Quotes about curtain
page 2

John Betjeman photo

“He sipped at a weak hock and seltzer
As he gazed at the London skies
Through the Nottingham lace of the curtains
Or was it his bees-winged eyes?”

John Betjeman (1906–1984) English poet, writer and broadcaster

"The Arrest of Oscar Wilde at the Cadogan Hotel" line 1, from Continual Dew.
Poetry

Amy Poehler photo
Herman Wouk photo

“We are in the black theater of nonexistence. In an eye blink the curtain is up, the stage ablaze, for the vast drama of ourselves.”

Herman Wouk (1915–2019) Pulitzer Prize-winning American author whose novels include The Caine Mutiny, The Winds of War and War and …

On Genesis I as his favorite opening passage.
New York Times (June 2, 1985).

Henry Temple, 3rd Viscount Palmerston photo
Andy Warhol photo

“You wouldn't believe how many people will hang a picture of an electric chair in their room – especially if the color of the picture matches the curtains.”

Andy Warhol (1928–1987) American artist

As quoted in Geoff Nicholson (2002), Andy Warhol: A Beginner's Guide, London: Hodder & Stoughton, ISBN 0-340-84620-8 [ISBN 978-0-340-84620-9]
1968 - 1974, Electric chair quote
Variant: (You wouldn't believe how many people will hang up a picture of an electric chair? especially if it matches the color of their curtains.)

J. Bradford DeLong photo

“The Good Economist Hayek is the thinker who has mind-blowing insights into just why the competitive market system is such a marvelous societal device for coordinating our by now 7.2 billion-wide global division of labor. Few other economists imagined that Lenin’s centrally-planned economy behind the Iron Curtain was doomed to settle at a level of productivity 1/5 that of the capitalist industrial market economies outside. Hayek did so imagine. And Hayek had dazzling insights as to why. Explaining the thought of this Hayek requires not sociology or history of thought but rather appreciation, admiration, and respect for pure genius.The Bad Economist Hayek is the thinker who was certain that Keynes had to be wrong, and that the mass unemployment of the Great Depression had to have in some mysterious way been the fault of some excessively-profligate government entity (or perhaps of those people excessively clever with money–fractional-reserve bankers, and those who claim not the natural increase of flocks but rather the interest on barren gold). Why Hayek could not see with everybody else–including Milton Friedman–that the Great Depression proved that Say’s Law was false in theory, and that aggregate demand needed to be properly and delicately managed in order to make Say’s Law true in practice is largely a mystery. Nearly everyone else did: the Lionel Robbinses and the Arthur Burnses quickly marked their beliefs to market after the Great Depression and figured out how to translate what they thought into acceptable post-World War II Keynesian language. Hayek never did.
My hypothesis is that the explanation is theology: For Hayek, the market could never fail. For Hayek, the market could only be failed. And the only way it could be failed was if its apostles were not pure enough.”

J. Bradford DeLong (1960) American economist

Making Sense of Friedrich A. von Hayek: Focus/The Honest Broker for the Week of August 9, 2014 http://equitablegrowth.org/making-sense-friedrich-von-hayek-focusthe-honest-broker-week-august-9-2014/ (2014)

Gabrielle Roy photo
Mitch Fatel photo
William H. Gass photo
John Donne photo
Robert M. Price photo

“Is it …possible that beneath and behind the stained-glass curtain of Christian legend stands the dim figure of a historical founder of Christianity? Yes, it is possible, perhaps just a tad more likely than that there was a historical Moses, about as likely as there having been a historical Apollonius of Tyana. But it becomes almost arbitrary to think so.”

Robert M. Price (1954) American theologian

[Price, Robert M., w:Robert M. Price, Of Myth and Men: A Closer Look at the Originators of the Major Religions - What Did They Really Say and Do?, Free Inquiry magazine, December 31, 1999, 20, 1, http://www.secularhumanism.org/index.php/articles/2756]

Wallace Stevens photo

“The President has apples on the table
And barefoot servants round him, who adjust
The curtains to a metaphysical "t"”

Wallace Stevens (1879–1955) American poet

Notes Toward a Supreme Fiction (1942), It Must Change

Margaret Thatcher photo
Mickey Spillane photo

“Nobody ever walked across the bridge, not on a night like this. The rain was misty enough to be almost fog-like, a cold gray curtain that separated me from the pale ovals of white that were faces locked behind the steamed-up windows of the cars that hissed by. Even the brilliance that was Manhattan by night was reduced to a few sleepy, yellow lights off in the distance.
Some place over there I had left my car and started walking, burying my head in the collar of my raincoat, with the night pulled in around me like a blanket. I walked and I smoked and I flipped the spent butts ahead of me and watched them arch to the pavement and fizzle out with one last wink. If there was life behind the windows of the buildings on either side of me, I didn't notice it. The street was mine, all mine. They gave it to me gladly and wondered why I wanted it so nice and all alone.
There were others like me, sharing the dark and the solitude, but they were huddled in the recessions of the doorways not wanting to share the wet and the cold. I could feel their eyes follow me briefly before they turned inward to their thoughts again.
So I followed the hard concrete footpaths of the city through the towering canyons of the buildings and never noticed when the sheer cliffs of brick and masonry diminished and disappeared altogether, and the footpath led into a ramp then on to the spidery steel skeleton that was the bridge linking two states.
I climbed to the hump in the middle and stood there leaning on the handrail with a butt in my fingers, watching the red and green lights of the boats in the river below. They winked at me and called in low, throaty notes before disappearing into the night.
Like eyes and faces. And voices.
I buried my face in my hands until everything straightened itself out again, wondering what the judge would say if he could see me now. Maybe he'd laugh because I was supposed to be so damn tough, and here I was with hands that wouldn't stand still and an empty feeling inside my chest.”

One Lonely Night (1951)

Charles Stross photo
Chuck Palahniuk photo

“I used to think the secret to a happy ending was to bring down the curtain at the exact right time. A moment after happiness, then everything's all wrong, again.”

Haunted (2005)
Variant: I used to think the secret to a happy ending was to bring down the curtain at the exact right time. A moment after happiness, then everything's all wrong, again.

Billy Joel photo
John Frusciante photo

“The curtains were made for moving
Cause you know sometimes you're not always there”

John Frusciante (1970) American guitarist, singer, songwriter and record producer

Curtains
Lyrics, Niandra Lades and Usually Just a T-Shirt (1994)

Masiela Lusha photo

“Sing your song, unforgiving siren,
Part the curtain clouds with your faithful entrance,
And clear your voice.
Pour your song of milk onto this land of yours.”

Masiela Lusha (1985) Albanian actress, writer, author

"Full Moon - A Siren's Song" http://www.poemhunter.com/poem/full-moon-a-siren-s-song/
Drinking the Moon (2006)

Jerry Falwell photo

“God continues to lift the curtain and allow the enemies of America to give us probably what we deserve.”

Jerry Falwell (1933–2007) American evangelical pastor, televangelist, and conservative political commentator

quoted in [2001-09-14, God Gave U.S. 'What We Deserve,' Falwell Says, John F. Harris, The Washington Post, 0190-8286, C03, http://www.washingtonpost.com/ac2/wp-dyn?pagename=article&contentId=A28620-2001Sep14]

Amit Chaudhuri photo
Lewis Morris (poet) photo

“The wind that sighs before the dawn
Chases the gloom of night,
The curtains of the East are drawn,
And suddenly—'t is light.”

Lewis Morris (poet) (1833–1907) Welsh poet in the English language

Le Vent de l'Esprit, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Sri Aurobindo photo

“I do not care a button about having my name in any blessed place. I was never ardent about fame even in my political days; I preferred to remain behind the curtain, push people without their knowing it and get things done. It was the confounded British Government that spoiled my game by prosecuting me and forcing me to be publicly known and a 'leader'. Then, again, I don't believe in advertisement except for books etc., and in propaganda except for politics and patent medicines. But for serious work it is a poison. It means either a stunt or a boom' and stunts and booms exhaust the thing they carry on their crest and leave it lifeless and broken high and dry on the shores of nowhere… or it means a movement. A movement in the case of a work like mine means the founding of a school or a sect or some other damned nonsense. It means that hundreds or thousands of useless people join in and corrupt the work or reduce it to a pompous farce from which the Truth that was coming down recedes into secrecy and silence. It is what has happened to the 'religions' and is the reason of their failure. If I tolerate a little writing about myself, it is only to have a sufficient counter-weight in that amorphous chaos, the public mind, to balance the hostility that is always aroused by the presence of a new dynamic Truth in this world of ignorance. But the utility ends there and too much advertisement would defeat that object. I am perfectly 'rational', I assure you, in my methods and I do not proceed merely on any personal dislike of fame. If and so far as publicity serves the Truth, I am quite ready to tolerate it; but I do not find publicity for its own sake desirable.”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

October 2, 1934
India's Rebirth

Edward Thomson photo
Andy Partridge photo
Robert M. Price photo
Emily Dickinson photo
Megan Mullally photo

“Manuel Mercado Acosta is an indio from the mountains of Durango. His father operated a mescal distillery before the revolutionaries drove him out. He met my mother while riding a motorcycle in El Paso. Juana Fierro Acosta is my mother. She could have been a singer in a Juarez cantina but instead decided to be Manuel’s wife because he had a slick mustache, a fast bike and promised to take her out of the slums across from the Rio Grande. She had only one demand in return for the two sons and three daughters she would bear him: “No handouts. No relief. I never want to be on welfare.” I doubt he really promised her anything in a very loud, clear voice. My father was a horsetrader even though he got rid of both the mustache and the bike when FDR drafted him, a wetback, into the U. S. Navy on June 22, 1943. He tried to get into the Marines, but when they found out he was a good swimmer and a non-citizen they put him in a sailor suit and made him drive a barge in Okinawa. We lived in a two-room shack without a floor. We had to pump our water and use kerosene if we wanted to read at night. But we never went hungry. My old man always bought the pinto beans and the white flour for the tortillas in 100-pound sacks which my mother used to make dresses, sheets and curtains. We had two acres of land which we planted every year with corn, tomatoes and yellow chiles for the hot sauce. Even before my father woke us, my old ma was busy at work making the tortillas at 5:00 A. M. while he chopped the logs we’d hauled up from the river on the weekends.”

Source: Autobiography of a Brown Buffalo (1972), p. 72.

Andy Warhol photo
Joseph Goebbels photo
Isaac Leib Peretz photo
Clive Staples Lewis photo
Steve Coogan photo

“He is the embodiment of Fleet Street bullying, using his newspaper to peddle his Little-England, curtain-twitching Alan Partridgesque view of the world, which manages to combine sanctimonious, pompous moralising and prurient, voyeuristic, judgmental obsession, like a Victorian father masturbating secretly in his bedroom.”

Steve Coogan (1965) English actor and comedian

on Daily Mail editor Paul Dacre in We've been betrayed by David Cameron http://www.guardian.co.uk/commentisfree/2012/nov/29/we-have-been-betrayed-by-cameron, The Guardian (2012)

Kazimir Malevich photo

“Matiushin's sound [composer of the Futurist opera: 'Victory over the Sun', Malevich did the stage design] shattered the object-word. The curtain was torn, by the same token tearing the scream of consciousness of the old brain. [1917]”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 266
1910 - 1920

The Edge photo
Jim Breuer photo
Karl Schmidt-Rottluff photo

“The atelier was under the roof. Inhabiting this space was forbidden due to fire code restrictions, but staying and working there was allowed. We therefore had to avoid the impression that these were our living quarters. The most necessary furniture had to disappear into the attic during the day. And so the place was decorated purely with curtains. A curtain hung in front of the entrance door, a second one in front of the oven heating.... an adjoining room was hidden by a curtain with abstractedly patterned batik.”

Karl Schmidt-Rottluff (1884–1976) German artist

In addition to defying societal standards, die Brücke artists defied housing laws: the ateliers in Dresden that they worked and lived in were forbidden to be used as homes
Source: Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 312 (https://www.researchgate.net/publication/272168564 translation, Claire Louise Albiez]

Adam Zagajewski photo
Giorgio de Chirico photo

“Painting is the magic art, the fire set alight on the windows of the rich dwelling, as on those of the humble hovel, from the last rays of the setting sun, it is the long mark, the humid mark, the fluent and still mark that the dying wave etches on the hot sand, it is the darting of the immortal lizard on the rock burnt by the midday heat, it is the rainbow of conciliation, on sad May afternoons, after the storm has passed, down there, making a dark backdrop to the almond trees in flower, to the gardens with their washed colours, to the ploughmen's huts, smiling and tranquil, it is the livid cloud chased by the vehement blowing of Aeolus enraged, it is the nebulous disk of the fleeting moon behind the ripped-open funereal curtain of a disturbed sky in the deep of night, it is the blood of the bull stabbed in the arena, of the warrior fallen in the heat of battle, of Adonis' immaculate thigh wounded by the obstinate boar's curved tusk, it is the sail swollen with the winds of distant seas, it is the centuries-old tree browned in the autumn..”

Giorgio de Chirico (1888–1978) Italian artist

Quote from the first lines in De Cirico's essay 'Painting', 1938; from http://www.fondazionedechirico.org/wp-content/uploads/211_Painting_1938_Metaphysical_Art.pdf 'Painting', 1938 - G. de Chirico, presentation to the catalogue of his solo exhibition Mostra personale del pittore Giorgio de Chirico, Galleria Rotta, Genoa, May 1938], p. 211
1920s and later

Ayumi Hamasaki photo
Charles Bukowski photo
Leighton W. Smith, Jr. photo
John Greenleaf Whittier photo

“Let the thick curtain fall;
I better know than all
How little I have gained,
How vast the unattained.”

John Greenleaf Whittier (1807–1892) American Quaker poet and advocate of the abolition of slavery

My Triumph, reported in Bartlett's Familiar Quotations, 10th ed. (1919)

Muhammad of Ghor photo
William Cowper photo
Jeff Foxworthy photo
Winston S. Churchill photo
Muhammad photo
William Makepeace Thackeray photo
Frederick Douglass photo

“Had Abraham Lincoln died from any of the numerous ills to which flesh is heir; had he reached that good old age of which his vigorous constitution and his temperate habits gave promise; had he been permitted to see the end of his great work; had the solemn curtain of death come down but gradually, we should still have been smitten with a heavy grief, and treasured his name lovingly. But dying as he did die, by the red hand of violence, killed, assassinated, taken off without warning, not because of personal hate, for no man who knew Abraham Lincoln could hate him, but because of his fidelity to union and liberty, he is doubly dear to us, and his memory will be precious forever. Fellow citizens, I end, as I began, with congratulations. We have done a good work for our race today. In doing honor to the memory of our friend and liberator, we have been doing highest honors to ourselves and those who come after us. We have been fastening ourselves to a name and fame imperishable and immortal; we have also been defending ourselves from a blighting scandal. When now it shall be said that the colored man is soulless, that he has no appreciation of benefits or benefactors; when the foul reproach of ingratitude is hurled at us, and it is attempted to scourge us beyond the range of human brotherhood, we may calmly point to the monument we have this day erected to the memory of Abraham Lincoln.”

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

1870s, Oratory in Memory of Abraham Lincoln (1876)

Zia Haider Rahman photo
Alexander Calder photo
Robert Frost photo

“Tree at my window, window tree,
My sash is lowered when night comes on;
But let there never be curtain drawn
Between you and me.”

Robert Frost (1874–1963) American poet

" Tree at My Window http://www.poemhunter.com/poem/tree-at-my-window-2/" (1928)
1920s

Donald Barthelme photo
Carl Friedrich Gauss photo

“May the dream which we call life be for you a happy dream, a foretaste of that true life which we shall inherit in our real home, when the awakened spirit shall labour no longer under the grievous bondage of the flesh, the fetters of space, the whips of earthly pain, and the sting of our paltry needs and desires. Let us carry our burdens to the end, stoutly and uncomplainingly, never losing sight of that higher goal. Glad then shall we be to lay down our weary lives, and to see the dropping of the curtain.”

Carl Friedrich Gauss (1777–1855) German mathematician and physical scientist

As quoted in Kneller, Karl Alois, Kettle, Thomas Michael, 1911. "Christianity and the leaders of modern science; a contribution to the history of culture in the nineteenth century" https://archive.org/stream/christianitylead00kneluoft#page/46/mode/2up, Freiburg im Breisgau, p. 46

“Nature is like parting a curtain, you go into it. I want to draw a certain response like this.... that quality of response from people when they leave themselves behind, often experienced in nature, an experience of simple joy... My paintings are about merging, about formlessness... A world without objects, without interruption.”

Agnes Martin (1912–2004) American artist

Ann Wilson, from her talks in the Summer of 1972 at Agnes Martin's home in Mexico - an unpublished document; as quoted in Agnes Martin: Her Life and Art, Chapter 7 - 'Departures', Nancy Princenthal; Thames and Hudson, New York, p. 195-196
Wilson's visit to Cuba in Mexico was to work towards the publication accompanying Martin's exhibition at the Institute of Contemporary Art in Philadelphia in 1973, curated by Suzanne Delehanty
1970's

Alexej von Jawlensky photo
Steven Novella photo

“Beware! By Allah the son of Abu Quhafah (Abu Bakr) dressed himself with it (the caliphate) and he certainly knew that my position in relation to it was the same as the position of the axis in relation to the hand-mill. The flood water flows down from me and the bird cannot fly upto me. I put a curtain against the caliphate and kept myself detached from it.
Then I began to think whether I should assault or endure calmly the blinding darkness of tribulations wherein the grown up are made feeble and the young grow old and the true believer acts under strain till he meets Allah (on his death). I found that endurance thereon was wiser. So I adopted patience although there was pricking in the eye and suffocation (of mortification) in the throat. I watched the plundering of my inheritance till the first one went his way but handed over the Caliphate to Ibn al-Khattab after himself.
(Then he quoted al-A`sha's verse):
My days are now passed on the camel's back (in difficulty) while there were days (of ease) when I enjoyed the company of Jabir's brother Hayyan.
It is strange that during his lifetime he wished to be released from the caliphate but he confirmed it for the other one after his death. No doubt these two shared its udders strictly among themselves. This one put the Caliphate in a tough enclosure where the utterance was haughty and the touch was rough. Mistakes were in plenty and so also the excuses therefore. One in contact with it was like the rider of an unruly camel. If he pulled up its rein the very nostril would be slit, but if he let it loose he would be thrown. Consequently, by Allah people got involved in recklessness, wickedness, unsteadiness and deviation.
Nevertheless, I remained patient despite length of period and stiffness of trial, till when he went his way (of death) he put the matter (of Caliphate) in a group and regarded me to be one of them. But good Heavens! what had I to do with this "consultation"? Where was any doubt about me with regard to the first of them that I was now considered akin to these ones? But I remained low when they were low and flew high when they flew high. One of them turned against me because of his hatred and the other got inclined the other way due to his in-law relationship and this thing and that thing, till the third man of these people stood up with heaving breasts between his dung and fodder. With him his children of his grand-father, (Umayyah) also stood up swallowing up Allah's wealth like a camel devouring the foliage of spring, till his rope broke down, his actions finished him and his gluttony brought him down prostrate.
At that moment, nothing took me by surprise, but the crowd of people rushing to me. It advanced towards me from every side like the mane of the hyena so much so that Hasan and Husayn were getting crushed and both the ends of my shoulder garment were torn. They collected around me like the herd of sheep and goats. When I took up the reins of government one party broke away and another turned disobedient while the rest began acting wrongfully as if they had not heard the word of Allah saying:
That abode in the hereafter, We assign it for those who intend not to exult themselves in the earth, nor (to make) mischief (therein); and the end is (best) for the pious ones. (Qur'an, 28:83)
Yes, by Allah, they had heard it and understood it but the world appeared glittering in their eyes and its embellishments seduced them. Behold, by Him who split the grain (to grow) and created living beings, if people had not come to me and supporters had not exhausted the argument and if there had been no pledge of Allah with the learned to the effect that they should not acquiesce in the gluttony of the oppressor and the hunger of the oppressed I would have cast the rope of Caliphate on its own shoulders, and would have given the last one the same treatment as to the first one. Then you would have seen that in my view this world of yours is no better than the sneezing of a goat.”

Known as the Sermon of ash-Shiqshiqiyyah (roar of the camel), It is said that when Amir al-mu'minin reached here in his sermon a man of Iraq stood up and handed him over a writing. Amir al-mu'minin began looking at it, when Ibn `Abbas said, "O' Amir al-mu'minin, I wish you resumed your Sermon from where you broke it." Thereupon he replied, "O' Ibn `Abbas it was like the foam of a Camel which gushed out but subsided." Ibn `Abbas says that he never grieved over any utterance as he did over this one because Amir al-mu'minin could not finish it as he wished to.
Nahj al-Balagha

Francois Mauriac photo

“One can touch a living soul through a curtain of vice and crime no matter how dense and dark: but vulgarity is an insurmountable barrier.”

On atteint aisément une âme vivante à travers les crimes, les vices les plus tristes, mais la vulgarité est infranchissable.
Le Nœud de vipères (1932), cited from Oeuvres romanesques, vol. 2 (Paris: Flammarion, 1965) p. 190; Gerard Hopkins (trans.) Knot of Vipers (Harmondsworth: Penguin, [1951] 1985) p. 193.

Matt Taibbi photo
Bernard Cornwell photo
Margaret Thatcher photo
Lin Yutang photo
Clive Staples Lewis photo

“It foretells a sudden, violent end imposed from without; an extinguisher popped onto the candle, a brick flung at the gramophone, a curtain rung down on the play — "Halt!"”

Clive Staples Lewis (1898–1963) Christian apologist, novelist, and Medievalist

The World's Last Night (1952)
Context: Christian Apocalyptic offers us no such hope. It does not even foretell, (which would be more tolerable to our habits of thought) a gradual decay. It foretells a sudden, violent end imposed from without; an extinguisher popped onto the candle, a brick flung at the gramophone, a curtain rung down on the play — "Halt!"

Lyndon B. Johnson photo

“A democracy works best when the people have all the information that the security of the Nation permits. No one should be able to pull curtains of secrecy around decisions which can be revealed without injury to the public interest. At the same time, the welfare of the Nation or the rights of individuals may require that some documents not be made available.”

Lyndon B. Johnson (1908–1973) American politician, 36th president of the United States (in office from 1963 to 1969)

1960s, Statement on the Freedom of Information Act (1966)
Context: A democracy works best when the people have all the information that the security of the Nation permits. No one should be able to pull curtains of secrecy around decisions which can be revealed without injury to the public interest. At the same time, the welfare of the Nation or the rights of individuals may require that some documents not be made available. As long as threats to peace exist, for example, there must be military secrets. A citizen must be able in confidence to complain to his Government and to provide information, just as he is– and should be– free to confide in the press without fear of reprisal or of being required to reveal or discuss his sources.

Anna Akhmatova photo

“How many spectacles I've missed:
the curtain rising without me,
and falling too. How many friends
I never had the chance to meet.”

Anna Akhmatova (1889–1966) Russian modernist poet

"This Cruel Age has deflected me..." (1944)
Context: This cruel age has deflected me,
like a river from this course.
Strayed from its familiar shores,
my changeling life has flowed
into a sister channel.
How many spectacles I've missed:
the curtain rising without me,
and falling too. How many friends
I never had the chance to meet.

Sarah Bernhardt photo

“Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public.”

Sarah Bernhardt (1844–1923) French actress

The Art of the Theatre (1925), p. 171
Context: Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third. And to this end the actor must forget his personality and throw aside his joys and sorrows. He must present the public with the reality of a being who for him is only a fiction. With his own eyes, he must shed the tears of the other. With his own voice, he must groan the anguish of the other. His own heart beats as if it would burst, for it is the other's heart that beats in his heart. And when he retires from a tragic or dramatic scene, if he has properly rendered his character, he must be panting and exhausted.

Winston S. Churchill photo

“From Stettin in the Baltic to Trieste in the Adriatic an iron curtain has descended across the Continent.”

Winston S. Churchill (1874–1965) Prime Minister of the United Kingdom

On Soviet communism and the Cold War, in a speech at Fulton, Missouri on March 5, 1946 ( complete text http://www.churchill-society-london.org.uk/Fulton.html). Churchill did not coin the phrase "iron curtain", however; the 1920 book Through Bolshevik Russia by English suffragette Ethel Snowden contained the line "We were behind the ‘iron curtain’ at last!" (This fact is mentioned in the article 'Anonymous was a Woman' http://www.yalealumnimagazine.com/issues/2011_01/anon4651.html, Yale Alumni Magazine Jan/Feb 2011).
Post-war years (1945–1955)
Context: A shadow has fallen upon the scenes so lately lighted by the Allied victory…. From Stettin in the Baltic to Trieste in the Adriatic an iron curtain has descended across the Continent.

Jerome K. Jerome photo

“Thoughts we cannot speak but only listen to flood in upon us, and standing in the stillness under earth's darkening dome, we feel that we are greater than our petty lives. Hung round with those dusky curtains, the world is no longer a mere dingy workshop, but a stately temple wherein man may worship, and where at times in the dimness his groping hands touch God's.”

Idle Thoughts of an Idle Fellow (1886)
Context: A solemn sadness reigns. A great peace is around us. In its light our cares of the working day grow small and trivial, and bread and cheese—ay, and even kisses—do not seem the only things worth striving for. Thoughts we cannot speak but only listen to flood in upon us, and standing in the stillness under earth's darkening dome, we feel that we are greater than our petty lives. Hung round with those dusky curtains, the world is no longer a mere dingy workshop, but a stately temple wherein man may worship, and where at times in the dimness his groping hands touch God's.

Stephen Vincent Benét photo

“I'm your narrator. It's my task to say
Just where and how things happen in our play,
Set the bare stage with words instead of props
And keep on talking till the curtain drops.”

Stephen Vincent Benét (1898–1943) poet, short story writer, novelist

Narrator
A Child is Born (1942)
Context: I'm your narrator. It's my task to say
Just where and how things happen in our play,
Set the bare stage with words instead of props
And keep on talking till the curtain drops. …
It's an old task — old as the human heart,
Old as those bygone players and their art
Who, in old days when faith was nearer earth,
Played out the mystery of Jesus' birth
In hall or village green or market square
For all who chose to come and see them there,
And, if they knew that King Herod, in his crown,
Was really Wat, the cobbler of the town,
And Tom, the fool, played Abraham the Wise,
They did not care. They saw with other eyes.
The story was their own — not far away,
As real as if it happened yesterday,
Full of all awe and wonder yet so near,
A marvelous thing that could have happened here
In their own town — a star that could have blazed
On their own shepherds, leaving them amazed,
Frightened and questioning and following still
To the bare stable — and the miracle.

Arthur Schopenhauer photo

“In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin.”

"On the Sufferings of the World"
Parerga and Paralipomena (1851), Studies in Pessimism
Context: In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin. It is a blessing that we do not know what is really going to happen. Could we foresee it, there are times when children might seem like innocent prisoners, condemned, not to death, but to life, and as yet all unconscious of what their sentence means.

Abraham Pais photo

“I need not put myself center stage but can rather place myself at the side, like a Greek chorus. As the curtain rises, I can walk to the center and can speak as follows: I wish to tell you of happenings in the twentieth century, as I witnessed them and reflected upon them. You will see me return to center stage, but only occasionally.”

Abraham Pais (1918–2000) American Physicist

On considering his wife's suggestion that he write his autobiography, Prologue, p. xiii
A Tale of Two Continents (1997)
Context: I made a discovery, perhaps known to others but new to me: I need not put myself center stage but can rather place myself at the side, like a Greek chorus. As the curtain rises, I can walk to the center and can speak as follows: I wish to tell you of happenings in the twentieth century, as I witnessed them and reflected upon them. You will see me return to center stage, but only occasionally. Once that imagery had gotten hold of me, I went back to Ida and said yes, I shall try.

Reza Pahlavi photo

“For three decades the regime has been effective in squashing its citizenry and monopolizing all communications with the outside world. That must end. Let us remember that the iron curtain could also not have fallen without the tacit support of the free world. Iranians too deserve this same kind of help.”

Reza Pahlavi (1960) Last crown prince of the former Imperial State of Iran

As quoted by Christoph Lehermayr, Der Sohn des Schahs spricht exklusiv mit NEWS.at: "Ich bin bereit, Konig zu werden" http://www.rezapahlavi.org/details_article.php?article=397&page=3, NEWS.at, September 15, 2009.
Interviews, 2009

Kapka Kassabova photo
Robert Sheckley photo
Mary McCarthy photo
Tulsi Gabbard photo

“Great! Thank you @HillaryClinton. You, the queen of warmongers, embodiment of corruption, and personification of the rot that has sickened the Democratic Party for so long, have finally come out from behind the curtain.”

Tulsi Gabbard (1981) U.S. Representative from Hawaii's 2nd congressional district

Twitter post published by Fox News https://www.foxnews.com/politics/tulsi-gabbard-hillary-clinton-smears-bernie-sanders-endorsement. (18 October 2019)
Twitter account, October 2019

Clement Attlee photo
Clement Attlee photo
I. F. Stone photo

“The press, which dropped an Iron Curtain weeks ago on the anti-war speeches of Morse and Gruening, ignored this one, too.”

I. F. Stone (1907–1989) American investigative journalist and author

NPR: Excerpt: The Best of I.F. Stone (5 September 2006)

Frederick Douglass photo

“Had Abraham Lincoln died from any of the numerous ills to which flesh is heir; had he reached that good old age of which his vigorous constitution and his temperate habits gave promise; had he been permitted to see the end of his great work; had the solemn curtain of death come down but gradually, we should still have been smitten with a heavy grief, and treasured his name lovingly. But dying as he did die, by the red hand of violence, killed, assassinated, taken off without warning, not because of personal hate, for no man who knew Abraham Lincoln could hate him, but because of his fidelity to union and liberty, he is doubly dear to us, and his memory will be precious forever.”

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

Fellow citizens, I end, as I began, with congratulations. We have done a good work for our race today. In doing honor to the memory of our friend and liberator, we have been doing highest honors to ourselves and those who come after us. We have been fastening ourselves to a name and fame imperishable and immortal; we have also been defending ourselves from a blighting scandal. When now it shall be said that the colored man is soulless, that he has no appreciation of benefits or benefactors; when the foul reproach of ingratitude is hurled at us, and it is attempted to scourge us beyond the range of human brotherhood, we may calmly point to the monument we have this day erected to the memory of Abraham Lincoln.
1870s, Oratory in Memory of Abraham Lincoln (1876)

Alexander Calder photo
Alice Meynell photo
Stephen Vincent Benét photo
Alfred Austin photo

“Goodnight! Now dwindle wan and low
The embers of the afterglow,
And slowly over leaf and lawn
Is twilight's dewy curtain drawn.”

Alfred Austin (1835–1913) British writer and poet

Source: "Goodnight!", in Lamia's Winter-Quarters (London: Macmillan and Co., 1898), p. 163.