Quotes about darkness

page 32

"On Reading Fawcett's Lines On Revisiting Scenes Of Early Life" in Poems of the Late Francis Scott Key, Esq. (1857), p. 87.
Context: p>So sings the world's fond slave! so flies the dream
Of life's gay morn; so sinks the meteor ray
Of fancy into darkness; and no beam
Of purer light shines on the wanderer's way.So sings not he who soars on other wings
Than fancy lends him; whom a cheering faith
Warms and sustains, and whose freed spirit springs
To joys that bloom beyond the reach of death.And thou would'st live again! again dream o'er
The wild and feverish visions of thy youth
Again to wake in sorrow, and deplore
Thy wanderings from the peaceful paths of truth! Yet yield not to despair! be born again,
And thou shalt live a life of joy and peace,
Shall die a death of triumph, and thy strain
Be changed to notes of rapture ne'er to cease.</p

Book V, Ch. 3 dates that his Third Law of Planetary Motion occurred to him, translation by E. J. Aiton, A. M. Duncan, and J. V. Field, The Harmony of the World (1997), Vol. 209, p. 411
Variant translation: A fresh assault overcame the darkness of my reason...
As quoted in Calculus. Multivariable (2006) by Steven G. Krantz and Brian E. Blank. p. 126
Harmonices Mundi (1618)
Context: If you want the exact moment in time, it was conceived mentally on 8th March in this year one thousand six hundred and eighteen, but submitted to calculation in an unlucky way, and therefore rejected as false, and finally returning on the 15th of May and adopting a new line of attack, stormed the darkness of my mind. So strong was the support from the combination of my labour of seventeen years on the observations of Brahe and the present study, which conspired together, that at first I believed I was dreaming, and assuming my conclusion among my basic premises. But it is absolutely certain and exact that "the proportion between the periodic times of any two planets is precisely the sesquialterate proportion of their mean distances..."

About Shykh Mu‘in al-Din Chishti of Ajmer (d. AD 1236). Siyar al-Aqtab by Allah Diya Chishti (1647). Quoted in P.M. Currie, The Shrine and Cult of Mu‘in al-Din Chishti of Ajmer, OUP, 1989 p. 74-87

Source: Alcestis (438 BC), l. 358
Context: Oh, if I had Orpheus' voice and poetry
with which to move the Dark Maid and her Lord,
I'd call you back, dear love, from the world below.
I'd go down there for you. Charon or the grim
King's dog could not prevent me then
from carrying you up into the fields of light.

Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 19. How, Though the Sphere Showed Me Other Mysteries of Spaceland, I Still Desired More; and What Came of It
Context: p>Those who have thus appeared — no one knows whence — and have returned — no one knows whither — have they also contracted their sections and vanished somehow into that more Spacious Space, whither I now entreat you to conduct me?SPHERE (MOODILY). They have vanished, certainly — if they ever appeared. But most people say that these visions arose from the thought — you will not understand me — from the brain; from the perturbed angularity of the Seer.I. Say they so? Oh, believe them not. Or if it indeed be so, that this other Space is really Thoughtland, then take me to that blessed Region where I in Thought shall see the insides of all solid things. There, before my ravished eye, a Cube, moving in some altogether new direction, but strictly according to Analogy, so as to make every particle of his interior pass through a new kind of Space, with a wake of its own — shall create a still more perfect perfection than himself, with sixteen terminal Extra-solid angles, and Eight solid Cubes for his Perimeter. And once there, shall we stay our upward course? In that blessed region of Four Dimensions, shall we linger on the threshold of the Fifth, and not enter therein? Ah, no! Let us rather resolve that our ambition shall soar with our corporal ascent. Then, yielding to our intellectual onset, the gates of the Sixth Dimension shall fly open; after that a Seventh, and then an Eighth —How long I should have continued I know not. In vain did the Sphere, in his voice of thunder, reiterate his command of silence, and threaten me with the direst penalties if I persisted. Nothing could stem the flood of my ecstatic aspirations. Perhaps I was to blame; but indeed I was intoxicated with the recent draughts of Truth to which he himself had introduced me. However, the end was not long in coming. My words were cut short by a crash outside, and a simultaneous crash inside me, which impelled me through space with a velocity that precluded speech. Down! down! down! I was rapidly descending; and I knew that return to Flatland was my doom. One glimpse, one last and never-to-be-forgotten glimpse I had of that dull level wilderness — which was now to become my Universe again — spread out before my eye. Then a darkness. Then a final, all-consummating thunder-peal; and, when I came to myself, I was once more a common creeping Square, in my Study at home, listening to the Peace-Cry of my approaching Wife.</p

Ch 12
A Woman's Thoughts About Women (1858)
Context: A finished life — a life which has made the best of all the materials granted to it, and through which, be its web dark or bright, its pattern clear or clouded, can now be traced plainly the hand of the Great Designer; surely this is worth living for? And though at its end it may be somewhat lonely; though a servant's and not a daughter's arm may guide the failing step; though most likely it will be strangers only who come about the dying bed, close the eyes that no husband ever kissed, and draw the shroud kindly over the poor withered breast where no child's head has ever lain; still, such a life is not to be pitied, for it is a completed life. It has fulfilled its appointed course, and returns to the Giver of all breath, pure as He gave it. Nor will He forget it when He counteth up His jewels.

If we could prepare ourselves through virtue in the ways I have shown, we would at once strip ourselves of our bodies and flow into the wild waves of the Sea, from which no creature could ever draw us back.
The Spiritual Espousals (c. 1340)

Lines to Grief

Trust in God, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Day of Affirmation Address (1966)
Context: Only earthbound man still clings to the dark and poisoning superstition that his world is bounded by the nearest hill, his universe ends at river shore, his common humanity is enclosed in the tight circle of those who share his town or his views and the color of his skin. It is — It is your job, the task of young people in this world, to strip the last remnants of that ancient, cruel belief from the civilization of man.

(XII.7) Del Rey, p. 426
Blade of Tyshalle (2001)
Context: He had no idea what he should do now. Without destiny to guide him, he was lost in a vast, whistling darkness. Any direction he might choose was purely abitary; it would make no more sense, offer no more hope, than would sitting still. Which offered neither sense nor hope at all.

Black Boy (1945)

"Counter-Attack"
The Counter-Attack and Other Poems (1918)
Context: Mute in the clamour of shells he watched them burst
Spouting dark earth and wire with gusts from hell,
While posturing giants dissolved in drifts of smoke.
He crouched and flinched, dizzy with galloping fear,
Sick for escape,— loathing the strangled horror
And butchered, frantic gestures of the dead.

The Conspiracy of Kings (1792)
Context: In every clime, thy visage greets my eyes,
In every tongue thy kindred accents rise;
The thought expanding swells my heart with glee,
It finds a friend, and loves itself in thee. Say then, fraternal family divine,
Whom mutual wants and mutual aids combine,
Say from what source the dire delusion rose,
That souls like ours were ever made for foes;
Why earth's maternal bosom, where we tread,
To rear our mansions and receive our bread,
Should blush so often for the face she bore,
So long be drench'd with floods of filial gore;
Why to small realms for ever rest confin'd
Our great affections, meant for all mankind.
Though climes divide us; shall the stream or sea,
That forms a barrier 'twixt my friend and me,
Inspire the wish his peaceful state to mar,
And meet his falchion in the ranks of war? Not seas, nor climes, nor wild ambition's fire
In nations' minds could e'er the wish inspire;
Where equal rights each sober voice should guide,
No blood would stain them, and no war divide.
'Tis dark deception, 'tis the glare of state,
Man sunk in titles, lost in Small and Great;
'Tis Rank, Distinction, all the hell that springs
From those prolific monsters, Courts and Kings.

1960s, I've Been to the Mountaintop (1968)
Context: As you know, if I were standing at the beginning of time, with the possibility of general and panoramic view of the whole human history up to now, and the Almighty said to me, "Martin Luther King, which age would you like to live in?" — I would take my mental flight by Egypt through, or rather across the Red Sea, through the wilderness on toward the promised land. And in spite of its magnificence, I wouldn't stop there. I would move on by Greece, and take my mind to Mount Olympus. And I would see Plato, Aristotle, Socrates, Euripides and Aristophanes assembled around the Parthenon as they discussed the great and eternal issues of reality.
But I wouldn't stop there. I would go on, even to the great heyday of the Roman Empire. And I would see developments around there, through various emperors and leaders. But I wouldn't stop there. I would even come up to the day of the Renaissance, and get a quick picture of all that the Renaissance did for the cultural and esthetic life of man. But I wouldn't stop there. I would even go by the way that the man for whom I'm named had his habitat. And I would watch Martin Luther as he tacked his ninety-five theses on the door at the church in Wittenberg.
But I wouldn't stop there. I would come on up even to 1863, and watch a vacillating president by the name of Abraham Lincoln finally come to the conclusion that he had to sign the Emancipation Proclamation. But I wouldn't stop there. I would even come up the early thirties, and see a man grappling with the problems of the bankruptcy of his nation. And come with an eloquent cry that we have nothing to fear but fear itself.
But I wouldn't stop there. Strangely enough, I would turn to the Almighty, and say, "If you allow me to live just a few years in the second half of the twentieth century, I will be happy." Now that's a strange statement to make, because the world is all messed up. The nation is sick. Trouble is in the land. Confusion all around. That's a strange statement. But I know, somehow, that only when it is dark enough, can you see the stars. And I see God working in this period of the twentieth century in a way that men, in some strange way, are responding — something is happening in our world. The masses of people are rising up. And wherever they are assembled today, whether they are in Johannesburg, South Africa; Nairobi, Kenya: Accra, Ghana; New York City; Atlanta, Georgia; Jackson, Mississippi; or Memphis, Tennessee — the cry is always the same — "We want to be free."

"The Erring" in the Orphan's Advocate (1844) and the Social Monitor (1844), as quoted in Our Woman Workers: Biographical Sketches of Women Eminent in the Universalist Church for Literary, Philanthropic and Christian Work http://books.google.com/books?id=GQK3D5X9E4kC (1881) by E. R. Hanson, p. 170.
Context: Think gently of the erring:
Ye know not of the power
With which the dark temptation came
In some unguarded hour.
Ye may not know how earnestly
They struggled, or how well,
Until the hour of weakness came,
And sadly thus they fell.

Source: The Log from the Sea of Cortez (1951), Chapter 8
Context: Among primitives sometimes evil is escaped by never mentioning the name, as in Malaysia, where one never mentions a tiger by name for fear of calling him. Among others, as even among ourselves, the giving of a name establishes a familiarity which renders the thing impotent. It is interesting to see how some scientists and philosophers, who are an emotional and fearful group, are able to protect themselves against fear. In a modern scene, when the horizons stretch out and your philosopher is likely to fall off the world like a Dark Age mariner, he can save himself by establishing a taboo-box which he may call "mysticism" or "supernaturalism" or "radicalism." Into this box he can throw all those thoughts which frighten him and thus be safe from them.

The First Quarrel, stanza VI., lines 3-4; reported in Bartlett's Familiar Quotations, 10th ed. (1919)

Interview in Publisher Weekly in 2011 http://www.publishersweekly.com/pw/by-topic/authors/interviews/article/45944-exploring-the-edge-of-the-fantasy-map-pw-talks-with-patrick-rothfuss.html
Context: Fantasy is my favorite genre for reading and writing. We have more options than anyone else, and the best props and special effects. That means if you want to write a fantasy story with Norse gods, sentient robots, and telepathic dinosaurs, you can do just that. Want to throw in a vampire and a lesbian unicorn while you're at it? Go ahead. Nothing's off limits. But the endless possibility of the genre is a trap. It's easy to get distracted by the glittering props available to you and forget what you're supposed to be doing: telling a good story. Don’t get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That’s a story. Handled properly, it’s more dramatic than any apocalypse or goblin army could ever be.

Odysseus, Book II, line 1017
The Odyssey : A Modern Sequel (1938)

The Alexiad, Preface
Context: The stream of Time, irresistible, ever moving, carries off and bears away all things that come to birth and plunges them into utter darkness, both deeds of no account and deeds which are mighty and worthy of commemoration; as the playwright [Sophocles] says, it 'brings to light that which was unseen and shrouds from us that which was manifest.' Nevertheless, the science of History is a great bulwark against this stream of Time; in a way it checks this irresistible flood, it holds in a tight grasp whatever it can seize floating on the surface and will not allow it to slip away into the depths of Oblivion.

1870s, Oratory in Memory of Abraham Lincoln (1876)
Context: Few facts could better illustrate the vast and wonderful change which has taken place in our condition as a people than the fact of our assembling here for the purpose we have today. Harmless, beautiful, proper, and praiseworthy as this demonstration is, I cannot forget that no such demonstration would have been tolerated here twenty years ago. The spirit of slavery and barbarism, which still lingers to blight and destroy in some dark and distant parts of our country, would have made our assembling here the signal and excuse for opening upon us all the flood-gates of wrath and violence. That we are here in peace today is a compliment and a credit to American civilization, and a prophecy of still greater national enlightenment and progress in the future. I refer to the past not in malice, for this is no day for malice, but simply to place more distinctly in front the gratifying and glorious change which has come both to our white fellow citizens and ourselves, and to congratulate all upon the contrast between now and then, the new dispensation of freedom with its thousand blessings to both races, and the old dispensation of slavery with its ten thousand evils to both races, white and black. In view, then, of the past, the present, and the future, with the long and dark history of our bondage behind us, and with liberty, progress, and enlightenment before us, I again congratulate you upon this auspicious day and hour.

Elmer Gantry, paraphrasing the eloquence of the "atheist" Robert G. Ingersoll in his sermon.
Elmer Gantry (1927)
Context: His text was from Proverbs: "Hatred stirreth up strifes: but love covereth all sins."
He seized the sides of the pulpit with his powerful hands, glared at the congregation, decided to look benevolent after all, and exploded: "In the hustle and bustle of daily life I wonder how many of us stop to think that in all that is highest and best we are ruled not by even our most up-and-coming efforts but by Love? What is Love—the divine Love of which the—the great singer teaches us in Proverbs? It is the rainbow that comes after the dark cloud. It is the morning star and it is also the evening star, those being, as you all so well know, the brightest stars we know. It shines upon the cradle of the little one and when life has, alas, departed, to come no more, you find it still around the quiet tomb. What is it inspires all great men—be they preachers or patriots or great business men? What is it, my brethren, but Love? Ah, it fills the world with melody, with such sacred melodies as we have just indulged in together, for what is music? What, my friends, is music? Ah, what indeed is music but the voice of Love!"

On whether satire would be difficult under an Obama administration
Hartford Advocate Interview (2008)
Context: If someone was to introduce hope and idealism into our political system, I think the tension that would create in other areas would certainly be ripe. You would think that if you bring oxygen to the organism, the organism lives. But there may be other organisms in there that thrive in darkness and in a more anaerobic environment. Watching those creatures writhe will always be interesting.

Unsourced variant or paraphrase: … We might have given it any name we wished: Abyss, Absolute Darkness, Absolute Light, Matter, Spirit, Ultimate Hope, Ultimate Despair, Silence. But never forget, it is we who give it a name.
The Saviors of God (1923)
Context: We have seen the highest circle of spiraling powers. We have named this circle God. We might have given it any other name we wished: Abyss, Mystery, Absolute Darkness, Absolute Light, Matter, Spirit, Ultimate Hope, Ultimate Despair, Silence.
But we have named it God because only this name, for primordial reasons, can stir our hearts profoundly. And this deeply felt emotion is indispensable if we are to touch, body with body, the dread essence beyond logic.
Within this gigantic circle of divinity we are in duty bound to separate and perceive clearly the small, burning arc of our epoch.

"Mr. Kettering's Talk", News and Views, General Motors Acceptance Corporation, General Exchange Insurance Corporation, Motors Insurance Corporation, 1936, p. 46 https://books.google.com/books?id=G2hEAAAAIAAJ&dq=%22the+rest+of+my+life+there%22
Variants:
I object to people running down the future. I am going to live all the rest of my life there, and I would like it to be a nice place, polished, bright, glistening, and glorious.
Quoted in Professional Amateur: The Biography of Charles Franklin Kettering, by T. A. Boyd 1957, pp. 3–4 ( Internet Archive https://archive.org/stream/professionalamat013190mbp/professionalamat013190mbp_djvu.txt, Google Books https://books.google.com/books?id=42Ohg0wKaWsC&pg=PA4&dq=%22I+object+to+people+running+down+the+future%22)
My interest is in the future because I am going to spend the rest of my life there.
Common, since 1947. Examples: Instruments and Control Systems, Volume 20, 1947, p. 374 https://books.google.com/books?id=gBonAAAAMAAJ&q=%22my+interest+is+in+the+future+because+i+am+going+to+spend+the+rest+of+my+life+there%22+kettering; " Biography: Charles Kettering http://www.pbs.org/wgbh/americanexperience/features/biography/streamliners-kettering/", American Experience, PBS; The New Digital Age: Transforming Nations, Businesses, and Our Lives, by Eric Schmidt, , 2014, p. 337 https://books.google.com/books?id=SSWODQAAQBAJ&pg=PA337&q=kettering#v=onepage
Context: You know, you read about the future. You can't help that. I don't look upon the future. I am not a politician. I am not worried about the future at all. I don't like to run it down. I don't like to think of it being too dark because I expect to spend all the rest of my life there and I don't want to have a nasty end to it.

The Paris Review interview (1994)
Context: It’s the same old wilderness, just no longer up on that hill or around that bend or in the gully. It’s the fact that there is no more hill or gully, that the hollow is there and you’ve got to explore the hollow with faith. If you don’t have faith that there is something down there, pretty soon when you’re in the hollow, you begin to get scared and start shaking. That’s when you stop taking acid and start taking coke and drinking booze and start trying to fill the hollow with depressants and Valium. Real warriors like William Burroughs or Leonard Cohen or Wallace Stevens examine the hollow as well as anybody; they get in there, look far into the dark, and yet come out with poetry.

The Saviors of God (1923)
Context: One power descends and wants to scatter, to come to a standstill, to die. The other power ascends and strives for freedom, for immortality.
These two armies, the dark and the light, the armies of life and of death, collide eternally.

"To the Indianapolis Clergy." The Iconoclast (Indianapolis, IN) (1883)
Context: ... for the man Christ, I feel only admiration and respect. I think he was in many things mistaken. His reliance upon the goodness of God was perfect. He seemed to believe that his father in heaven would protect him. He thought that if God clothed the lilies of the field in beauty, if he provided for the sparrows, he would surely protect a perfectly just and loving man. In this he was mistaken; and in the darkness of death, overwhelmed, he cried out: “Why hast thou forsaken me?”

St. Peter and the Angel
Oblique Prayers (1984)
Context: Delivered out of raw continual pain,
smell of darkness, groans of those others
to whom he was chained — unchained, and led
past the sleepers,
door after door silently opening —
out!

Source: Andre Cornelis (1886), Ch. 14
Context: Is there any God, any justice, is there either good or evil? None, none, none, none! There is nothing but a pitiless destiny which broods over the human race, iniquitous and blind, distributing joy and grief at haphazard. A God who says, "Thou shalt not kill," to him whose father has been killed? No, I don't believe it. No, if hell were there before me, gaping open, I would make answer: "I have done well," and I would not repent. I do not repent. My remorse is not for having seized the weapon and struck the blow, it is that I owe to him — to him — that infamous good service which he did me — that I cannot to the present hour shake from me the horrible gift I have received from that man. If I had destroyed the paper, if I had gone and given myself up, if I had appeared before a jury, revealing, proclaiming my deed, I should not be ashamed; I could still hold up my head. What relief, what joy it would be if I might cry aloud to all men that I killed him, that he lied, and I lied, that it was I, I, who took the weapon and plunged it into him! And yet, I ought not to suffer from having accepted — no — endured the odious immunity. Was it from any motive of cowardice that I acted thus? What was I afraid of? Of torturing my mother, nothing more. Why, then, do I suffer this unendurable anguish? Ah, it is she, it is my mother who, without intending it, makes the dead so living to me, by her own despair. She lives, shut up in the rooms where they lived together for sixteen years; she has not allowed a single article of furniture to be touched; she surrounds the man's accursed memory with the same pious reverence that my aunt formerly lavished on my unhappy father. I recognize the invincible influence of the dead in the pallor of her cheeks, the wrinkles in her eyelids, the white streaks in her hair. He disputes her with me from the darkness of his coffin; he takes her from me, hour by hour, and I am powerless against that love.

Section 1 : The Meaning of Life
Founding Address (1876), Life and Destiny (1913)
Context: The divine in man is our sole ground for believing that there is anything divine in the universe outside of man. Man is the revealer of the divine.
At bottom, the world is to be interpreted in terms of joy, but of a joy that includes all the pain, includes it and transforms it and transcends it.
The Light of the World is a light that is saturated with the darkness which it has overcome and transfigured.

The Socialist Party and the Working Class (1904)
Context: Ignorance alone stands in the way of socialist success. The capitalist parties understand this and use their resources to prevent the workers from seeing the light.
Intellectual darkness is essential to industrial slavery.

A Wrinkle in Time (1962)
Context: Suddenly there was a great burst of light through the Darkness. The light spread out and where it touched the Darkness the Darkness disappeared. The light spread until the patch of Dark Thing had vanished, and there was only a gentle shining, and through the shining came the stars, clear and pure.

Preface
His Master's Voice (1968)
Context: Clarity of thought is a shining point in a vast expanse of unrelieved darkness. Genius is not so much a light as it is a constant awareness of the surrounding gloom, and its typical cowardice is to bathe in its own glow and avoid, as much as possible, looking out beyond its boundary. No matter how much genuine strength it may contain, there is also, inevitably, a considerable part that is only the pretense of that strength.

"To Shakespeare"
Poems (1851)
Context: The soul of man is larger than the sky,
Deeper than ocean, or the abysmal dark
Of the unfathomed center. Like that ark,
Which in its sacred hold uplifted high,
O'er the drowned hills, the human family,
And stock reserved of every living kind,
So, in the compass of the single mind,
The seeds and pregnant forms in essence lie,
That make all worlds. Great poet, 'twas thy art
To know thyself, and in thyself to be
Whate'er Love, Hate, Ambition, Destiny,
Or the firm, fatal purpose of the Heart
Can make of Man. Yet thou wert still the same,
Serene of thought, unhurt by thy own flame.

"Darkness And Light"
The Still Centre (1939)
Context: To break out of the chaos of my darkness
Into a lucid day is all my will.
My words like eyes in night, stare to reach
A centre for their light: and my acts thrown
To distant places by impatient violence
Yet lock together to mould a path of stone
Out of my darkness into a lucid day.

"The Rune of St. Patrick", derived from "The Lorica", both traditionally attributed to St. Patrick, translation by James Clarence Mangan, published in Lyrica Celtica (1896); also in Celtic Christianity : Ecology and Holiness (1987) by Christopher Bamford and William Parker Marsh, p. 54
Context: At Tara today in this fateful hour
I place all Heaven with its power,
And the sun with its brightness,
And the snow with its whiteness,
And fire with all the strength it hath,
And lightning with its rapid wrath,
And the winds with their swiftness along their path,
And the sea with its deepness,
And the rocks with their steepness,
And the earth with its starkness
All these I place,
By God's almighty help and grace,
Between myself and the powers of darkness.

Source: Crisis Management: A Model For Managers (1993), p. 76
Context: Two a. m. in a dark alley or on a mountainside is not the time to discover your unit is missing a key piece of equipment, or that you are not sure of the radio frequencies of an adjacent unit. The procedural check lists created in training will prevent those critical and unacceptable mistakes. This is the time to benefit from those "lessons learned". But leaders must schedule the time to train, do it right, critique, and move on. It is an investment that will bring the most return.

Total Eclipse of the Heart (1983)
Context: Once upon a time I was falling in love
But now I'm only falling apart
There's nothing I can do
A total eclipse of the heart
Once upon a time there was light in my life
But now there's only love in the dark
Nothing I can say
A total eclipse of the heart.

King's often repeated expression that "The arc of the moral universe is long, but it bends towards justice" was his own succinct summation of sentiments echoing those of Theodore Parker, who, in "Of Justice and the Conscience" (1853) asserted: "I do not pretend to understand the moral universe; the arc is a long one, my eye reaches but little ways; I cannot calculate the curve and complete the figure by the experience of sight; I can divine it by conscience. And from what I see I am sure it bends towards justice."
1960s, Where Do We Go from Here: Chaos or Community? (1967)
Context: I must confess, my friends, the road ahead will not always be smooth. There will be still rocky places of frustration and meandering points of bewilderment. There will be inevitable setbacks here and there. There will be those moments when the buoyancy of hope will be transformed into the fatigue of despair. Our dreams will sometimes be shattered and our ethereal hopes blasted. We may again with tear-drenched eyes have to stand before the bier of some courageous civil rights worker whose life will be snuffed out by the dastardly acts of bloodthirsty mobs. Difficult and painful as it is, we must walk on in the days ahead with an audacious faith in the future. … When our days become dreary with low-hovering clouds of despair, and when our nights become darker than a thousand midnights, let us remember that there is a creative force in this universe, working to pull down the gigantic mountains of evil, a power that is able to make a way out of no way and transform dark yesterdays into bright tomorrows. Let us realize the arc of the moral universe is long but it bends toward justice.

A Prescription for Hope (1985)

As quoted in "Space is still the place" by W. Kim Heron in Metro Times (6 June 2007) http://www.metrotimes.com/editorial/story.asp?id=10582
Context: People have a lot more of the unknown than the known in their minds. The unknown is great; it's like the darkness. Nobody made that. It just happens. Light and all that — someone made that; it's written that they did. But nobody made the darkness. My music is about dark tradition. Dark tradition means a lot more about than black tradition. There's a lot of division in what they call black. I'm not into division. I'm into coordination, discipline and tradition.

From Here to Eternity (1951)
Context: The clear proud notes reverberating back and forth across the silent quad. Men had come from the Dayrooms to the porches to listen in the darkness, feeling the sudden choking kinship bred of fear that supersedes all personal tastes. They stood in the darkness of the porches, listening, feeling suddenly very near the man beside them, who also was a soldier, who also must die. Then as silent as they had come, they filed back inside with lowered eyes, suddenly ashamed of their own emotion, and of seeing a man's naked soul.
Maylon Stark, leaning silent against his kitchen wall, looked at his cigaret with a set twisted mouth that looked about to cry, about to laugh, about to sneer. Ashamed. Ashamed of his own good luck that had given him back his purpose and his meaning. Ashamed that this other man had lost his own. He pinched the inoffensive coal between his fingers, relishing the sting, and threw it on the ground with all his strength, throwing with it all the overpowering injustice of the world that he could not stomach nor understand nor explain nor change.

Introduction to the "Corners on the Curving Sky" section of the book Soulscript (1970) compiled by Jordan. These lines have been widely published in verse format as work misattributed to Gwendolyn Brooks, usually as a poem titled "Corners on the Curving Sky." One website http://web.archive.org/20090809112040/www.geocities.com/juscurious/anon.html indicated that Brooks had publicly repudiated the attribution of these lines to her, but the misattribution seems to have long remained largely unrecognized.
Context: Our earth is round, and, among other things, that means that you and I can hold completely different points of view and both be right. The difference of our positions will show stars in your window I cannot even imagine. Your sky may burn with light, while mine, at the same moment, spreads beautiful to darkness. Still we must choose how we separately corner the circling universe of our experience. Once chosen, our cornering will determine the message of any star and darkness we encounter. These poems speak to philosophy; they reveal the corners where we organize what we know.

Rules of the Game: The Style Diaries (2007)
Context: Every adventure to be had in this room is on the dark side. The people on the light side are asleep right now. And they are dreaming about the dark side. Because the more you try to repress the dark side, the stronger it gets, until it finds its own way to the surface. I sleep well. I dream of angels and sponge cake and panda bears. I don’t see the dark side until I open my eyes.

Source: A Wild Sheep Chase: A Novel (1982), Chapter 38, And So Time Passes
Context: Time. Particles of darkness configured mysterious patterns on my retina. Patterns that degenerated without a sound, only to be replaced by new patterns. Darkness but darkness alone was shifting, like mercury in motionless space. I put a stop to my thoughts and let time pass. Let time carry me along. Carry me to where a new darkness was configuring yet newer patterns.

Bewilderness (DVD, 2001)

Lines written for River Song, in Forest of the Dead [4.9] (7 June 2008)
Context: When you run with the Doctor, it feels like it'll never end. But however hard you try you can't run forever. Everybody knows that everybody dies and nobody knows it like the Doctor. But I do think that all the skies of all the worlds might just turn dark if he ever, for one moment, accepts it.

Nobel Prize acceptance speech (1962)
Context: Humanity has been passing through a gray and desolate time of confusion. My great predecessor, William Faulkner, speaking here, referred to it as a tragedy of universal fear so long sustained that there were no longer problems of the spirit, so that only the human heart in conflict with itself seemed worth writing about.
Faulkner, more than most men, was aware of human strength as well as of human weakness. He knew that the understanding and the resolution of fear are a large part of the writer's reason for being.
This is not new. The ancient commission of the writer has not changed. He is charged with exposing our many grievous faults and failures, with dredging up to the light our dark and dangerous dreams for the purpose of improvement.

Dark Horse, written by Katy Perry, Jordan Houston, Lukasz Gottwald, Sarah Hudson, Max Martin, and Henry Walter
Song lyrics, Prism (2013)
Context: So you wanna play with magic?
Boy, you should know what you're falling for.
Baby do you dare to do this?
Cause I’m coming at you like a dark horse.

शिक्षा (Education)
Context: In the fields of life there isn't any geometry. Here if whole is taken out from the whole then whole itself remains. Inside one is substance, inside atom is the world. Science cannot find everything and our psychological studies end within the darkness of intellect. This is why no teacher can teach.

Source: The Demon-Haunted World : Science as a Candle in the Dark (1995), Ch. 2 : Science and Hope
Context: I worry that, especially as the Millennium edges nearer, pseudo-science and superstition will seem year by year more tempting, the siren song of unreason more sonorous and attractive. Where have we heard it before? Whenever our ethnic or national prejudices are aroused, in times of scarcity, during challenges to national self-esteem or nerve, when we agonize about our diminished cosmic place and purpose, or when fanaticism is bubbling up around us-then, habits of thought familiar from ages past reach for the controls. The candle flame gutters. Its little pool of light trembles. Darkness gathers. The demons begin to stir.

Idle Thoughts of an Idle Fellow (1886)
Context: And who would not risk its terrors to gain its raptures? Ah, what raptures they were! The mere recollection thrills you. How delicious it was to tell her that you loved her, that you lived for her, that you would die for her! How you did rave, to be sure, what floods of extravagant nonsense you poured forth, and oh, how cruel it was of her to pretend not to believe you! In what awe you stood of her! How miserable you were when you had offended her! And yet, how pleasant to be bullied by her and to sue for pardon without having the slightest notion of what your fault was! How dark the world was when she snubbed you, as she often did, the little rogue, just to see you look wretched; how sunny when she smiled! How jealous you were of every one about her! How you hated every man she shook hands with, every woman she kissed—the maid that did her hair, the boy that cleaned her shoes, the dog she nursed—though you had to be respectful to the last-named! How you looked forward to seeing her, how stupid you were when you did see her, staring at her without saying a word! How impossible it was for you to go out at any time of the day or night without finding yourself eventually opposite her windows!

"Firefly" on Greta Gaines (1999); the phrase in quotes is one earlier found in "Strange Fruit" (1937) by Abel Meeropol, famously sung by Billie Holiday.

"The No Point", p. 256
Sun Ra : The Immeasurable Equation (2005)
Context: When the person Myth meets the person Reality
The spirit of the impossible-strange appears
In dark disguise
It is always there where nothing inverts itself
and becomes something
Whatever is the imperative need

Saraïde, in Book Seven : What Saraïde Wanted, Ch. XLVII : Economics of Saraïde
The Silver Stallion (1926)
Context: Life is a pageant that passes very quickly, going hastily from one darkness to another darkness with only ignes fatui to guide; and there is no sense in it. I learned that, Kerin, without moiling over books. But life is a fine ardent spectacle; and I have loved the actors in it: and I have loved their youth and high-heartedness, and their ungrounded faiths, and their queer dreams, my Kerin, about their own importance and about the greatness of the destiny that awaited them, — while you were piddling after, of all things, the truth!

1960s, Discerning the Signs of History (1964)
Context: I'm tellin' yuh this morning, money can't save yuh. A beautiful home can't save yuh. Beautiful automobiles can't save yuh. It's God that will save us in the final analysis. And I say to this morning that history is teaching us a lesson. And I hope that we will see it. That there must be underneath all of our wills, underneath all of our material attainment, a moral and religious undergirding that will help us to know that God is our father. That he made us and that we are dependent on Him, and Him only, and when we see that, we have something. For we can arise from the fatigue of despair to the bouyancy of hope.
Dark yesterday can be transformed into bright tomorrow. When you know God, you can stand up amid the agonies and burdens of life and not despair. When you know God, you can stand up amid tension and tribulation and yet smile in the process. When you know God, you go on livin' anyhow. Nothin's gonna stop you 'cause you know that God is watching in your heart. When you know God, you have on some shoes that can help you walk through any muddy place. When you know God, you know that He is over everything. That [he]'s a rock in a weary land, that he is a shelter in the time of a storm. … When you know God, you can live and never die. We're gonna open the doors of the church, now, somebody here needs to accept the Christ. Somebody needs to come this morning. Discerning the signs of history. And as we sing who this morning will make that step. Remain true to the faith of our fathers. Somebody needs to decide Now. Who will come. When we sing will you make that step.

Epigram 14; translation from Select Epigrams from the Greek Anthology (1906), edited by J. W. Mackail, p. 171
Epigrams

"To David in Heaven", St. 14.
Undertones (1883)
Context: Tho' the world could turn from you,
This, at least, I learn from you:
Beauty and Truth, tho' never found, are worthy to be sought,
The singer, upward-springing,
Is grander than his singing,
And tranquil self-sufficing joy illumes the dark of thought.
This, at least, you teach me,
In a revelation:
That gods still snatch, as worthy death, the soul in its aspiration.

Source: American Hunger (1977), p. 77

6:10 - 20 (KJV) https://www.biblegateway.com/passage/?search=Ephesians+6&version=KJV;SBLGNT
Variant translation:
Finally, be strong in the Lord and in his mighty power. Put on the full armor of God so that you can take your stand against the devil's schemes. For our struggle is not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world and against the spiritual forces of evil in the heavenly realms. Therefore put on the full armor of God, so that when the day of evil comes, you may be able to stand your ground, and after you have done everything, to stand. Stand firm then, with the belt of truth buckled around your waist, with the breastplate of righteousness in place, and with your feet fitted with the readiness that comes from the gospel of peace. In addition to all this, take up the shield of faith, with which you can extinguish all the flaming arrows of the evil one. Take the helmet of salvation and the sword of the Spirit, which is the word of God. And pray in the Spirit on all occasions with all kinds of prayers and requests. With this in mind, be alert and always keep on praying for all the saints. Pray also for me, that whenever I open my mouth, words may be given me so that I will fearlessly make known the mystery of the gospel, for which I am an ambassador in chains. Pray that I may declare it fearlessly, as I should.
Epistle to the Ephesians
Context: Finally, my brethren, be strong in the Lord, and in the power of his might. Put on the whole armour of God, that ye may be able to stand against the wiles of the devil. For we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. Wherefore take unto you the whole armour of God, that ye may be able to withstand in the evil day, and having done all, to stand.
Stand therefore, having your loins girt about with truth, and having on the breastplate of righteousness; And your feet shod with the preparation of the gospel of peace; Above all, taking the shield of faith, wherewith ye shall be able to quench all the fiery darts of the wicked. And take the helmet of salvation, and the sword of the Spirit, which is the word of God: Praying always with all prayer and supplication in the Spirit, and watching thereunto with all perseverance and supplication for all saints; And for me, that utterance may be given unto me, that I may open my mouth boldly, to make known the mystery of the gospel, For which I am an ambassador in bonds: that therein I may speak boldly, as I ought to speak.

Darkness, p. 91
Catching the Big Fish (2006)
Context: People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence?
There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad.
I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else.
We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes.
And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.

Welcome to the Hellmouth (1997) DVD Commentary
Context: The first thing I ever thought of when I thought of Buffy, the movie, was the little... blonde girl who goes into a dark alley and gets killed, in every horror movie. The idea of Buffy was to subvert that idea, that image, and create someone who was a hero where she had always been a victim. That element of surprise … genre-busting is very much at the heart of both the movie and the series.

Preface
The Story of Civilization (1935–1975), VI - The Reformation (1957)
Context: I feel for all faiths the warm sympathy of one who has come to learn that even the trust in reason is a precarious faith, and that we are all fragments of darkness groping for the sun. I know no more about the ultimates than the simplest urchin in the streets.

Liner notes for Fratres; Biographical note http://www.musicianguide.com/biographies/1608003521/Arvo-P-auml-rt.html
Context: Tintinnabulation is an area I sometimes wander into when I am searching for answers--in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it? Traces of this perfect thing appear in many guises--and everything that is unimportant falls away.

1870s, Oratory in Memory of Abraham Lincoln (1876)
Context: Fellow citizens, ours is no new-born zeal and devotion — merely a thing of this moment. The name of Abraham Lincoln was near and dear to our hearts in the darkest and most perilous hours of the republic. We were no more ashamed of him when shrouded in clouds of darkness, of doubt, and defeat than when we saw him crowned with victory, honor, and glory. Our faith in him was often taxed and strained to the uttermost, but it never failed. When he tarried long in the mountain; when he strangely told us that we were the cause of the war; when he still more strangely told us that we were to leave the land in which we were born; when he refused to employ our arms in defense of the Union; when, after accepting our services as colored soldiers, he refused to retaliate our murder and torture as colored prisoners; when he told us he would save the Union if he could with slavery; when he revoked the Proclamation of Emancipation of General Fremont; when he refused to remove the popular commander of the Army of the Potomac, in the days of its inaction and defeat, who was more zealous in his efforts to protect slavery than to suppress rebellion; when we saw all this, and more, we were at times grieved, stunned, and greatly bewildered; but our hearts believed while they ached and bled. Nor was this, even at that time, a blind and unreasoning superstition. Despite the mist and haze that surrounded him; despite the tumult, the hurry, and confusion of the hour, we were able to take a comprehensive view of Abraham Lincoln, and to make reasonable allowance for the circumstances of his position. We saw him, measured him, and estimated him; not by stray utterances to injudicious and tedious delegations, who often tried his patience; not by isolated facts torn from their connection; not by any partial and imperfect glimpses, caught at inopportune moments; but by a broad survey, in the light of the stern logic of great events, and in view of that divinity which shapes our ends, rough hew them how we will, we came to the conclusion that the hour and the man of our redemption had somehow met in the person of Abraham Lincoln. It mattered little to us what language he might employ on special occasions; it mattered little to us, when we fully knew him, whether he was swift or slow in his movements; it was enough for us that Abraham Lincoln was at the head of a great movement, and was in living and earnest sympathy with that movement, which, in the nature of things, must go on until slavery should be utterly and forever abolished in the United States.

The Lost Son, ll. 24 - 35
The Lost Son and Other Poems (1948)

Chips from a German Workshop (1866)

Though Costello's cover became a hit, "(What's So Funny 'Bout) Peace, Love, and Understanding", was actually written by Nick Lowe.
Misattributed
Context: As I walk through
This wicked world
Searchin' for light in the darkness of insanity,
I ask myself
Is all hope lost?
Is there only pain and hatred, and misery?
And each time I feel like this inside,
There's one thing I wanna know:
What's so funny 'bout Peace, Love, & Understanding?

"I look upon the future with fear..." (1838)
Poems

From 1980s onwards, Cosmography (1992)
Context: The dark ages still reign over all humanity, and the depth and persistence of this domination are only now becoming clear.
This Dark Ages prison has no steel bars, chains, or locks. Instead, it is locked by misorientation and built of misinformation. Caught up in a plethora of conditioned reflexes and driven by the human ego, both warden and prisoner attempt meagerly to compete with God. All are intractably skeptical of what they do not understand.
We are powerfully imprisoned in these Dark Ages simply by the terms in which we have been conditioned to think.

Section 3.13 <!-- p. 183 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: St. John said, "And the light shineth in the darkness; and the darkness comprehended it not." The light shines in the darkness and the darkness does not understand it, and cannot extinguish it ( I need the double meaning here of comprehend). This is the great cry of affirmation that is heard over and over again in our imaginative literature, in all art. It is a light to lighten our darkness, to guide us, and we do not need to know, in the realm of provable fact, exactly where it is going to take us.

"Final Soliloquy of the Interior Paramour"
Collected Poems (1954)
Context: We say God and the imagination are one...
How high that highest candle lights the dark.
Out of this same light, out of the central mind,
We make a dwelling in the evening air,
In which being there together is enough.

Choruses from The Rock (1934)
Context: They constantly try to escape
From the darkness outside and within
By dreaming of systems so perfect that no one will need to be good.
But the man that is shall shadow
The man that pretends to be.

Book II, line 54 (tr. Rouse)
De Rerum Natura (On the Nature of Things)

Dismas, the thief
A Child is Born (1942)
Context: I see that I've said something you don't like,
Something uncouth and bold and terrifying,
And yet, I'll tell you this:
It won't be till each one of us is willing,
Not you, not me, but every one of us,
To hang upon a cross for every man
Who suffers, starves and dies,
Fight his sore battles as they were our own,
And help him from the darkness and the mire,
That there will be no crosses and no tyrants,
No Herods and no slaves.

"(What's So Funny 'Bout) Peace, Love, and Understanding" on The New Favourites of Brinsley Schwarz (1974); the song later became a hit as sung by Elvis Costello. ( Nicke Lowe performance http://www.youtube.com/watch?v=P7txCdLCP9U - Elvis Costello & Nick Lowe joint performance http://www.youtube.com/watch?v=dWdh7ERLb3E)
Context: As I walk through
This wicked world
Searchin' for light in the darkness of insanity,
I ask myself
Is all hope lost?
Is there only pain and hatred, and misery? And each time I feel like this inside,
Theres one thing I wanna know:
What's so funny 'bout Peace, Love, and Understanding?

Source: Oresteia (458 BC), Agamemnon, lines 1388–1392 (tr. Ian Johnston)

Bodhicaryavatara
Context: The Bodhimind is a great radiant sun
To disperse the darkness of unknowing,
And it is the very essence of butters
Gained from churning the milks of Dharma.
For all guests on the roads of life
Who would take the very substance of joy,
Here is the actual seat of true happiness,
A veritable feast to satiate the world.

Poems by Currer, Ellis, and Acton Bell (1846), To Cowper (1842)
Context: p>All for myself the sigh would swell,
The tear of anguish start;
I little knew what wilder woe
Had filled the Poet's heart.I did not know the nights of gloom,
The days of misery;
The long, long years of dark despair,
That crushed and tortured thee.</p

McKenna interview (1992)
Context: Dark things have always existed but they used to be in a proper balance with good when life was slower. People lived in towns and small farms where they knew everybody and people didn't move around so much so things were a little more peaceful. There were things that they were afraid of for sure, but now it's accelerated to where the anxiety level of the people is in the stratosphere. TV sped things up and caused people to hear way more bad news. Mass media overloaded people with more than they could handle, and drugs also had a lot to do with it. With drugs people can get so rich and whacked out and they've opened up a whole weird world. These things have created a modern kind of fear in America.

"A Film from the Sixties"
Poems New and Collected (1998), No End of Fun (1967)
Context: Within him, there's awful darkness, in the darkness a small boy. God of humor, do something about him, OK?
God of humor, do something about him today.

Founding Address (1876)
Context: The world is dark around us and the prospect seems deepening in gloom. and yet there is light ahead. On the volume of the past in starry characters it is written — the starry legend greets us shining through the misty vistas of the future — that the great and noble shall not perish from among the sons of men, that the truth will triumph in the end, and that even the humblest of her servants may in this become the instrument of unending good. We are aiding in laying the foundations of a mighty edifice, whose completion shall not be seen in our day, no, nor in centuries upon centuries after us. But happy are we, indeed, if we can contribute even the least towards so high a consummation. The time calls for action. Up, then, and let us do our part faithfully and well. And oh, friends, our children's children will hold our memories dearer for the work which we begin this hour.

"Synchronicity II"
Synchronicity (1983)
Context: Daddy grips the wheel and stares alone into the distance
He knows that something somewhere has to break
He sees the family home now, looming in his headlights
The pain upstairs that makes his eyeballs ache
Many miles away there's a shadow on the door
Of a cottage on the shore
Of a dark Scottish lake

Memoirs of J. Casanova de Seingalt (1894)
Context: My success and my misfortunes, the bright and the dark days I have gone through, everything has proved to me that in this world, either physical or moral, good comes out of evil just as well as evil comes out of good. My errors will point to thinking men the various roads, and will teach them the great art of treading on the brink of the precipice without falling into it. It is only necessary to have courage, for strength without self-confidence is useless. I have often met with happiness after some imprudent step which ought to have brought ruin upon me, and although passing a vote of censure upon myself I would thank God for his mercy. But, by way of compensation, dire misfortune has befallen me in consequence of actions prompted by the most cautious wisdom. This would humble me; yet conscious that I had acted rightly I would easily derive comfort from that conviction.

Source: Demian (1919), p. 180
Context: Our god's name is Abraxas and he is God and Satan and he contains both the luminous and the dark world. Abraxas does not take exception to any of your thoughts, any of your dreams. Never forget that. But he will leave you once you've become blameless and normal. Then he will leave you and look for a different vessel in which to brew his thoughts.

"Sunday Morning"
Harmonium (1923)
Context: We live in an old chaos of the sun,
Or an old dependency of day and night,
Or island solitude, unsponsored, free,
Of that wide water, inescapable.
Deer walk upon our mountains, and quail
Whistle about us their spontaneous cries;
Sweet berries ripen in the wilderness;
And, in the isolation of the sky,
At evening, casual flocks of pigeons make
Ambiguous undulations as they sink,
Downward to darkness, on extended wings.

Context: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.

Preface to Cromwell (1827) http://www.bartleby.com/39/41.html

" The Beggar Maid http://home.att.net/%7ETennysonPoetry/tbm.htm", st. 2 (1842)

Song lyrics, The Kick Inside (1978)
Context: Ooh, it gets dark! It gets lonely,
On the other side from you.
I pine a lot. I find the lot
Falls through without you.
I'm coming back, love.
Cruel Heathcliff, my one dream,
My only master.

1960s, Where Do We Go from Here: Chaos or Community? (1967)
Context: I say to you today that I still stand by nonviolence. And I am still convinced that it is the most potent weapon available to the Negro in his struggle for justice in this country. And the other thing is that I am concerned about a better world. I'm concerned about justice. I'm concerned about brotherhood. I'm concerned about truth. And when one is concerned about these, he can never advocate violence. For through violence you may murder a murderer but you can't murder murder. Through violence you may murder a liar but you can't establish truth. Through violence you may murder a hater, but you can't murder hate. Darkness cannot put out darkness. Only light can do that.

George Fox
Context: There's an ocean of darkness and I drown in the night
till I come through the darkness to the ocean of light,
for the light is forever and the light it is free,
"And I walk in the glory of the light," said he.

The Kasîdah of Hâjî Abdû El-Yezdî (1870)
Context: How Thought is imp'otent to divine the secret which the gods defend,
The Why of birth and life and death, that Isis-veil no hand may rend.
Eternal Morrows make our day; our is is aye to be till when
Night closes in; 'tis all a dream, and yet we die, — and then and then?
And still the Weaver plies his loom, whose warp and woof is wretched Man
Weaving th' unpattern'd dark design, so dark we doubt it owns a plan.

Source: The Complex Vision (1920), Chapter I
Context: This swallowing up of life in nothingness, this obliteration of life by nothingness is what the emotion of malice ultimately desires. The eternal conflict between love and malice is the eternal contest between life and death. And this contest is what the complex vision reveals, as it moves from darkness to darkness.

Source: A Wild Sheep Chase: A Novel (1982), Chapter 38, And So Time Passes
Context: Time. Particles of darkness configured mysterious patterns on my retina. Patterns that degenerated without a sound, only to be replaced by new patterns. Darkness but darkness alone was shifting, like mercury in motionless space. I put a stop to my thoughts and let time pass. Let time carry me along. Carry me to where a new darkness was configuring yet newer patterns.

Interview interview (1999)
Context: You know, I'm fifty-two now and I call myself a singer. Before I kick it I want to be able to carry a tune in a living room if called upon. Of course, mine come out all dark and twisted and weird.

Second of three poems ("Three Dirges") written by Tao Yuanming in 427, the same year he died at the age of 63, and often read as poems written for his own funeral.
John Minford and Joseph S. M. Lau (eds.), Classical Chinese Literature: An Anthology of Translations (2000), p. 513
Context: In former days I wanted wine to drink;
The wine this morning fills the cup in vain.
I see the spring mead with its floating foam,
And wonder when to taste of it again.
The feast before me lavishly is spread,
My relatives and friends beside me cry.
I wish to speak but lips can shape no voice,
I wish to see but light has left my eye.
I slept of old within the lofty hall,
Amidst wild weeds to rest I now descend.
When once I pass beyond the city gate
I shall return to darkness without end.

Speech https://api.parliament.uk/historic-hansard/commons/1938/oct/05/policy-of-his-majestys-government#column_364 in the House of Commons (5 October 1938) against the Munich Agreement
The 1930s
Context: All is over. Silent, mournful, abandoned, broken, Czechoslovakia recedes into the darkness. She has suffered in every respect by her association with the Western democracies and with the League of Nations, of which she has always been an obedient servant.