Quotes about deep
page 11

Paul Simon photo
Theognis of Megara photo
Carl I. Hagen photo
Hans Arp photo
Gino Severini photo
Helen Keller photo

“A deep fog of obscurity is thrown about war by the use of misleading and confusing terms.”

Kirby Page (1890–1957) American clergyman

Must We Go to War? (1937)

Asger Jorn photo
Kent Hovind photo

“Eight simple steps of what I think caused the Flood and explain all these strange phenomena on the planet. Then we'll go into a little bit more detail and then we'll close this down.
1. Noah and the animals got safely in the ark.
2. A 300 degree below zero ice meteor came flying toward the earth and broke up in space. As it was breaking up, some of the fragments got caught and became the rings around the planets. They made the craters on the Moon, the craters on some of the planets, and what was left over came down and splattered on top of the North and South pole.
3. This super cold snow fell on the poles mostly, burying the mammoths, standing up.
4. The dump of ice on the North and South pole cracked the crust of the earth releasing the fountains of the deep. The spreading ice caused the Ice Age effects. The glacier effects that we see. It buried the mammoths. It made the earth wobble around for a few thousand years. And it made the canopy collapse, which used to protect the earth. And it broke open the fountains of the deep.
5. During the first few months of the flood, the dead animals would settle out, and dead plants, and all get buried. They would become coal, if they were plants, and oil if they're animals. And those are still found today in huge graveyards. Fossils found in graveyards. Oil found in big pockets under the ground.
6. During the last few months of the flood, the unstable plates of the earth would shift around. Some places lifted up; other places sank down. That's going to form ocean basins and mountain ranges. And the runoff would cause incredible erosion like the Grand Canyon in a couple of weeks.
7. Over the next few hundred years, the ice caps would slowly melt back retreating to their current size. The added water from the ice melt would raise the ocean level creating what's called a continental shelf. It would also absorb carbon dioxide out of the atmosphere which allows for radiation to get in which is going to shorten people's life spans. And in the days of Peleg, it finally took affect.
8. The earth still today shows the effects of this devastating flood.”

Kent Hovind (1953) American young Earth creationist

Creation seminars (2003-2005), The Hovind theory

Letitia Elizabeth Landon photo

“Deep in the silent waters,
A thousand fathoms low,
A gallant ship lies perishing —
She foundered long ago.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

(12th January 1833) The Lost Ship
The London Literary Gazette, 1833-1835

Richard Feynman photo
Thomas Carlyle photo
Archibald Primrose, 5th Earl of Rosebery photo
William Empson photo

“p>It is this deep blankness is the real thing strange.
The more things happen to you the more you can't
Tell or remember even what they were.The contradictions cover such a range.
The talk would talk and go so far aslant.
You don't want madhouse and the whole thing there.”

William Empson (1906–1984) English literary critic and poet

"Let It Go" (1949), line 1; cited from John Haffenden (ed.) The Complete Poems (London: Allen Lane, 2000) p. 99.
The Complete Poems

Charlotte Brontë photo
Seymour Papert photo
Yves Klein photo
Han-shan photo
Aron Ra photo

“Godzilla 2014 missed the mark primarily because it is not an origins story. Gojira was a monster of our own making. Similarly Gino was supposed to impose nature’s response to our meddling. But G2014 pre-existed genetic modifications and nuclear testing. We have no responsibility for him, nor the mutos either. They come from a time that never was, millions of years ago, “when the world was much more radioactive than it is today”. The story implies that mutos ‘eat radiation’. In the film, they can track it through every kind of protective shielding, and they eat nuclear devices like fruit -metallic peal and all. I guess millions of years ago, nuclear missiles grew on trees, and kaiju were common even though they’re absent from the fossil record -with only one top-secret exception. As an advocate of science education with a deep interest in paleontology, and as someone who would rather see humans held accountable for what they do to their environment, this film was very disappointing. As an atheist, it was even worse. The star of the film not only has impossible dimensions and an inexplicable power, he is also immortal. He’s been alive forever, and spends all his time sleeping. He awakens only he senses submarines or the arrival of other kaiju, because he has a mission to protect humanity. G2014 put the ‘god’ in Godzilla. The director called him a god, and some of the characters in the movie describe him as a god too. So he’s not a lizard, not a dinosaur, but one of the Lovecraftian great old ones like Cthulhu. In a video I made years ago, I too joked about Godzilla being a god. But it was still somewhat disappointing to see him depicted that way.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

Patheos, Weighing in on Godzilla http://www.patheos.com/blogs/reasonadvocates/2014/06/08/weighing-in-on-godzilla/ (June 8, 2014)

Rebecca Solnit photo
Akbar photo

“Islam, like the other two religions of the Judaic family, is exclusive-minded and intolerant by comparison with the religions and philosophies of Indian origin. Yet the influence of India on Akbar went so deep that he was characteristically Indian in (his) large-hearted catholicity.”

Akbar (1542–1605) 3rd Mughal Emperor

A. J. Toynbee, One World and India, p. 19. quoted from Lal, K. S. (1999). Theory and practice of Muslim state in India. New Delhi: Aditya Prakashan. Chapter 2

Cormac McCarthy photo
Annie Besant photo
Burkard Schliessmann photo
Letitia Elizabeth Landon photo
Tessa Virtue photo
George Bernard Shaw photo

“Your father is a fool skin deep; but you are a fool to your very marrow.”

George Bernard Shaw (1856–1950) Irish playwright

Eve to Cain, in Pt. I, Act II
1920s, Back to Methuselah (1921)

Richard Henry Horne photo

“Ye rigid Plowmen! Bear in mind
Your labor is for future hours.
Advance! spare not! nor look behind!
Plow deep and straight with all your powers!”

Richard Henry Horne (1802–1884) English poet and critic

The Plow, reported in Bartlett's Familiar Quotations, 10th ed. (1919); reported as The Plough in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 18-19.

Julius Erasmus Hilgard photo
Richard Cobden photo
Arthur Sullivan photo

“One day work is hard, and another day it is easy; but if I had waited for inspiration I am afraid I should have done nothing. The miner does not sit at the top of the shaft waiting for the coal to come bubbling up to the surface. One must go deep down, and work out every vein carefully.”

Arthur Sullivan (1842–1900) English composer of the Gilbert & Sullivan duo

Untitled essay, reprinted in Arthur Lawrence Sir Arthur Sullivan: Life-story, Letters and Reminiscences (London: James Bowden, 1899) p. 225.

E.E. Cummings photo
Oliver Goldsmith photo
Ossip Zadkine photo
Alexis Tsipras photo

“I want to be honest with you. We did not achieve the agreement we expected before the January elections… I feel the deep ethical and political responsibility to put to your judgment all I have done, successes and failures.”

Alexis Tsipras (1974) Greek politician

As quoted in " Tsipras resigns, paving way for snap Greek election http://www.investing.com/news/economy-news/greek-pm-tsipras-to-resign-on-thursday:-government-official-356905", Investing.com (20 August 2015).

John Buchan photo
Luís de Camões photo

“And you, fair nymphs of Tagus, parent stream,
If ever your meadows were my pastoral theme,
O come auspicious, and the song inspire
With all the boldness of your hero's fire:
Deep and majestic let the numbers flow,
And, rapt to heaven, with ardent fury glow.”

Luís de Camões (1524–1580) Portuguese poet

E vós, Tágides minhas, pois criado
Tendes em mi um novo engenho ardente,
Se sempre em verso humilde celebrado
Foi de mi vosso rio alegremente,
Dai-me agora um som alto e sublimado,
Um estilo grandíloco e corrente,
Por que de vossas águas Febo ordene
Que não tenham enveja às de Hipocrene.
Stanza 5 (tr. William Julius Mickle)
Epic poetry, Os Lusíadas (1572), Canto I

Théodore Guérin photo
Kenneth Gärdestad photo

“Sun, wind and water are
The best as I know
But it's on you, I
Think secretly
Sun, wind and water
High mountains and deep sea
That is my dream woven off.”

Kenneth Gärdestad (1948–2018) Swedish song lyricist, architect and lecturer

Sol, vind och vatten är
Det bästa som jag vet
Men det är på dig jag
Tänker I hemlighet
Sol, vind och vatten
Höga berg och djupa hav
Det, är mina drömmar vävda av
"Sol, vind och vatten", lyrics written by Kenneth
Song lyrics, With Ted Gärdestad, Ted (1973)

Bryan Adams photo

“To really love a woman,
To understand her, you gotta know her deep inside.
Hear every thought, see every dream.
And give her wings, when she wants to fly.
Then when you find yourself lyin' helpless in her arms,
You know you really love a woman.”

Bryan Adams (1959) Canadian singer-songwriter

Have You Ever Really Loved a Woman?, written by Bryan Adams, Mutt Lange, and Michael Kamen
Song lyrics, 18 til I Die (1996)

Jacob Bronowski photo
Leung Chun-ying photo
Letitia Elizabeth Landon photo
George Eliot photo
Lyndon B. Johnson photo

“Mr. Vice President, Mr. Speaker, Mr. Ambassador Goldberg, distinguished Members of the leadership of the Congress, distinguished Governors and mayors, my fellow countrymen. We have called the Congress here this afternoon not only to mark a very historic occasion, but to settle a very old issue that is in dispute. That issue is, to what congressional district does Liberty Island really belong; Congressman Farbstein or Congressman Gallagher? It will be settled by whoever of the two can walk first to the top of the Statue of Liberty. This bill that we will sign today is not a revolutionary bill. It does not affect the lives of millions. It will not reshape the structure of our daily lives, or really add importantly to either our wealth or our power. Yet it is still one of the most important acts of this Congress and of this administration. For it does repair a very deep and painful flaw in the fabric of American justice. It corrects a cruel and enduring wrong in the conduct of the American nation. Speaker McCormack and Congressman Celler almost 40 years ago first pointed that out in their maiden speeches in the Congress. And this measure that we will sign today will really make us truer to ourselves both as a country and as a people. It will strengthen us in a hundred unseen ways.”

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

1960s, Remarks at the signing of the Immigration Bill (1965)

Thomas Carlyle photo
Jonathan Swift photo
Letitia Elizabeth Landon photo
Augustus De Morgan photo
Bill Maher photo

“I think we need to change that old saying, "I don't need a building to fall on me." Because two did and we still don't get it. I think we all stick our head in the sand as a deep human impulse.”

Bill Maher (1956) American stand-up comedian

When You Ride Alone You Ride with Bin Laden: What the Government Should Be Telling Us to Help Fight the War on Terrorism (2002)

Letitia Elizabeth Landon photo
Neal Stephenson photo
Fyodor Dostoyevsky photo
Roger Ebert photo
Rachel Carson photo
Uri Avnery photo
Russell Brand photo
Thomas Fuller (writer) photo

“4084. Search not a Wound too deep, lest thou make a new one.”

Thomas Fuller (writer) (1654–1734) British physician, preacher, and intellectual

Introductio ad prudentiam: Part II (1727), Gnomologia (1732)

“When the Deep Impact probe hit Comet 9P/Tempel, there was almost no change in brightness. … This outburst by Comet Holmes is extreme!”

Brian G. Marsden (1937–2010) British astronomer

On the unprecedented brightening of Comet Holmes, as quoted in "Mystery Comet Explodes into Brightness" (26 October 2007) at Physorg.com http://www.physorg.com/news112622756.html. Within the space of a few hours between 23-24 October 2007 it brightened from a very dim and obscure object requiring powerful telescopes to see into one easily visible to the naked eye.

Gerard Bilders photo

“I have seen pictures [on the Salon of Brussel, 1860], of which I had never dreamed and in which I found all that my heart desires, all that I nearly always miss in the Dutch painters. Troyon, Courbet, Diaz, Dupré [all painters of the School of Barbizon, Robert Fleury have made a great impression on me. I am a good Frenchman, therefore; but, as Simon van den Berg says, it is just because I am a good Frenchman that I am a good Dutchman, since the great Frenchmen of today and the great Dutchmen of the past have much in common. Unity, restfulness, earnestness and, above all, an inexplicable intimacy with nature are what struck me most in these pictures. There were certainly also a few good Dutch pieces, but, generally speaking, when you place them next to the great Parisians, they lack that mellowness, that quality which, so to speak, resembles the deep tones of an organ. And yet this luxurious manner came originally from Holland, from our steaming, fat-coloured Holland! They were courageous pictures; there was a heart and a soul in them.”

Gerard Bilders (1838–1865) painter from the Netherlands

Quote from Bilders in his letter (End of 1860); as cited in Dutch Art in the Nineteenth Century – 'The Hague School; Introduction' https://en.wikisource.org/wiki/Dutch_Art_in_the_Nineteenth_Century/The_Hague_School:_Introduction, by G. Hermine Marius, transl. A. Teixera de Mattos; publish: The la More Press, London, 1908
1860's

Jiddu Krishnamurti photo
William Burges photo

“Nothing is more perishable than worn-out apparel, yet, thanks to documentary evidence, to the custom of burying people of high rank in their robes, and to the practice of wrapping up relics of saints in pieces of precious stuffs, we are enabled to form a veiy good idea of what these stuffs were like and where they came from. In the first instance they appear to have come from Byzantium, and from the East generally; but the manufacture afterwards extended to Sicily, and received great impetus at the Norman conquest of that island; Roger I. even transplanting Greek workmen from the towns sacked by his army, and settling them in Sicily. Of course many of the workers would be Mohammedans, and the old patterns, perhaps with the addition of sundry animals, would still continue in use; hence the frequency of Arabic inscriptions in the borders, the Cufic character being one of the most ornamental ever used. In the Hotel de Clu^ny at Paris are preserved the remains of the vestments of a bishop of Bayonne, found when his sepulchre was opened in 1853, the date of the entombment being the twelfth century. Some of these remains are cloth of gold, but the most remarkable is a very deep border ornamented with blue Cufic letters on a gold ground; the letters are fimbriated with white, and from them issue delicate red scrolls, which end in Arabic sort of flowers: this tissue probably is pure Eastern work. On the contrary, the coronation robes of the German emperors, although of an Eastern pattern, bear inscriptions which tell us very clearly where they were manufactured: thus the Cufic characters on the cope inform us that it was made in the city of Palermo in the year 1133, while the tunic has the date of 1181, but then the inscription is in the Latin language. The practice of putting Cufic inscriptions on precious stuffs was not confined to the Eastern and Sicilian manufactures; in process of time other Italian cities took up the art, and, either because it was the fashion, or because they wished to pass off" their own work as Sicilian or Eastern manufacture, imitations of Arabic characters are continually met with, both on the few examples that have come down to us of the stuffs themselves, or on painted statues or sculptured effigies. These are the inscriptions which used to be the despair of antiquaries, who vainly searched out their meaning until it was discovered that they had no meaning at all, and that they were mere ornaments. Sometimes the inscriptions appear to be imitations of the Greek, and sometimes even of the Hebrew. The celebrated ciborium of Limoges work in the Louvre, known as the work of Magister G. Alpais, bears an ornament around its rim which a French antiquary has discovered to be nothing more than the upper part of a Cufic word repeated and made into a decoration.”

William Burges (1827–1881) English architect

Quote was introduced with the phrase:
In the lecture on the weaver's art, we are reminded of the superiority of Indian muslins and Chinese and Persian carpets, and the gorgeous costumes of the middle ages are contrasted with our own dark ungraceful garments. The Cufic inscriptions that have so perplexed antiquaries, were introduced with the rich Eastern stuffs so much sought after by the wealthy class, and though, as Mr. Burges observes
Source: Art applied to industry: a series of lectures, 1865, p. 85; Cited in: " Belles Lettres http://books.google.com/books?id=0EegAAAAMAAJ&pg=PA143" in: The Westminster Review, Vol. 84-85. Baldwin, Cradock, and Joy, 1865. p. 143

Colin Wilson photo
Aung San Suu Kyi photo
Anne Lynch Botta photo
Corneliu Zelea Codreanu photo
Louis Kronenberger photo

“In art there are tears that do often lie too deep for thoughts.”

Louis Kronenberger (1904–1980) American critic and writer

This is a play on "Thoughts that do often lie too deep for tears", the last line of William Wordsworth's "Ode: Intimations of Immortality from Recollections of Early Childhood" http://en.wikisource.org/wiki/Ode:_Intimations_of_Immortality_from_Recollections_of_Early_Childhood.
Source: Company Manners: A Cultural Inquiry into American Life (1954), p. 28.

James Taylor photo
Richard Leakey photo
Roberto Mangabeira Unger photo
Albert Barnes photo
George W. Bush photo
John Major photo

“I am walking over hot coals suspended over a deep pit at the bottom of which are a large number of vipers baring their fangs.”

John Major (1943) Former Prime Minister of the United Kingdom

Nicholas Wood and Michael Prescott, "Major threatens general election if he fails to win Maastricht vote", Sunday Times, 25 October 1992.
1990s, 1992

Marshall McLuhan photo
Jesse Helms photo
Zooey Deschanel photo
Epes Sargent photo
Max Müller photo

“As for more than twenty years my principal work has been devoted to the ancient literature of India, I cannot but feel a deep and real sympathy for all that concerns the higher interests of the people of that country. Though I have never been in India, I have many friends there, both among the civilians and among the natives, and I believe I am not mistaken in supposing that the publication in England of the ancient sacred writings of the Brahmans, which had never been published in India, and other contributions from different European scholars towards a better knowledge of the ancient literature and religion of India, have not been without some effect on the intellectual and religious movement that is going on among the more thoughtful members of Indian society. I have sometimes regretted that I am not an Englishman, and able to help more actively in the great work of educating and improving the natives. But I do rejoice that this great task of governing and benefiting India should have fallen to one who knows the greatness of that task and all its opportunities and responsibilities, who thinks not only of its political and financial bearings, but has a heart to feel for the moral welfare of those millions of human beings that are, more or less directly, committed to his charge. India has been conquered once, but India must be conquered again, and that second conquest should be a conquest by education. Much has been done for education of late, but if the funds were tripled and quadrupled, that would hardly be enough. The results of the educational work carried on during the last twenty years are palpable everywhere. They are good and bad, as was to be expected. It is easy to find fault with what is called Young Bengal, the product of English ideas grafted on the native mind. But Young Bengal, with all its faults, is full of promise. Its bad features are apparent everywhere, its good qualities are naturally hidden from the eyes of careless observers.... India can never be anglicized, but it can be reinvigorated. By encouraging a study of their own ancient literature, as part of their education, a national feeling of pride and self-respect will be reawakened among those who influence the large masses of the people. A new national literature may spring up, impregnated with Western ideas, yet retaining its native spirit and character. The two things hang together. In order to raise the character of the vernaculars, a study of the ancient classical language is absolutely necessary: for from it these modern dialects have branched off, and from it alone can they draw their vital strength and beauty. A new national literature will bring with it a new national life and new moral vigour. As to religion, that will take care of itself. The missionaries have done far more than they themselves seem to be aware of, nay, much of the work which is theirs they would probably disclaim. The Christianity of our nineteenth century will hardly be the Christianity of India. But the ancient religion of India is doomed — and if Christianity does not step in, whose fault will it be?”

Max Müller (1823–1900) German-born philologist and orientalist

Letter to the Duke of Argyll, published in The Life and Letters of Right Honorable Friedrich Max Müller (1902) edited by Georgina Müller

“I am in this same river. I can't much help it. I admit it: I'm racist. The other night I saw a group (or maybe a pack?) or white teenagers standing in a vacant lot, clustered around a 4x4, and I crossed the street to avoid them; had they been black, I probably would have taken another street entirely. And I'm misogynistic. I admit that, too. I'm a shitty cook, and a worse house cleaner, probably in great measure because I've internalized the notion that these are woman's work. Of course, I never admit that's why I don't do them: I always say I just don't much enjoy those activities (which is true enough; and it's true enough also that many women don't enjoy them either), and in any case, I've got better things to do, like write books and teach classes where I feel morally superior to pimps. And naturally I value money over life. Why else would I own a computer with a hard drive put together in Thailand by women dying of job-induced cancer? Why else would I own shirts made in a sweatshop in Bangladesh, and shoes put together in Mexico? The truth is that, although many of my best friends are people of color (as the cliche goes), and other of my best friends are women, I am part of this river: I benefit from the exploitation of others, and I do not much want to sacrifice this privilege. I am, after all, civilized, and have gained a taste for "comforts and elegancies" which can be gained only through the coercion of slavery. The truth is that like most others who benefit from this deep and broad river, I would probably rather die (and maybe even kill, or better, have someone kill for me) than trade places with the men, women, and children who made my computer, my shirt, my shoes.”

Source: The Culture of Make Believe (2003), p. 69

George W. Bush photo
John Ruysbroeck photo
Bruce Fairchild Barton photo
Vincent Van Gogh photo

“There is a saying by Gustave Dore which I have always admired: "J'ai la patience d'un boeuf." [I have the patience of an ox]. I find in it a certain goodness, a certain resolute honesty, more, it has a deep meaning that saying, it is the word of a real artist. When one thinks of the men from whose heart such a saying sprang, all the arguments one too often hears of art dealers about "natural gifts", seem to become a terrible raven's croaking.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to brother Theo, from Drenthe, The Netherlands, Autumn 1883; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 336) p. 34
1880s, 1883

François-Joachim de Pierre de Bernis photo

“Unhappy he who fears the deep
Recesses of his soul to scan!
The heart that from itself would hide
Fears an unfriendly critic's ban.”

François-Joachim de Pierre de Bernis (1715–1794) Catholic cardinal

Malheureux qui craint de rentrer
Dans la retraite de son âme!
Le coeur qui cherche a s'ignorer
Redoute un censeur qui le blâme.
Les Quatre saisons, ou les Géorgiques françoises, poëme (1763), Chant IV.
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 154.

Emil M. Cioran photo
Marshall McLuhan photo
John Kenneth Galbraith photo