harmonious, and well-rounded composition…”

Ernest Flagg (1857–1947) American architect

Small Houses: Their Economic Design and Construction (1922)

Color

“Beforehand I don't make any drawing of the object or objects which I want to paint on the canvas or panel.... but I start directly to situate the designed plan on the canvas - After having thoroughly sketched and thought over my composition, especially the arrangement of light and dark, I start to paint it broadly with oil-paint and try as much as possible to achieve the hue or the colouring, in which I want to see my landscape.... when it is definitely completed.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Ik maak vooraf geene tekeningen van het voorwerp of de voorwerpen, die ik op het doek of paneel wil schilderen.. ..maar begin dadelijk het ontworpen plan op het doek te plaatsen – Na mijne compositie eerst behoorlijk geschetst en beredeneerd te hebben, voornamelijk de schikking van licht en donker, begin ik dezelve met olieverw breed te schilderen, zoveel trachtende de tint of het coloriet er in te brengen, in welke ik mijn landschap.. ..wil gezien hebben.. ..als het geheel afgeschilderd is.
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 98-99

Light , Drawing , Painting

“Dr. Kakorawi rightly laments that 'suppression of any part of any old composition or compilation like this can create difficulties and misunderstandings for future historians and researchers.”

Harsh Narain (1921–1995) Indian writer

The Ayodhya temple-mosque dispute: Focus on Muslim sources (1993)

Future , Parting

“I am essentially a painter of the kind of still-life composition that communicates a sense of tranquility and privacy, moods which I have always valued above all.”

Giorgio Morandi (1890–1964) Italian painter

Source: 1945 - 1964, Interview, 1960, p. 106

Life , Communication , Mood , Sense

“Above all, Chopin was the greatest master of counterpoint since Mozart. This will appear paradoxical only if we equate counterpoint with strict fugue, and Chopin wrote no formal fugues except as an academic exercise. His chief training, in both composition and keyboard playing, however, came from a study of Bach, and it was a study that engaged him all his life and which he always recommended to his pupils.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 5 : Chopin: Counterpoint and the Narrative Forms

Life , Exercises , Study , Appearance

“Schools have no use except for discerning the analytic procedures of art. No school is capable of pressing on to a synthesis in isolation. Painting can not, without falling into abstraction, let a partial aspect of art dominate, whether it be drawing, color, composition, or any other one of the extraordinary multiplicity of means the totality of which alone constitutes this art.”

Gustave Courbet (1819–1877) French painter

1860s, Realist Manifesto' - an open letter, 1861

School , Art , Color , Drawing

“In 1947, Muslim society succeeded in extorting recognition as a separate culture and nation and getting the country vivisected on that basis. It is another matter that… we go on harping on the theme of the truncated India’s belonging to Hindus and Muslims alike and its culture’s being a composite culture, a culture composed of Hindu and Muslim religio-cultural traditions.”

Harsh Narain (1921–1995) Indian writer

Source: Myths of Composite Culture and Equality of Religions (1990), p. 24

Country

“I am forced to transpose until finally my picture may seem completely changed when, after successive modifications, the red has succeeded the green as the dominant color. I cannot copy nature in a servile way, I must interpret nature and submit it to the spirit of the picture – when I have found the relationship of all the tones the result must be a living harmony of tones, a harmony not unlike that of a musical composition”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 411

Music , Color , Way , Nature

“Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance.”

Merce Cunningham (1919–2009) American dancer

Merce Cunningham, A Lifetime of Dance, 2000

Way , Idea , Thinking , Sense

“[with painting] directly tube against canvas, one soon becomes too slick... I regretfully realized that my composition was reduced to no more than a series of coloured rhythms, harmonious, discordant, monotonous and that, from simplification to simplification, I was falling into the trap of decoration. I no longer got to the bottom of things: I no longer cut through to their heart. The decorative spirit was leading me to forget painting.”

Maurice de Vlaminck (1876–1958) French painter

Vlaminck himself had become disillusioned with Fauvism, c. 1907-08
Source: Quotes dated, Dangerous Corner', 1929, p. 15

Heart , Painting , Forgetting

“As for the value of color I am close to the philosophy of Fauvists: Matisse, Raoul Dufy, and Vlaminck. In other words, color for me is the most important constituent of painting. The composition and form extract themselves from the depth of color. My colors are the spirit of my paintings. For example, when the space is sad it is my pallet of colors that convey this sadness first.”

Guity Novin (1944) artist

Source: Negin (1971), p. 57

Sadness , Color , Painting

“The first two things to study are form and values. For me, these are the bases of what is serious art. Color and finish put charm into one’s work.... it seems to me very important to begin by an indication of the darkest values (assuming that the canvas is white), and to continue in order to the lightest value. From the darkest to the lightest I would establish twenty shades... Never lose sight of that first impression by which you were moved. Begin by determining your composition. Then the values – the relation of the forms to the values. These are the basis. Then the color, and finally the finish.”

Jean-Baptiste-Camille Corot (1796–1875) French landscape painter and printmaker in etching

Quote from Corot's 'Notebooks', ca. 1828, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 240
1820 - 1850

Art , Color , Study

“If we are to select our subjects or arrange our groups with a pictorial motive we must absolutely and entirely sacrifice every other consideration, and be prepared to cut out of our composition the prettiest and most interesting item, if by so doing composition pure and simple is improved. And if some subject you are attached to will not admit of composition or will not admit of your treating it pictorially, then photograph it if you wish, but never suppose that it will form a picture.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Methods - The practical application of means to end, p. 29

Motivation

“But the role of the Sufi tradition in bridging the gulf between Islam and Hinduism or laying the foundations of a composite culture has been greatly exaggerated. The Sufis belonging to the Chistyyah, Suhrawardiyyah, and Naqshbaniyyah orders and monasteries are found to have fanned or favoured the fanaticism of the Muslim rulers in medieval India. The Qadiriyyah Sufis from Gulbarga, Bidar, and Golconda were the most fanatic murderers of Hindus and destroyers of temples…”

Harsh Narain (1921–1995) Indian writer

Source: Myths of Composite Culture and Equality of Religions (1990), p.21-22

“It appears to me that the subject of music, from Machaut to Boulez, has always been its construction. Melodies of 12-tone rows just don't happen. They must be constructed…. To demonstrate any formal idea in music, whether structure or stricture, is a matter of construction, in which the methodology is the controlling metaphor of the composition…Only by 'unfixing' the elements traditionally used to construct a piece of music could the sounds exist in themselves--not as symbols, or memories which were memories of other music to begin with.”

Morton Feldman (1926–1987) American avant-garde composer

quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812

Music , Idea , Appearance , Memory

“I remained there [in The Netherlands, 1914-18] for the duration of the war, continuing my work of abstraction in a series of church. facades, trees, houses, etc. But I felt that I still worked as an Impressionist and was continuing to express particular feelings, not pure reality. Although I was thoroughly conscious that we can never be absolutely 'objective', I felt that one can become less and less subjective, until the subjective no longer predominates in one's work. More and more I excluded from my painting all curved lines, until finally my compositions consisted only of vertical and horizontal lines which formed crosses, each separate and detached from the other. Observing sea, sky and stars, I sought to indicate their plastic function through a multiplicity crossing verticals and horizontals.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Quote of Mondrian about 1914-1918; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 43

War , Feeling , Star , Reality

“With respect to excellence of Style and Composition, it may perhaps be said that to practised ears the most pleasing Music is such as has the merit of novelty, added to refinement, and ingenious contrivance; and to the ignorant, such as is most familiar and common.”

Charles Burney (1726–1814) English music historian

A General History of Music ([1776-89] 1935) vol. 1, page 22

Music

“The composition, harmonies and proportions of those 'intended shapes' is the great and most difficult problem which the modern sculptor attacks, for sculpture is only forms, only spaces embraced by lines which demonstrate them. The secrets of a never dying piece of sculpture is to be had only by undergoing experience.”

Ossip Zadkine (1890–1967) French sculptor

n.p.
1960 - 1968, Plastic Language, Ossip Zadkine

Secret , Problem

“The collective name for the ripe fruits of religion in a character is Saintliness. The saintly character is the character for which spiritual emotions are the habitual centre of the personal energy; and there is a certain composite photograph of universal saintliness, the same in all religions, of which the features can easily be traced.”

William James (1842–1910) American philosopher, psychologist, and pragmatist

Lectures XI, XII, and XIII, "Saintliness"
1900s, The Varieties of Religious Experience (1902)

Religion , Universe , Personality

“The big classical compositions are finished; an ordinary view of daily life would be much more interesting.”

Frédéric Bazille (1841–1870) French painter

Quote by Jean Renoir, in: Renoir my father, p. 96; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 24

a remark of Bazille, in the winter of 1862 – 63 during a walk with Renoir

the two painters passed a crying baby while its nurse was flirting with a soldier
1861 - 1865

Life

“A conceptual level view of an object design describes the key abstractions. While someone might think of key abstractions as being nothing more or nothing less than high-level descriptions of "candidate classes", I prefer to consider a conceptual design from a slightly different angle--I'm thinking about design at a slightly different level.
An object-oriented application is a set of interacting objects. Each object is an implementation of one or more roles. A role supports a set of related (cohesive) responsibilities. A responsibility is an obligation to perform a task or know certain information. And objects don't work in isolation, they collaborate with others in a community to perform the overall responsibilities of the application. So a conceptual view, at least to start, is a distillation of the key object roles and their responsibilities (stated at a fairly high level). More than likely (unless you form classification hierarchies and use inheritance and composition techniques) many candidates you initially model will map directly to a single class in some inheritance hierarchy. But I like to open up possibilities by think first of roles and responsibilities, and then as a second step towards a specification-level view, mapping these candidates to classes and interfaces.”

Rebecca Wirfs-Brock (1953) American software engineer

Rebecca Wirfs-Brock (2003) in " An Interview with Rebecca Wirfs-Brock Author of Object Design http://www.objectsbydesign.com/books/RebeccaWirfs-Brock.html" 2003-2005 Objects by Design, Inc: Answer to the question Can you clarify what you consider to be the essential elements of a "conceptual view".

Communication , Support , Thinking

“I am now satisfied that the future music of this country must be founded upon what are called negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States.”

Antonín Dvořák (1841–1904) Czech composer

Interviewed by James Creelman, New York Herald, May 21, 1893. http://web.archive.org/20060923062509/homepage.mac.com/rswinter/DirectTestimony/Pages/62.html

School , Music , Future , Country

“Since one cannot create 'depth' by carving a hole in the picture, and since one should not attempt to create the illusion of depth by tonal gradation, depth as a plastic reality must be two dimensions in a formal sense as well in the sense of color. 'Depth' is not created on a flat surface as an illusion, but as a plastic reality. The nature of the picture plane makes it possible to achieve depth without destroying the two-dimensional essence of the picture plane.. A plane is a fragment in the architecture of space. When a number of planes are opposed one to another, a spatial effect results. A plane functions in the same manner as the walls of a building... Planes organized within a picture create the pictorial space of its composition... The old masters were plane-consciousness. This makes their pictures restful as well as vital…”

Hans Hofmann (1880–1966) American artist

'Search for the Real in the Visual Arts', p. 44
Search for the Real and Other Essays (1948)

Color , Nature , Reality , Sense

“I know that the history of man is not his technical triumphs, his kills, his victories. It is a composite, a mosaic of a trillion pieces, the account of each man’s accommodation with his conscience. This is the true history of the race.”

Jack Vance book The Last Castle

Source: The Last Castle (1966), Chapter 3, section 2

History , Victory

“Teachers frequently talk about moments in which they became students again and how much that made them better teachers. For me, there has been no better way to improve my teaching, specifically my teaching in the composition classroom, than to take up a subject at which I am abysmal.”

Adrianne Wadewitz (1977–2014) academic and Wikipedian

Wadewitz, Adrianne. (August 12, 2013). "What I learned as the worst student in the class" http://www.hastac.org/blogs/wadewitz/2013/08/12/what-i-learned-worst-student-class. HASTAC: Humanities, Arts, Science, and Technology Alliance Collaboratory. — reprinted and cited in: "How Adrianne Wadewitz learnt to embrace failure" http://www.smh.com.au/world/how-adrianne-wadewitz-learnt-to-embrace-failure-20140425-zqzgx.html. The Sydney Morning Herald. April 25, 2014. Retrieved April 25, 2014.

Way , Teachers

“I am simply painting concrete representation of abstract emotions such as innocent love, ordinary happiness. I do want an emotional response. And I paint about emotions, not about lines. The truth is that it's not the lines that express the emotion. It's the scale of the composition. You know, if you go into a room that has perfect scale, you feel it... If the painting has perfect scale, it moves you. And you have different scale to show different emotions. It's the space between the lines that counts.”

Agnes Martin (1912–2004) American artist

after 2000, Agnes Martin: Between the Lines', 2002

Love , Truth , Feeling , Painting

“Writing is a long and lonesome business; back of the problems in thought and composition hover always the awful questions: Is this the page that shows the empty shell? Is it here and now that they find me out?”

John Kenneth Galbraith book The Great Crash, 1929

Introduction, Section I, p. ix
The Great Crash, 1929 (1954 and 1997 https://openlibrary.org/books/OL25728842M/The_Great_Crash_1929)

Question , Business , Problem

“Tsai's Multi-kinetics were dynamically integrated multiple constructions, employing thirty-two kinetic units, each of which contains a configuration of multi-colored gyroscopic forms. With these elements he created an active environmental field that could, apparently, be infinitely extended. Each motorized unit was a self-sufficient entity, and when it was combined with other similar units produced a large-scale kinetic work that joined visual intensity with mechanical power. By controlling the time sequence of each unit in skillful compositions, Tsai used engineering principles to achieve aesthetic ends.”

Sam Hunter (1923–2014) American art historian

Source: The Cybernetic Sculpture of Tsai Wen-Ying, 1989, p. 66-67

Color , Time

“Gertrude Stein, all courage and will, is a soldier of minimalism. Her work, unlike the resonating silences in the art of Samuel Beckett, embodies in its loquacity and verbosity the curious paradox of the minimalist form. This art of the nuance in repetition and placement she shares with the orchestral compositions of Philip Glass.”

Elizabeth Hardwick (1916–2007) Novelist, short story writer, literary critic

"Gertrude Stein" (p. 103)
American Fictions (1999)

Art , Courage , Silence

“Even though the military is an establishment having 99 per cent of native Fijians by composition, they still stand true to their duty which they have sworn by Almighty God to perform without prejudice, favour, malice or ill will.”

Esala Tuibua

Comments on the government's proposed Reconciliation, Tolerance, and Unity Bill, 2 August 2005

God

“[The Analytical Engine] might act upon other things besides number, were objects found whose mutual fundamental relations could be expressed by those of the abstract science of operations, and which should be also susceptible of adaptations to the action of the operating notation and mechanism of the engine…Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent.”

Ada Lovelace (1815–1852) English mathematician, considered the first computer programmer

As quoted by Menabrea, Luigi (1842). Sketch of the Analytical Engine invented by Charles Babbage Esq.. Scientific Memoirs (Richard Taylor): 694.

Music , Science

“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.”

George Sand (1804–1876) French novelist and memoirist; pseudonym of Lucile Aurore Dupin

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.

Music , Imagination , Nature , Tear

“I have designed a decorative and monumental work as a group of subjects representing the three ages of sacred and profane mythology: the Golden Age, the Silver Age and the Iron Age. I have symbolised these different ages by dividing each one into compositions representing the three phases of the day: morning, noon and evening.
The Golden Age comprises three compositions (Adam and childhood):
:1. Prayer at sunrise.
:2. A walk in Paradise or the ecstasy before nature.
:3. All nature asleep.
The Silver Age. The second phase is taken from pagan mythology (Orpheus and youth):
:1. The dream nature is revealed to the senses of the inspired poet.
:2. The song.
: 3. Orpheus in the forest, his lyre broken and he longs for unknown countries and immortality.
The Iron Age (Cain and the maturity of man):
:1. The Sower making the earth productive (production).
:2. The Ploughman (work).
:3. Death (Cain and Abel).
Fourth panel:
The Triumph of Christ.
These three periods of humanity also correspond to the three periods in the life of a man:
The purity of childhood: Adam –
The poetic and unhappy aspirations of youth: Orpheus –
The grievous sufferings and death of mature age: Cain with the redemption of Christ.
D— thought it was an extremely ingenious and intelligent device to have used a figure from pagan antiquity for the cycle of youth and poetry instead of a Biblical figure, because intelligence and poetry are far better personified in these periods which were devoted to art and the imagination than in the Bible which is all sentiment and religiosity.
The Golden Age: the beginning of the world, naïveté, candour, purity. The morning: prayer. Noon: ecstasy and evening: sleep. No passion, nothing but elementary feelings. —
The Silver Age, corresponding to the civilization of humanity, already begins to feel emotion; it is the age of poets. I can only find this cycle in Greece. The morning: inspiration. Noon: song. Evening: tears. —
The Iron Age. Decadence and fall of humanity. I shall represent Cain ploughing and Abel sowing. Noon: Cain rests while Abel tends the altar of the Lord from which smoke, a symbol of purity, rises straight to the heavens. The evening: death at the hands of Cain.
The first death corresponds to the other deaths in the two other paintings: sleep and death of the senses; tears and the death of the heart. Do you understand the progression?
Sleep, though sad, is gentler than tears which, though painful, are gentler than death. Ecstasy is more delightful than song, which is gentler than work. Prayer is superior to dreaming which is more elevated than manual work.”

Gustave Moreau (1826–1898) French painter

Notes to his mother, on The Life of Humanity (1884-6) http://www.wikiart.org/en/gustave-moreau/humanity-the-golden-age-depicting-three-scenes-from-the-lives-of-adam-and-eve-the-silver-age-1886, his composition of a ten image polyptych, p. 48 · Photo of its exhibition on the 3rd Floor of Musée National Gustave Moreau http://en.musee-moreau.fr/house-museum/studios/third-floor
Gustave Moreau (1972)

Life , Death , Pain , Youth

“This is because there is a very small proportion of the elements of fire and air in its composition”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter IX, Sec. 14
Context: The larch... is not only preserved from decay and the worm by the great bitterness of its sap, but also it cannot be kindled with fire nor ignite of itself, unless like stone in a limekiln it is burned with other wood.... This is because there is a very small proportion of the elements of fire and air in its composition, which is a dense and solid mass of moisture and the earthy, so that it has no open pores through which fire can find its way... Further, its weight will not let it float in water.

“There can be little question that good composition is far less dependent upon acquaintance with its laws, than upon practice and natural aptitude.”

Herbert Spencer (1820–1903) English philosopher, biologist, sociologist, and prominent classical liberal political theorist

Pt. I, sec. 1, "The Principle of Economy"
The Philosophy of Style (1852)
Context: There can be little question that good composition is far less dependent upon acquaintance with its laws, than upon practice and natural aptitude. A clear head, a quick imagination, and a sensitive ear, will go far towards making all rhetorical precepts needless.

Law , Question , Nature , Dependency

“It is in the composite idea of motion that these three fundamental conceptions enter into intimate relationship.”

Hermann Weyl (1885–1955) German mathematician

Introduction
Space—Time—Matter (1952)
Context: Space and time are commonly regarded as the forms of existence of the real world, matter as its substance. A definite portion of matter occupies a definite part of space at a definite moment of time. It is in the composite idea of motion that these three fundamental conceptions enter into intimate relationship.

Idea

“What a vast advantage has a speech over a written composition. Men are imposed upon by voice and gesture, and by all that is conducive to enhance the performance.”

Jean de La Bruyère book Les Caractères

Aphorism 27
Les Caractères (1688), De la chaire
Context: What a vast advantage has a speech over a written composition. Men are imposed upon by voice and gesture, and by all that is conducive to enhance the performance. Any little prepossession in favor of the speaker raises their admiration, and then they do their best to comprehend him; they commend his performance before he has begun, but they soon fall off asleep, doze all the time he is preaching, and only wake to applaud him. An author has no such passionate admirers; his works are read at leisure in the country or in the solitude of the study; no public meetings are held to applaud him.... However excellent his book may be, it is read with the intention of finding it but middling; it is perused, discussed, and compared to other works; a book is not composed of transient sounds lost in the air and forgotten; what is printed remains.

Men

“By nature I mean here, like the naïvest realist, a composite of perceiver and perceived, not a datum, an experience.”

Samuel Beckett book Three Dialogues

Also quoted in "Beckett and Failure", in Realism, Issue 5 (June 2011) http://www.hypocritereader.com/5/beckett-and-failure
Three Dialogues (1949)
Context: By nature I mean here, like the naïvest realist, a composite of perceiver and perceived, not a datum, an experience. All I wish to suggest is that the tendency and accomplishment of this painting are fundamentally those of previous painting, straining to enlarge the statement of a compromise.

Nature

“I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.”

Roger Zelazny (1937–1995) American speculative fiction writer

"A Conversation With Roger Zelazny" (8 April 1978), talking with Terry Dowling and Keith Curtis in Science Fiction Vol. 1, #2 (June 1978) http://web.archive.org/web/20070701010155/zelazny.corrupt.net/19780408int.html#2
Context: Yeah, the mythology is kind of a pattern. I'm very taken by mythology. I read it at a very early age and kept on reading it. Before I discovered science fiction I was reading mythology. And from that I got interested in comparative religion and folklore and related subjects. And when I began writing, it was just a fertile area I could use in my stories.
I was saying at the convention in Melbourne that after a time I got typed as a writer of mythological science fiction, and at a convention I'd go to I'd invariably wind up on a panel with the title "Mythology and Science Fiction". I felt a little badly about this, I was getting considered as exclusively that sort of writer. So I intentionally tried to break away from it with things like Doorways in the Sand and those detective stories which came out in the book My Name Is Legion, and other things where I tried to keep the science more central.
But I do find the mythological things are creeping in. I worked out a book which I thought was just straight science fiction -- with everything pretty much explained, and suddenly I got an idea which I thought was kind of neat for working in a mythological angle. I'm really struggling with myself. It would probably be a better book if I include it, but on the other hand I don't always like to keep reverting to it. I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.

Thinking , Science

“Here we refer to the ideology of an age or of a concrete historico-social group, e.g. of a class, when we are concerned with the characteristics and composition of the total structure of the mind of this epoch or of this group. Although they have something in common, there are also significant differences between them.”

Karl Mannheim (1893–1947) Hungarian sociologist

Ideology and Utopia (1929)
Context: In general there are two distinct and separable meanings of the term "ideology" — the particular and the total.
The particular conception of ideology is implied when the term denotes that we are sceptical of the ideas and representations advanced by our opponent. They are regarded as more or less conscious disguises of the real nature of a situation, the true recognition of which would not be in accord with his interests. These distortions range all the way from conscious lies to half-conscious and unwitting disguises; from calculated attempts to dupe others to self-deception. This conception of ideology, which has only gradually become differentiated from the common-sense notion of the lie is particular in several senses. Its particularity becomes evident when it is contrasted with the more inclusive total conception of ideology. Here we refer to the ideology of an age or of a concrete historico-social group, e. g. of a class, when we are concerned with the characteristics and composition of the total structure of the mind of this epoch or of this group. Although they have something in common, there are also significant differences between them.

Age

“We may say with truth and meaning that governments are more or less republican, as they have more or less of the element of popular election and control in their composition”

Thomas Jefferson (1743–1826) 3rd President of the United States of America

Letter to John Taylor (28 May 1816) ME 15:23 http://www.britannica.com/presidents/article-9116907
1810s
Context: We may say with truth and meaning that governments are more or less republican, as they have more or less of the element of popular election and control in their composition; and believing, as I do, that the mass of the citizens is the safest depository of their own rights, and especially, that the evils flowing from the duperies of the people are less injurious than those from the egoism of their agents, I am a friend to that composition of government which has in it the most of this ingredient. And I sincerely believe, with you, that banking establishments are more dangerous than standing armies; and that the principle of spending money to be paid by posterity, under the name of funding, is but swindling futurity on a large scale.

Truth

“Our Republic is itself a strong argument in favor of composite nationality.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

It is no disparagement to the Americans of English descent to affirm that much of the wealth, leisure, culture, refinement and civilization of the country are due to the arm of the negro and the muscle of the Irishman. Without these, and the wealth created by their sturdy toil, English civilization had still lingered this side of the Alleghanies, and the wolf still be howling on their summits. To no class of our population are we more indebted for valuable qualities of head, heart, and hand, than to the German. Say what we will of their lager, their smoke, and their metaphysics, they have brought to us a fresh, vigorous and child-like nature; a boundless facility in the acquisition of knowledge; a subtle and far-reaching intellect, and a fearless love of truth. Though remarkable for patient and laborious thought, the true German is a joyous child of freedom, fond of manly sports, a lover of music, and a happy man generally. Though he never forgets that he is a German, he never fails to remember that he is an American.
1860s, Our Composite Nationality (1869)

Strong

“It is necessary that every thing which is harmonized, should be generated from that which is void of harmony, and that which is void of harmony from that which is harmonized. …But there is no difference, whether this is asserted of harmony, or of order, or composition… the same reason will apply to all of these.”

Aristotle book Physics

Book I, Ch. VI, p. 57.
Physics

“The composition and distribution of this book is thus an act of Magick by which I cause Changes to take place in conformity with my Will.”

Aleister Crowley (1875–1947) poet, mountaineer, occultist

Introduction.
Magick Book IV : Liber ABA, Part III : Magick in Theory and Practice (1929)
Context: Magick is the Science and Art of causing Change to occur in conformity with Will.
(Illustration: It is my Will to inform the World of certain facts within my knowledge. I therefore take "magical weapons", pen, ink, and paper; I write "incantations" — these sentences — in the "magical language" ie, that which is understood by the people I wish to instruct; I call forth "spirits", such as printers, publishers, booksellers and so forth and constrain them to convey my message to those people. The composition and distribution of this book is thus an act of Magick by which I cause Changes to take place in conformity with my Will.)
In one sense Magick may be defined as the name given to Science by the vulgar.

Books , Change

“We are to remember, in the first place, that the arrangement of colours and lines is an art analogous to the composition of music, and entirely independent of the representation of facts.”

John Ruskin book The Stones of Venice

Volume II, chapter VI, section 42.
The Stones of Venice (1853)
Context: We are to remember, in the first place, that the arrangement of colours and lines is an art analogous to the composition of music, and entirely independent of the representation of facts. Good colouring does not necessarily convey the image of anything but itself. It consists of certain proportions and arrangements of rays of light, but not in likeness to anything. A few touches of certain greys and purples laid by a master's hand on white paper will be good colouring; as more touches are added beside them, we may find out that they were intended to represent a dove's neck, and we may praise, as the drawing advances, the perfect imitation of the dove's neck. But the good colouring does not consist in that imitation, but in the abstract qualities and relations of the grey and purple.

Art , Music

“I devoted several months in privacy to the composition of a treatise on the mysteries of Three Dimensions.”

Edwin Abbott Abbott book Flatland

Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 22. How I Then Tried to Diffuse the Theory of Three Dimensions by Other Means, and of the Result
Context: I devoted several months in privacy to the composition of a treatise on the mysteries of Three Dimensions. Only, with the view of evading the Law, if possible, I spoke not of a physical Dimension, but of a Thoughtland whence, in theory, a Figure could look down upon Flatland and see simultaneously the insides of all things, and where it was possible that there might be supposed to exist a Figure environed, as it were, with six Squares, and containing eight terminal Points. But in writing this book I found myself sadly hampered by the impossibility of drawing such diagrams as were necessary for my purpose... my life was under a cloud. All pleasures palled upon me; all sights tantalized and tempted me to outspoken treason, because I could not but compare what I saw in Two Dimensions with what it really was if seen in Three, and could hardly refrain from making my comparisons aloud.' I neglected my clients and my own business to give myself to the contemplation of the mysteries which I had once beheld, yet which I could impart to no one, and found daily more difficult to reproduce even before my own mental vision.

“An unjust composition never fails to contain error and falsehood. Therefore an unjust connection of ideas is not derived from nature, but from the imperfect composition of man.”

Ethan Allen (1738–1789) American general

Source: Reason: The Only Oracle Of Man (1784), Ch. XIII Section II - Of The Importance of the Exercise of Reason, and Practice of Morality, in order to the Happiness of Mankind
Context: An unjust composition never fails to contain error and falsehood. Therefore an unjust connection of ideas is not derived from nature, but from the imperfect composition of man. Misconnection of ideas is the same as misjudging, and has no positive existence, being merely a creature of the imagination; but nature and truth are real and uniform; and the rational mind by reasoning, discerns the uniformity, and is thereby enabled to make a just composition of ideas, which will stand the test of truth. But the fantastical illuminations of the credulous and superstitious part of mankind, proceed from weakness, and as far as they take place in the world subvert the religion of REASON, NATURE and TRUTH.

Error , Idea , Nature

“Moreover, the British and communal historians attacked the notion of a composite culture in India.”

Bipan Chandra (1928–2014) Indian historian

Quoted from Arun Shourie (2014) Eminent Historians: Their Technology, Their Line, Their Fraud. HarperCollins.

Communication

“Definition and division are the watchwords of science, where art is all for composition and creation.”

Walter Raleigh (professor) (1861–1922) British academic

Style https://books.google.com/books?hl=en&lr=&id=lK0VAAAAYAAJ&pg=PA41 (1897), p. 41

Science , Art

“My subject matter is Colombia and it has always been Colombia; I lived many years in New York, in Paris, and I have never had the feeling to paint an American or a French subject matter. The thing is that the art - and the artist - must have roots in his own land, in his own life: my life is in Colombia, and my land is Colombia. Now, of course, the language that you use to express the subject matter must be universal: the composition, the colour, the balance, etc. In this sense, subject must be local, but the language must be universal, in order to touch any human being in the world…”

Fernando Botero (1932–2023) Colombian artist

On staying with Colombia as his subject matter in “Interview: Fernando Botero” http://www.timeoutshanghai.com/features/Art-Art_Features/34176/Interview-Fernando-Botero.html in TimeOut Shanghai (2016 Feb 25)

Painting , Art , Universe , World

“He did not want to draw attention to himself. So he ingeniously made the delicensing announcement on the morning of the day Manmohan Singh was presenting his first Budget. The media clubbed the Budget and delicensing stories together as one composite reform story. In the public mind, Manmohan Singh was seen as the liberalizer, while Rao stayed in the background.”

P. V. Narasimha Rao (1921–2004) Indian politician

Unsung hero of the India story

Drawing

“Deep in my psyche, I am no different than any American—I have a greater command of their language than they do. I am a composite of all of the heroines in the books I’ve read—legendary, mythological, fictional ones. I wonder if I am real? I want to be!”

Estela Portillo-Trambley (1936–1998) American writer

On how she would describe herself (as quoted in the book Chicana Ways: Conversations with Ten Chicana Writers https://books.google.com/books?id=yq0PkmCGWoEC&pg=PA205&lpg=PA205&dq)

Books , Reading

“Plays are events in time and space. Plays are music. Word music. Visual music. I’ve always thought of plays as a form of composition—of text and the architecture of the experience of the full-length evening…”

Caridad Svich (1963) American writer

On how she describes plays in “Making Invisible Stories Seen, Heard and Felt Interview with Caridad Svich” http://www.critical-stages.org/3/making-invisible-stories-seen-heard-and-felt-interview-with-caridad-svich/ in The IATC webjournal/Revue web de l'AICT – Autumn 2010: Issue No 3

Music , Time

“As the analysis of a substantial composite terminates only in a part which is not a whole, that is, in a simple part, so synthesis terminates only in a whole which is not a part, that is, the world.”

Immanuel Kant (1724–1804) German philosopher

Kant's Inaugural Dissertation (1770), Section I On The Idea Of A World In General

World , Parting

“And here I hold that a liberal and brotherly welcome to all who are likely to come to the United States is the only wise policy which this nation can adopt. It has been thoughtfully observed that every nation, owing to its peculiar character and composition, has a definite mission in the world. What that mission is, and what policy is best adapted to assist in its fulfillment, is the business of its people and its statesmen to know, and knowing, to make a noble use of this knowledge. I need not stop here to name or describe the missions of other or more ancient nationalities. Our seems plain and unmistakable. Our geographical position, our relation to the outside world, our fundamental principles of government, world-embracing in their scope and character, our vast resources, requiring all manner of labor to develop them, and our already existing composite population, all conspire to one grand end, and that is, to make us the perfect national illustration of the unity and dignity of the human family that the world has ever seen. In whatever else other nations may have been great and grand, our greatness and grandeur will be found in the faithful application of the principle of perfect civil equality to the people of all races and of all creeds.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

We are not only bound to this position by our organic structure and by our revolutionary antecedents, but by the genius of our people. Gathered here from all quarters of the globe, by a common aspiration for national liberty as against caste, divine right govern and privileged classes, it would be unwise to be found fighting against ourselves and among ourselves, it would be unadvised to attempt to set up any one race above another, or one religion above another, or prescribe any on account of race, color or creed.
1860s, Our Composite Nationality (1869)

Family , Faith , Business , People

“They, therefore, postulate that some time had elapsed since the actual invasion and conquest, and it was the close ancestors of the composers of the hymns who had come from outside, and the composers themselves were already settled in the area. The invasion and conquest, they conclude, is not recorded in the Rigveda, since the composition of the hymns of the Rigveda commenced after the period of the actual invasion and conquest.”

Shrikant Talageri (1958) Indian author

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

Time

“He was one of the earliest South Indian Classical w:MusiciansMusicians to perform abroad. He has acted in films, sung for films and even scored the music for films. Apart from his own compositions numbering more than two hundred, he has breathed life into compositions of other composers whose original tunes were lost in the sands of time like w:Narayana TeerthaNarayana Theertha, Annammaachaarya, Purandara Daasa, Kaiwara Amara Nareyana, Kaiwara Amara Nareyana, Sadasiva Brahmendra, Bhadraachala Raamadaas and Maharajah Sri Swathi Thirunal.”

M. Balamuralikrishna (1930–2016) Carnatic vocalist, instrumentalist and playback singer

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

Music , Life , Time

“Over the years, some of the Maharaja’s compositions have become very popular but there are so many more. My aim has been to present some of these rarely heard compositions every year.”

Swathi Thirunal Rama Varma (1813–1846) Maharajah of Travencore

Aswathy Thirunal Rama Varma, in "Royal musical treat"
About Swathi Thirunal

“I was told when he died he was listening to Jab Dil Hi Toot Gaya, which I thought was far-fetched, because Saigal never liked his film songs, just his Ghalib compositions. But it was dramatic, so we used it. So imagine my surprise, when after a show in Delhi, a lady came up to me and said she was the niece, Durgesh, seen in that death scene, and her uncle had indeed listened to that song on his deathbed.”

K. L. Saigal (1904–1947) Indian actor

By M Syed Alam in "A tribute to KL Saigal."

Imagination , Death

“Is not just a faded echo of the feeble voice of decadent romanticism but an authentic Indian English utterance exquisitely tuned to the composite to Indian ethos, bringing home to the unbiased reader all the opulence, pageantry and charm of Indian life, and the spenders of Indian scene.”

Sarojini Naidu (1879–1949) Indian politician, governor of the United Provinces of Agra and Oudh from 1947 to 1949

Review of her poetry publications in *[Das, Sisir Kumar, History of Indian Literature: 1911-1956, struggle for freedom : triumph and tragedy, http://books.google.com/books?id=sqBjpV9OzcsC, 1 January 1995, Sahitya Akademi, 978-81-7201-798-9, 184]

Home , Life

“This Reger is a sarcastic, churlish fellow, bitter and pedantic and rude. He is a sort of musical Cyclops, a strong, ugly creature bulging with knotty and unshapely muscles, an ogre of composition. In listening to these works…one is perforce reminded of the photograph of Reger which his publishers place on the cover of their catalogue of his works, the photograph that shows something that is like a swollen, myopic beetle with thick lips and sullen expression, crouching on an organ bench.”

Max Reger (1873–1916) German composer, pianist and conductor

Anonymous article in Musical Portraits (1920), as quoted in Lexicon of Musical Invective: Critical Assaults on Composers Since Beethoven's Time (1965) by Nicolas Slonimsky, p.120

Music , Strong

“I will dwell a little longer on his character; for it was of a very extraordinary composition. He began to make a considerable figure very early. … He had a wonderful faculty in speaking to a popular assembly, and could mix both the facetious and the serious way of arguing very agreeably. He had a particular talent to make others trust to his judgment, and depend on it: and he brought over so many to a submission to his opinion, that I never knew any man equal to him in the art of governing parties, and of making himself the head of them. He was, as to religion, a deist at best.”

Anthony Ashley Cooper, 1st Earl of Shaftesbury (1621–1683) English politician and Earl

Gilbert Burnet, in Bishop Burnet's History of His Own Time (1823), Vol. I, p. 164
About Anthony Ashley-Cooper

Religion , Dependency , Art , Way

“An unjust composition never fails to contain error and falsehood. Therefore an unjust connection of ideas is not derived from nature, but from the imperfect composition of man. Misconnection of ideas is the same as misjudging, and has no positive existence, being merely a creature of the imagination; but nature and truth are real and uniform; and the rational mind by reasoning, discerns the uniformity, and is thereby enabled to make a just composition of ideas, which will stand the test of truth. But the fantastical illuminations of the credulous and superstitious part of mankind, proceed from weakness, and as far as they take place in the world subvert the religion of REASON, NATURE and TRUTH.”

Ethan Allen (1738–1789) American general

Source: Reason: The Only Oracle Of Man (1784), Ch. XIII Section II - Of The Importance of the Exercise of Reason, and Practice of Morality, in order to the Happiness of Mankind

Imagination , Religion , Error , Nature

“To me the most important thing in composition is disparity. Thus black and white are the strong colors, with a spot of red to mark the other corner of a triangle which is by no means equilateral, isosceles, or right. To vary this still further use yellow, then, later, blue. Anything suggestive of symmetry is decidedly undesirable, except possibly where an approximate symmetry is used in a detail to enhance the inequality with the general scheme.”

Alexander Calder (1898–1976) American artist

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

Strong , Color

“..[I] will now work on the painting 'The bitch in Heat', I have studies of the subject for a long time already. Actually it can better be called 'The fight therefore', because in the composition in the background three large dogs have a furious fight together.”

Herman Kruyder (1881–1935) Dutch painter

translation from original Dutch, Fons Heijnsbroek, 2018

(version in original Dutch / origineel citaat van Herman Kruyder:) ..[Ik] ga nu werken aan het schilderij 'De loopsche teef' heb daar al lang voorstudies van. Het kan eigenlijk beter 'Het gevecht daarom' heten, daar in de compositie in de achtergrond drie grote honden een grimmig gevecht leveren.

Kruyder in a letter to art-critic Albert Plasschaert, May 1934, in the RKD Archive, The Hague
dated quotes

Painting , Study , Time , Bitch

“The evidence of the Avestan meters confirms to the hilt the conclusions compelled by the evidence of the Avestan names: namely, (...) that the Early and Middle Books of the Rigveda precede the period of composition of the Avesta.”

Shrikant Talageri (1958) Indian author

Talageri 2009:80
The Rigveda and the Avesta (2008)

Books

“...the [Whig] party, which has thought proper to proscribe me on account of a book [the Reflections] which I published on the Idea, that the principles of a new, republican, frenchified Whiggism was gaining ground in this Country. ... The party with which I acted had, by the malevolent and unthinking been reproached, and by the wise and good always esteemd and confided in—as an aristocratick Party. Such I always understood it to be in the true Sense of the word. I understood it to be a Party, in its composition and in its principles, connected with the solid, permanent long possessed property of the Country; a party, which, by a Temper derived from that Species of Property, and affording a security to it, was attached to the antient tried usages of the Kingdom, a party therefore essentially constructed upon a Ground plot of stability and independence; a party therefore equally removed from servile court compliances, and from popular levity, presumption, and precipitation.”

Edmund Burke (1729–1797) Anglo-Irish statesman

Letter to William Weddell (31 January 1792), quoted in P. J. Marshall and John A. Woods (eds.), The Correspondence of Edmund Burke, Volume VII: January 1792–August 1794 (1968), pp. 52-53
1790s

Confidence , Country , Self-confidence , Books

“But I will not... trouble you with what I have largely discoursed in the Sceptical Chymist, to call in question the grounds on which Chymists assert, that all mixt bodies are compounded of Salt, Sulphur, and Mercury. For it may suffice me now to tell you that, whatsoever they may be able to obtain from other bodies, it does not appear by Experience, which is the grand, if not the onely, Argument they rely on, that all mixt bodies that have Qualities consist of their tria prima, since they have not been able, that we know, truly, and without new Compositions, to resolve into those three, either Gold, or Silver, or Crystal, or Venetian Talck, or some other bodies, that I elsewhere name; & yet these bodies are endowed with divers Qualities, as the two former with Fusibleness and Malleability, and all of them with Weight and Fixity; so that in these and the like bodies, whence Chymisats have not made it yet appear, that their Salt, Sulphur and Mercury, can be truly and adequately separated, 'twill scarce be other than precarious to derive the malleableness, colour, and other Qualities of such bodies from those Principles.”

Robert Boyle (1627–1691) English natural philosopher, chemist, physicist, and inventor

Of the Imperfection of The Chymist's Doctrine of Qualities (1675)

Appearance , Question

“It is somewhat strange to me, that neither the Spagyrists themselves, nor yet their Adversaries, should have taken notice that Chymists have rather supposed than evinced, that the Analysis of bodies by fire, or even that at least some Analysis is the onely instrument of investigating what Ingredients mixt bodies are made up of, since in divers cases That may be discovered by Composition as well as by Resolution; as it may appear, that Vitriol consists of metalline parts (whether Martial, or Venereal, or both) associated by Coagulation with acid ones, one may, I say, discover this as well by making true Vitriol with Spirit (improperly called Oil) of Sulphur, or that of Salt, as by distilling or Resolving Vitriol by the fire.”

Robert Boyle (1627–1691) English natural philosopher, chemist, physicist, and inventor

Of the Imperfection of The Chymist's Doctrine of Qualities (1675)

Appearance , Making love , Parting

Quotes about composition page 4

Quotes about composition
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