Quotes about draw

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Discussing the right of publicity issue raised in the case White v. Samsung Elec. Am., Inc., 989 F.2d 1512 (9th Cir. 1993). http://notabug.com/kozinski/whitedissent.
Context: For better or worse, we are the Court of Appeals for the Hollywood Circuit. Millions of people toil in the shadow of the law we make, and much of their livelihood is made possible by the existence of intellectual property rights. But much of their livelihood - and much of the vibrancy of our culture - also depends on the existence of other intangible rights: The right to draw ideas from a rich and varied public domain, and the right to mock, for profit as well as fun, the cultural icons of our time.

Chpt.1, p. 4
Principles of Geology (1832), Vol. 1
Context: It was long ere the distinct nature and legitimate objects of geology were fully recognized, and it was at first confounded with many other branches of inquiry, just as the limits of history, poetry, and mythology were ill-defined in the infancy of civilization. Werner appears to have regarded geology as little other than a subordinate department of mineralogy and Desmarest included it under the head of Physical Geography.... The first who endeavored to draw a clear line of demarcation between these distinct departments, was Hutton, who declared that geology was in no ways concerned with 'questions as to the origin of things.

Speech to Parliament http://www.british-history.ac.uk/report.asp?compid=36881 (4 February 1658), quoted in The Diary of Thomas Burton, esq., volume 2: April 1657 - February 1658 (1828), p. 465-466

About Shykh Mu‘in al-Din Chisti of Ajmer (Rajasthan) (d. AD 1236). Amir Khwurd: Siyaru’l-Auliya. Cited in P.M. Currie, The Shrine and Cult of Mu‘in al-Din Chishti of Ajmer, OUP, 1989, p. 30.

What It Means to Be a Poet in America (1926)
Context: Whenever I begin to write a poem or draw a picture I am, in imagination, if not in reality, back in my room where I began to draw pen-and-ink pictures and write verses in my seventeenth year. Both windows of the room look down on the great Governor’s Yard of Illinois. This yard is a square block, a beautiful park. Our house is on so high a hill I can always look down upon the governor. Among my very earliest memories are those of seeing old Governor Oglesby leaning on his cane, marching about, calling his children about him.

Sermons
Context: When the spirit looks within, to the Spirit of God, from the ground of the heart,
where man, empty and bare of all works, seeks God only,
far above all thoughts, works and reason,
it is truly a thorough conversion, which will ever be met with a corresponding reward,
and God will be with him.
Another conversion may take place in an ordinary external way, whenever man turns to God,
thinking wholly and entirely of Him,
and of nothing else but of God for Himself and in Himself.
But the first turning is in an inner, undefined, unknown presence,
in an immaterial entrance of the created spirit into the uncreated Spirit of God.
If a man could only once in his life thus turn to God, it would be well for him.
Those [[File:Antennae galaxies xl. jpg|154px|thumb|He draws them so mysteriously unto Himself and His own blessedness;
their spirits are so lovingly attracted, while they are at the same time so filled and transfused with the Godhead,
that they lose all their diversity in the Unity of the Godhead]] men whose God is so powerful, and Who has been so faithful to them in all their distress,
will be answered by God with Himself.
He draws them so mysteriously unto Himself and His own blessedness;
their spirits are so lovingly attracted, while they are at the same time so filled and transfused with the Godhead,
that they lose all their diversity in the Unity of the Godhead.
These are they to whom God makes their work here on earth a delight;
so that they have a real foretaste of that which they will enjoy forever.
These are they on whom the Holy Christian Church rests;
and, if they did not form part of Christianity, Christianity could no longer exist;
for their mere existence, what they are, is infinitely worthier and more useful than all the doings of the world.
These are they of whom our Lord has said:
“He that toucheth you, toucheth the apple of Mine eye.”
Therefore, take heed that ye do them no wrong. May God help us.

Man and Socialism in Cuba (1965)
Context: The road is long and full of difficulties. At times we wander from the path and must turn back; at other times we go too fast and separate ourselves from the masses; on occasions we go too slow and feel the hot breath of those treading on our heels. In our zeal as revolutionists we try to move ahead as fast as possible, clearing the way, but knowing we must draw our sustenance from the mass and that it can advance more rapidly only if we inspire it by our example.

D-503
We (1921)

Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.

In his letter to Theo, from Cuesmes, 24 September 1880 - original manuscript of letter no. 158 - at Van Gogh Museum, location Amsterdam - inv. no. b156 V/1962, http://vangoghletters.org/vg/letters/let158/letter.html
Van Gogh's copies (drawings) he made after the work of Rousseau have been lost
1880s, 1880
Context: First and foremost, the masterly etching, 'The bush', by Daubigny/Ruisdael. [ Daubigny's etching 'The bush', he made after Jacob van Ruisdael ].... I plan to do two drawings, either in sepia or something else, one of them after this etching [by Daubigny] — the other [etching, made] after T. Rousseau's 'The oven in Les Landes'. This latter sepia is already done — it's true — but if you compare it with Daubigny's etching, you'll understand that it becomes weak, even though the sepia drawing considered on its own may very well have a certain tone and sentiment. I have to go back to it and work on it again.... I couldn't tell you how happy I feel to have taken up drawing again. It had already been on my mind for a long time, but I always saw the thing as impossible and beyond my reach.

Source: Prometheus Bound, lines 637–639 (tr. Elizabeth Barrett Browning)

American Diplomacy (1951), World War I
Context: There are certain sad appreciations we have to come to about human nature on the basis of these recent wars. One of them is that suffering does not always make men better. Another is that people are not always more reasonable than governments; that public opinion, or what passes for public opinion, is not invariably a moderating force in the jungle of politics. It may be true, and I suspect it is, that the mass of people everywhere are normally peace-loving and would accept many restraints and sacrifices in preference to the monstrous calamities of war. But I also suspect that what purports to be public opinion in most countries that consider themselves to have popular government is often not really the consensus of the feelings of the mass of the people at all, but rather the expression of the interests of special highly vocal minorities — politicians, commentators, and publicity-seekers of all sorts: people who live by their ability to draw attention to themselves and die, like fish out of water, if they are compelled to remain silent. These people take refuge in the pat and chauvinistic slogans because they are incapable of understanding any others, because these slogans are safer from the standpoint of short-term gain, because the truth is sometimes a poor competitor in the market place of ideas — complicated, unsatisfying, full of dilemma, always vulnerable to misinterpretation and abuse. The counsels of impatience and hatred can always be supported by the crudest and cheapest symbols; for the counsels of moderation, the reasons are often intricate, rather than emotional, and difficult to explain. And so the chauvinists of all times and places go their appointed way: plucking the easy fruits, reaping the little triumphs of the day at the expense of someone else tomorrow, deluging in noise and filth anyone who gets in their way, dancing their reckless dance on the prospects for human progress, drawing the shadow of a great doubt over the validity of democratic institutions. And until people learn to spot the fanning of mass emotions and the sowing of bitterness, suspicion, and intolerance as crimes in themselves — as perhaps the greatest disservice that can be done to the cause of popular government — this sort of thing will continue to occur.

"1997 XF₁₁ – the true story" in The Journal of the British Astronomical Association Vol. 109, No.1 (February 1999) https://archive.is/20121220165604/www.britastro.org/jbaa/archive/marsden.htm.
Context: It is probably a good idea to search, at some level, for asteroids that come to the Earth's general vicinity. But merely counting the asteroids found is not sufficient. It is desirable to follow up each discovery to examine whether it can or can not be a threat during the next century or so. Objects for which the threat cannot be eliminated should be singled out for special study, notably to the extent of searching for old images in photographic archives. 1997 XF11 was noteworthy for the apathy shown to it prior to the very widespead announcement in March. If proper attention had been given to it earlier, the circumstances that led to the announcement would never have occurred. Sometimes statistics will conspire to draw attention to a problem. Maybe they are trying to tell us something.

Part 5: "The World of One Physicist", "But Is It Art?", p. 261
Surely You're Joking, Mr. Feynman! (1985)
Context: I wanted very much to learn to draw, for a reason that I kept to myself: I wanted to convey an emotion I have about the beauty of the world. It's difficult to describe because it's an emotion. It's analogous to the feeling one has in religion that has to do with a god that controls everything in the whole universe: there's a generality aspect that you feel when you think about how things that appear so different and behave so differently are all run "behind the scenes" by the same organization, the same physical laws. It's an appreciation of the mathematical beauty of nature, of how she works inside; a realization that the phenomena we see result from the complexity of the inner workings between atoms; a feeling of how dramatic and wonderful it is. It's a feeling of awe — of scientific awe — which I felt could be communicated through a drawing to someone who had also had this emotion. It could remind him, for a moment, of this feeling about the glories of the universe.

Love is Enough (1872), Song IV: Draw Near and Behold Me
Context: Love is enough: draw near and behold me
Ye who pass by the way to your rest and your laughter,
And are full of the hope of the dawn coming after;
For the strong of the world have bought me and sold me
And my house is all wasted from threshold to rafter.
— Pass by me, and hearken, and think of me not!

Lecture XX, "Conclusions"
1900s, The Varieties of Religious Experience (1902)
Context: Both thought and feeling are determinants of conduct, and the same conduct may be determined either by feeling or by thought. When we survey the whole field of religion, we find a great variety in the thoughts that have prevailed there; but the feelings on the one hand and the conduct on the other are almost always the same, for Stoic, Christian, and Buddhist saints are practically indistinguishable in their lives. The theories which Religion generates, being thus variable, are secondary; and if you wish to grasp her essence, you must look to the feelings and the conduct as being the more constant elements. It is between these two elements that the short circuit exists on which she carries on her principal business, while the ideas and symbols and other institutions form loop-lines which may be perfections and improvements, and may even some day all be united into one harmonious system, but which are not to be regarded as organs with an indispensable function, necessary at all times for religious life to go on. This seems to me the first conclusion which we are entitled to draw from the phenomena we have passed in review.

Source: The Life of Reason: The Phases of Human Progress (1905-1906), Vol. V, Reason in Science, Ch. 2 "History"
Context: History is nothing but assisted and recorded memory. It might almost be said to be no science at all, if memory and faith in memory were not what science necessarily rest on. In order to sift evidence we must rely on some witness, and we must trust experience before we proceed to expand it. The line between what is known scientifically and what has to be assumed in order to support knowledge is impossible to draw. Memory itself is an internal rumour; and when to this hearsay within the mind we add the falsified echoes that reach us from others, we have but a shifting and unseizable basis to build upon. The picture we frame of the past changes continually and grows every day less similar to the original experience which it purports to describe.

Introduction.
Garden Cities of To-morrow (1898)
Context: Whatever may have been the causes which have operated in the past, and are operating now, to draw the people into the cities, those causes may all be summed up as "attractions "; and it is obvious, therefore, that no remedy can possibly be effective which will not present to the people, or at least to considerable portions of them, greater "attractions " than our cities now possess, so that the force of the old "attractions" shall be overcome by the force of new "attractions" which are to be created. Each city may be regarded as a magnet, each person as a needle; and, so viewed, it is at once seen that nothing short of the discovery of a method for constructing magnets of yet greater power than our cities possess can be effective for redistributing the population in a spontaneous and healthy manner.

remarks (2 May 1956) at a Caltech YMCA lunch forum http://calteches.library.caltech.edu/49/2/Religion.htm
Context: Western civilization, it seems to me, stands by two great heritages. One is the scientific spirit of adventure — the adventure into the unknown, an unknown which must be recognized as being unknown in order to be explored; the demand that the unanswerable mysteries of the universe remain unanswered; the attitude that all is uncertain; to summarize it — the humility of the intellect. The other great heritage is Christian ethics — the basis of action on love, the brotherhood of all men, the value of the individual — the humility of the spirit.
These two heritages are logically, thoroughly consistent. But logic is not all; one needs one's heart to follow an idea. If people are going back to religion, what are they going back to? Is the modern church a place to give comfort to a man who doubts God — more, one who disbelieves in God? Is the modern church a place to give comfort and encouragement to the value of such doubts? So far, have we not drawn strength and comfort to maintain the one or the other of these consistent heritages in a way which attacks the values of the other? Is this unavoidable? How can we draw inspiration to support these two pillars of western civilization so that they may stand together in full vigor, mutually unafraid? Is this not the central problem of our time?

Source: Gertrude (1910), p. 236
Context: It was no different with my own life, and with Gertrude's and that of many others. Fate was not kind, life was capricious and terrible, and there was no good or reason in nature. But there is good and reason in us, in human beings, with whom fortune plays, and we can be stronger than nature and fate, if only for a few hours. And we can draw close to one another in times of need, understand and love one another, and live to comfort each other. And sometimes, when the black depths are silent, we can do even more. We can then be gods for moments, stretch out a commanding hand and create things which were not there before and which, when they are created, continue to live without us. Out of sounds, words, and other frail and worthless things, we can construct playthings — songs and poems full of meaning, consolation and goodness, more beautiful and enduring than the grim sport of fortune and destiny. We can keep the spirit of God in our hearts and, at times, when we are full of Him, He can appear in our eyes and our words, and also talk to others who do no know or do not wish to know Him. We cannot evade life's course, but we can school ourselves to be superior to fortune and also to look unflinchingly upon the most painful things.

David Bomberg "The Bomberg Papers", ed. Patrick Swift, X: A Quarterly Review, Vol 1, No 3, June 1960
Context: Speaking generally Art endevours to reveal what is true and needs to be free. All things said regarding Art are subject to contradiction. An artist whose integrity sustains his strength to make no compromise with expediency is never degraded. His life work will resemble the integrating character of the primaries in the Spectrum. At the beginning, of the middle period, and at the end… I approach drawing solely for structure. I am perhaps the most unpopular artist in England – and only because I am draughtsman first and painter second. Drawing demands a theory of approach, until good drawing becomes habit – it denies all rules. It requires high discipline… Drawing demands freedom, freedom demands liberty to expand in space – this is progress. By the extension of democracy – good draughtsmanship is – Democracy’s visual sign. To draw with integrity replaces bad habits with good, youth preserved from corruption. The hand works at high tension and organises as it simplifies, reducing to barest essentials, stripping all irrelevant matter obstructing the rapidly forming organisation which reveals the design. This is drawing.

An Old Man's Thoughts on Many Things, Of Education I
Context: By drawing an object the children will also learn a fundamental doctrine of philosophy; but I don't recommend letting them know what the doctrine is. They will discover it some time. We do not draw objects as they are: we draw them as they seem to be. To the eye things are what they seem to be, but they are in reality, if you know what that means, something else.

answers the ingenuous soul, with visions of the envy of surrounding flunkies dawning on him; and in very many cases decides that he will contract himself into beaverism, and with such a horse-draught of gold, emblem of a never-imagined success in beaver heroism, strike the surrounding flunkies yellow. This is our common course; this is in some sort open to every creature, what we call the beaver career; perhaps more open in England, taking in America too, than it ever was in any country before. And, truly, good consequences follow out of it: who can be blind to them? Half of a most excellent and opulent result is realized to us in this way; baleful only when it sets up (as too often now) for being the whole result.
1850s, Latter-Day Pamphlets (1850), Stump Orator (May 1, 1850)

Journal entry (2 March 1861), Ch. 5 : The Beginning of the War.
Lucy Larcom : Life, Letters, and Diary (1895)
Context: Eternal life and eternal death; what do these words mean? This is the question that comes up again and again. It has recently been brought up by those whom I am appointed to instruct; and the question with its answer, brings new and fearful responsibility with every return. I am more and more convinced that the idea of duration is not the one that affects us most: for here it has proved that those who are least careful about what they are in heart and life, are trying hardest to convince themselves and others that the "doctrine of eternal punishment" is not true. By making themselves believe that to be the all-important question, they draw off their own and others' attention from the really momentous one, — "Am I living the eternal life? Is it begun in me now?"
And now I see why I have questioned whether it was right in me to express my own doubts of this very doctrine. The final renovation of all souls, their restoration to life in holiness and love, is certainly a hope of mine that is not without a strong infusion of confidence; but I dare not say it is a belief; because both reason and revelation have left it in deep mystery; and the expression of any such belief does not seem to me likely to help others much; certainly not those who are indolent or indifferent regarding the true Christian life.
Then the "loss of the soul" is in plain language spoken of by our Lord as possible. What can that mean, but the loss of life in Him? the loss of ennobling aspirations, of the love of all good, of the power of seeing and seeking truth? And if this is possible to us now, by our own choice, why not forever? — since, as free beings, our choice must always be in our own power?
The truth that we must all keep before us, in order to be growing better forever, is that life is love and holiness; death, selfishness and sin; then it is a question of life and death to be grappled with in the deep places of every soul.

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

Entry (1950)
Eric Hoffer and the Art of the Notebook (2005)
Context: To think out a problem is not unlike drawing a caricature. You have to exaggerate the salient point and leave out that which is not typical. "To illustrate a principle," says Bagehot, "you must exaggerate much and you must omit much." As to the quantity of absolute truth in a thought: it seems to me the more comprehensive and unobjectionable a thought becomes, the more clumsy and unexciting it gets. I like half-truths of a certain kind — they are interesting and they stimulate.

Speech in Glasgow (6 October 1903), quoted in The Times (7 October 1903), p. 4.
1900s
Context: The Colonies are prepared to meet us. In return for a very moderate preference they will give us a substantial advantage. They will give us, in the first place— I believe they will reserve to us the trade which we already enjoy. They will arrange for tariffs in the future in order not to start industries in competition with those which are already in existence in the mother country... But they will do a great deal more for you. This is certain. Not only will they enable you to retain the trade which you have, but they are ready to give you preference to all the trade which is now done with them by foreign competitors... We must either draw closer together or we shall drift apart... It is, I believe, absolutely impossible for you to maintain in the long run your present loose and indefinable relations and preserve these Colonies parts of the Empire... Can we invent a tie which must be a practical one, which will prevent separation... I say that it is only by commercial union, reciprocal preference, that you can lay the foundations of the confederation of the Empire to which we all look forward as a brilliant possibility.

From an interview in the newspaper To-Day (1894), as quoted in Aubrey Beardsley : A Biography (1999) by Matthew Sturgis, p. 200
Context: All humanity inspires me. Every passer-by is my unconscious sitter; and as strange as it may seem, I really draw folk as I see them. Surely it is not my fault that they fall into certain lines and angles.

The General History of Polybius as translated by James Hampton' (1762), Vol. II, pp. 177-178
The Histories

Section 1 : Of The Different Species of Philosophy
An Enquiry Concerning Human Understanding (1748)
Context: Nature has pointed out a mixed kind of life as most suitable to the human race, and secretly admonished them to allow none of these biases to draw too much, so as to incapacitate them for other occupations and entertainments. Indulge your passion for science, says she, but let your science be human, and such as may have a direct reference to action and society. Abstruse thought and profound researches I prohibit, and will severely punish, by the pensive melancholy which they introduce, by the endless uncertainty in which they involve you, and by the cold reception which your pretended discoveries shall meet with, when communicated. Be a philosopher; but, amidst all your philosophy, be still a man.

Dissenting in Pearce v. Commissioner of Internal Revenue, 315 U.S. 543, 558 (1942).
Judicial opinions
Context: The line must follow some direction of policy, whether rooted in logic or experience. Lines should not be drawn simply for the sake of drawing lines.

Book III. Concerning Petitions and Axioms.
The Philosophical and Mathematical Commentaries of Proclus on the First Book of Euclid's Elements Vol. 2 (1789)

What is Art? (1897)
Context: The partisans of aesthetic theory denied that it was their own invention, and professed that it existed in the nature of things and even that it was recognized by the ancient Greeks. But... among the ancient Greeks, due to their low grade (compared to the Christian) moral ideal, their conception of the good was not yet sharply distinguished from their conception of the beautiful. That highest conception of goodness (not identical with beauty and for the most part, contrasting with it) discerned by the Jews even in the time of Isaiah and fully expressed by Christianity, was unknown to the Greeks. It is true that the Greek's foremost thinkers — Socrates, Plato, Aristotle — felt that goodness may not coincide with beauty.... But notwithstanding all this, they could not quite dismiss the notion that beauty and goodness coincide. And consequently in the language of that period a compound word (καλο-κάγαθια, beauty-goodness) came into use to express that notion. Evidently the Greek sages began to draw close to the perception of goodness which is expressed in Buddhism and in Christianity, but they got entangled in defining the relationship between goodness and beauty. And it was just this confusion of ideas that those Europeans of a later age … tried to elevate into law. … On this misunderstanding the new science of aesthetics was built.

The Fantastic Imagination (1893)
Context: "But surely you would explain your idea to one who asked you?"
I say again, if I cannot draw a horse, I will not write THIS IS A HORSE under what I foolishly meant for one. Any key to a work of imagination would be nearly, if not quite, as absurd. The tale is there, not to hide, but to show: if it show nothing at your window, do not open your door to it; leave it out in the cold. To ask me to explain, is to say, "Roses! Boil them, or we won't have them!" My tales may not be roses, but I will not boil them.
So long as I think my dog can bark, I will not sit up to bark for him.

Source: Christ's Object Lessons (1900), Ch. 1, p. 22
Context: Christ had truths to present which the people were unprepared to accept or even to understand. For this reason also He taught them in parables. By connecting His teaching with the scenes of life, experience, or nature, He secured their attention and impressed their hearts. Afterward, as they looked upon the objects that illustrated His lessons, they recalled the words of the divine Teacher. To minds that were open to the Holy Spirit, the significance of the Saviour's teaching unfolded more and more. Mysteries grew clear, and that which had been hard to grasp became evident.
Jesus sought an avenue to every heart. By using a variety of illustrations, He not only presented truth in its different phases, but appealed to the different hearers. Their interest was aroused by figures drawn from the surroundings of their daily life. None who listened to the Saviour could feel that they were neglected or forgotten. The humblest, the most sinful, heard in His teaching a voice that spoke to them in sympathy and tenderness.
And He had another reason for teaching in parables. Among the multitudes that gathered about Him, there were priests and rabbis, scribes and elders, Herodians and rulers, world-loving, bigoted, ambitious men, who desired above all things to find some accusation against Him. Their spies followed His steps day after day, to catch from His lips something that would cause His condemnation, and forever silence the One who seemed to draw the world after Him. The Saviour understood the character of these men, and He presented truth in such a way that they could find nothing by which to bring His case before the Sanhedrim. In parables He rebuked the hypocrisy and wicked works of those who occupied high positions, and in figurative language clothed truth of so cutting a character that had it been spoken in direct denunciation, they would not have listened to His words, and would speedily have put an end to His ministry. But while He evaded the spies, He made truth so clear that error was manifested, and the honest in heart were profited by His lessons.

Source: Sculpting in Time (1986), p. 38
Context: Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake. What purports to be art begins to looks like an eccentric occupation for suspect characters who maintain that any personalised action is of intrinsic value simply as a display of self-will. But in an artistic creation the personality does not assert itself it serves another, higher and communal idea. The artist is always the servant, and is perpetually trying to pay for the gift that has been given to him as if by a miracle. Modern man, however, does not want to make any sacrifice, even though true affirmation of the self can only be expressed in sacrifice. We are gradually forgetting about this, and at the same time, inevitably, losing all sense of human calling.

Part 5: "The World of One Physicist", "But Is It Art?", p. 261
Surely You're Joking, Mr. Feynman! (1985)
Context: I wanted very much to learn to draw, for a reason that I kept to myself: I wanted to convey an emotion I have about the beauty of the world. It's difficult to describe because it's an emotion. It's analogous to the feeling one has in religion that has to do with a god that controls everything in the whole universe: there's a generality aspect that you feel when you think about how things that appear so different and behave so differently are all run "behind the scenes" by the same organization, the same physical laws. It's an appreciation of the mathematical beauty of nature, of how she works inside; a realization that the phenomena we see result from the complexity of the inner workings between atoms; a feeling of how dramatic and wonderful it is. It's a feeling of awe — of scientific awe — which I felt could be communicated through a drawing to someone who had also had this emotion. It could remind him, for a moment, of this feeling about the glories of the universe.

Source: Aeneid (29–19 BC), Book IV, Lines 334–336 (tr. Fagles); Aeneas to Dido.

On the game of bridge, as quoted in Forbes (2 June 1997); also quoted in The Warren Buffett Portfolio: Mastering the Power of the Focus Investment Strategy (2000), p. 112
Context: It’s a game of a million inferences. There are a lot of things to draw inferences from — cards played and not played. These inferences tell you something about the probabilities. It's got to be the best intellectual exercise out there. You're seeing through new situations every ten minutes. Bridge is about weighing gain/loss ratios. You're doing calculations all the time.

Source: The Artful Universe (1995), Ch. 5, p.236

Source: Civil Government : Its Origin, Mission, and Destiny (1889), p. 87
Context: It is the duty of the Christian to submit to the human government in its office and work and to seek its destruction only by spreading the religion of Christ and so converting men from service to the earthly government to service to the heavenly one, and so, too, by removing the necessity for its existence and work. No violence, no sword, no bitterness or wrath can he use. The spread of the peaceful principles of the Savior, will draw men out of the kingdoms of earth into the kingdom of God.

As quoted in "International Arbitration" by W. H. Dellenback in The Commencement Annual, University of Michigan (30 June 1892) and in A Half Century of International Problems: A Lawyer's Views (1954) by Frederic René Coudert, p. 180.
Context: Though I have been trained as a soldier, and participated in many battles, there never was a time when, in my opinion, some way could not be found to prevent the drawing of the sword. I look forward to an epoch when a court, recognized by all nations, will settle international differences, instead of keeping large standing armies as they do in Europe.

"The Bomberg Papers", An Anthology From X (Oxford University Press, 1988) p. 88.
Context: The exercise of drawing from the life brings out the individuality of the (artist) in the man. When the door has been closed on completion of an academic rendering, no matter how rendered to the resemblance of the anatomic stress and strain, it is still only saying the things you already know... it is still a lifeless drawing in the light of modern art.

"Ending Hunger Now" TED Talk (July 2011) http://www.ted.com/talks/josette_sheeran_ending_hunger_now.html
Context: I believe we're living at a time in human history where it's just simply unacceptable that children wake up and don't know where to find a cup of food. Not only that, transforming hunger is an opportunity, but I think we have to change our mindsets. I am so honored to be here with some of the world's top innovators and thinkers. And I would like you to join with all of humanity to draw a line in the sand and say, "No more. No more are we going to accept this." And we want to tell our grandchildren that there was a terrible time in history where up to a third of the children had brains and bodies that were stunted, but that exists no more.

On Mind and Thought (1993), p. 34
Posthumous publications
Context: It is astonishingly beautiful and interesting, how thought is absent when you have an insight. Thought cannot have an insight. It is only when the mind is not operating mechanically in the structure of thought that you have an insight. Having had an insight, thought draws a conclusion from that insight. And then thought acts and thought is mechanical. So I have to find out whether having an insight into myself, which means into the world, and not drawing a conclusion from it is possible. If I draw a conclusion, I act on an idea, on an image, on a symbol, which is the structure of thought, and so I am constantly preventing myself from having insight, from understanding things as they are.

Notes from Devotional Authors of the Middle Ages (1873-1874)
Context: What is Mysticism? Is it not the attempt to draw near to God, not by rites or ceremonies, but by inward disposition? Is it not merely a hard word for " The Kingdom of Heaven is within"? Heaven is neither a place nor a time. There might be a Heaven not only here but now. It is true that sometimes we must sacrifice not only health of body, but health of mind (or, peace) in the interest of God; that is, we must sacrifice Heaven. But "thou shalt be like God for thou shalt see Him as He is": this may be here and now, as well as there and then. And it may be for a time — then lost — then recovered — both here and there, both now and then.

The Future of Ideas (2001)
Context: A time is marked not so much by ideas that are argued about as by ideas that are taken for granted. The character of an era hangs upon what needs no defense. Power runs with ideas that only the crazy would draw into doubt. The "taken for granted" is the test of sanity; "what everyone knows" is the line between us and them.
This means that sometimes a society gets stuck. Sometimes these unquestioned ideas interfere, as the cost of questioning becomes too great. In these times, the hardest task for social or political activists is to find a way to get people to wonder again about what we all believe is true. The challenge is to sow doubt.

Source: John Howe : Fantasy Art Workshop (2007), p. 6
Context: Drawing is giving yourself up to an exercise with no immediate application. It is a form of communion with your subject, be it in front of you or in your head. Expertise and skill go hand in hand with your desire to express feelings, to tell stories, to create and share worlds. It's personal.

A Body in the Bath House

David Bomberg "The Bomberg Papers", ed. Patrick Swift, X: A Quarterly Review, Vol 1, No 3, June 1960
Context: Speaking generally Art endevours to reveal what is true and needs to be free. All things said regarding Art are subject to contradiction. An artist whose integrity sustains his strength to make no compromise with expediency is never degraded. His life work will resemble the integrating character of the primaries in the Spectrum. At the beginning, of the middle period, and at the end… I approach drawing solely for structure. I am perhaps the most unpopular artist in England – and only because I am draughtsman first and painter second. Drawing demands a theory of approach, until good drawing becomes habit – it denies all rules. It requires high discipline… Drawing demands freedom, freedom demands liberty to expand in space – this is progress. By the extension of democracy – good draughtsmanship is – Democracy’s visual sign. To draw with integrity replaces bad habits with good, youth preserved from corruption. The hand works at high tension and organises as it simplifies, reducing to barest essentials, stripping all irrelevant matter obstructing the rapidly forming organisation which reveals the design. This is drawing.

When asked why she is "so dreadfully morbid", in an interview with Guido Bruno (December 1919) http://www.case.edu/artsci/engl/VSALM/mod/brandelmcdaniel/index/interviews.htm
Context: Morbid? You make me laugh. This life I write and draw and portray is life as it is, and therefore you call it morbid. Look at my life. Look at the life around me. Where is this beauty that I am supposed to miss? The nice episodes that others depict? Is not everything morbid? I mean the life of people stripped of their masks. Where are the relieving features? Often I sit down to work at my drawing board, at my typewriter. All of a sudden my joy is gone. I feel tired of it all because, I think, "What's the use?" Today we are, tomorrow dead. We are born and don't know why. We live and suffer and strive, envious or envied. We love, we hate, we work, we admire, we despise. … Why? And we die, and no one will ever know that we have been born.

Source: The Sand Pebbles (1962), Ch. 5; speech of Lt. Collins
Context: It is said there will be no more war. We must pretend to believe that. But when war comes, it is we who will take the first shock and buy time with our lives. It is we who keep the faith. We are not honored for it. We are called mercenaries on the outposts of empire. … We serve the flag. The trade we follow is the give and take of death. It is for that purpose the American people maintain us. Any one of us who believes he has a job like any other, for which he draws a money wage, is a thief of the food he eats and a trespasser in the bunk in which he lies down to sleep!

Teaching as a Subversive Activity (1969)
Context: We have framed... some questions which in our judgement, are responsive to the actual and immediate as against the fancied and future needs of learners in the world as it is (not as it was). … There seemed to be little doubt that, from the point of view of the students, these questions made much more sense than the ones they usually have to memorize the right answers to in school. Contrary to conventional school practice, what that means is that we want to elicit from the students the meanings that they have already stored up so that they may subject these meanings to a testing and verifying, reordering and reclassifying, modifying and extending process. In this process the student is not a passive "recipient"; he becomes an active producer of knowledge. The word "educate" is closely related to the word "educe." In the oldest pedagogic sense of the term, this meant a drawing out of a person something potential or latent. We can after all, learn only in relation to what we already know. Again, contrary to common misconceptions, this means that, if we don't know very much, our capability for learning is not very great. This idea — virtually by itself — requires a major revision in most of the metaphors that shape school policies and procedures.

"The Brook", st. 5

As quoted in a profile at HarperCollins http://www.harpercollins.com/global_scripts/product_catalog/author_xml.asp?authorid=8773
Context: It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was. My ambition from earliest memory was to produce a daily comic strip.

As quoted in Scandinavian Review (2003), by the American-Scandinavian Foundation, p. 18
Context: Man is the animal that draws lines which he himself then stumbles over. In the whole pattern of civilization there have been two tendencies, one toward straight lines and rectangular patterns and one toward circular lines. There are reasons, mechanical and psychological, for both tendencies. Things made with straight lines fit well together and save space. And we can move easily — physically or mentally — around things made with round lines. But we are in a straitjacket, having to accept one or the other, when often some intermediate form would be better.

Misattributed to Chateaubriand on the internet and even some recently published books, this statement actually originated with L. P. Jacks in Education through Recreation (1932)
Misattributed
Context: A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which. He simply pursues his vision of excellence through whatever he is doing, and leaves others to determine whether he is working or playing. To himself, he always appears to be doing both.

63 : The Working of the Avatar, p. 105.
The Everything and the Nothing (1963)
Context: The Avatar draws upon Himself the universal suffering, but He is sustained under the stupendous burden by His Infinite Bliss and His infinite sense of humour. The Avatar is the Axis or Pivot of the universe, the Pin of the grinding-stones of evolution, and so has a responsibility towards everyone and everything.

95
Golden Sayings of Epictetus

Source: The Moral Judgment of the Child (1932), Ch. 2 : Adult Constraint and Moral Realism <!-- p. 185 -->
Context: To perceive is to construct intellectually, and if the child draws things as he conceives them, it is certainly because he cannot perceive them without conceiving them. But to give up gradually the spurious absolutes situated away and apart from the context of relations that has been built up during experience itself is the work of a superior kind of rationality. When the child comes to draw things as he sees them, it will be precisely because he has given up taking isolated objects in and for themselves and has begun to construct real systems of relations which take account of the true perspective in which things are connected.

I've Learned Some Things (2008)
Context: Distant lands should draw you, people you don't know
To read every book, know other's lives, you should be burning
You shouldn't exchange for anything the pleasure of a glass of water
No matter how much the joy, your life should be filled with yearning

An Old Man's Thoughts on Many Things, Of Education I
Context: By drawing an object the children will also learn a fundamental doctrine of philosophy; but I don't recommend letting them know what the doctrine is. They will discover it some time. We do not draw objects as they are: we draw them as they seem to be. To the eye things are what they seem to be, but they are in reality, if you know what that means, something else.

Source: Something More, A Consideration of the Vast, Undeveloped Resources of Life (1920), p. 84-85
Context: It is significant that the Great Teacher does not draw up a code of laws or list or sins. Nowhere does Jesus say explicitly that human slavery is a sin, or that the employment of little children for fourteen hours a day in a factory is a sin. He deals in general principles concerning the great fundamentals of life. So clear is his teaching, however, that there can be no doubt as to what he thinks of human slavery or the oppression of little children. In the teaching of Jesus, life is relationship, dwelling on friendly and affectionate terms with God, with ourselves, and with our fellowmen. Anything which destroys this relationship is sin. By this standard any thought or act may safely be judged.

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

The Stark Munro Letters (1894)
Context: The more we progress the more we tend to progress. We advance not in arithmetical but in geometrical progression. We draw compound interest on the whole capital of knowledge and virtue which has been accumulated since the dawning of time. Some eighty thousand years are supposed to have existed between paleolithic and neolithic man. Yet in all that time he only learned to grind his flint stones instead of chipping them. But within our father's lives what changes have there not been? The railway and the telegraph, chloroform and applied electricity. Ten years now go further than a thousand then, not so much on account of our finer intellects as because the light we have shows us the way to more. Primeval man stumbled along with peering eyes, and slow, uncertain footsteps. Now we walk briskly towards our unknown goal.

Cosmic Imagery: Key Images in the History of Science (2008)

"Prologue", p. 23
Report to Greco (1965)
Context: General, the battle draws to a close and I make my report. This is where and how I fought. I fell wounded, lost heart, but did not desert. Though my teeth clattered from fear, I bound my forehead tightly with a red handkerchief to hide the blood, and ran to the assault.
Before you shall pluck out the precious feathers of my jackdaw soul, one by one, until it remains a tiny clod of earth kneaded with blood, sweat, and tears. I shall relate my struggle to you — in order to unburden myself. I shall cast off virtue, shame, and truth — in order to unburden myself. My soul resembles your creation "Toledo in the Storm"; girded by yellow thunderbolts and oppressive black clouds, fighting a desperate, unbending battle against both light and darkness. You will see my soul, will weigh it between your lanceolate eyebrows, and will judge. Do you remember the grave Cretan saying, "Return where you have failed, leave where you have succeeded"? If I failed, I shall return to the assault though but a single hour of life remains to me. If I succeeded, I shall open the earth so that I may come and recline at your side.
Listen, therefore, to my report, general, and judge. Listen to my life, grandfather, and if I fought with you, if I fell wounded and allowed no one to learn of my suffering, if I never turned my back to the enemy: Give me your blessing!

Second Speech on Conciliation with America (1775), Works of Edmund Burke Volume ii, p. 136

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

The Fantastic Imagination (1893)
Context: "But a man may then imagine in your work what he pleases, what you never meant!"
 Not what he pleases, but what he can. If he be not a true man, he will draw evil out of the best; we need not mind how he treats any work of art! If he be a true man, he will imagine true things: what matter whether I meant them or not? They are there none the less that I cannot claim putting them there! One difference between God's work and man's is, that, while God's work cannot mean more than he meant, man's must mean more than he meant. For in everything that God has made, there is layer upon layer of ascending significance; also he expresses the same thought in higher and higher kinds of that thought: it is God's things, his embodied thoughts, which alone a man has to use, modified and adapted to his own purposes, for the expression of his thoughts; therefore he cannot help his words and figures falling into such combinations in the mind of another as he had himself not foreseen, so many are the thoughts allied to every other thought, so many are the relations involved in every figure, so many the facts hinted in every symbol. A man may well himself discover truth in what he wrote; for he was dealing all the time with things that came from thoughts beyond his own.

Second Lecture, The Elements of the Theory of Probability, p. 30
Probability, Statistics And Truth - Second Revised English Edition - (1957)

The Conference of the Birds (1177)
Context: Come you lost Atoms to your Centre draw,
And be the Eternal Mirror that you saw:
Rays that have wander'd into Darkness wide
Return and back into your Sun subside.

The good are befriended even by weakness and defect. As no man had ever a point of pride that was not injurious to him, so no man had ever a defect that was not somewhere made useful to him.
1840s, Essays: First Series (1841), Compensation

Letter to Henry Lee (10 August 1824)
1820s
Context: Men by their constitutions are naturally divided into two parties: 1. Those who fear and distrust the people, and wish to draw all powers from them into the hands of the higher classes. 2. Those who identify themselves with the people, have confidence in them, cherish and consider them as the most honest and safe, although not the most wise depositary of the public interests. In every country these two parties exist, and in every one where they are free to think, speak, and write, they will declare themselves. Call them, therefore, liberals and serviles, Jacobins and Ultras, whigs and tories, republicans and federalists, aristocrats and democrats, or by whatever name you please, they are the same parties still and pursue the same object. The last appellation of aristocrats and democrats is the true one expressing the essence of all.

Madison's own notes on Madison's remarks of debate (6 June 1787) http://avalon.law.yale.edu/18th_century/debates_606.asp
1780s, The Debates in the Federal Convention (1787)
Context: In all cases where a majority are united by a common interest or passion, the rights of the minority are in danger. What motives are to restrain them? A prudent regard to the maxim that honesty is the best policy is found by experience to be as little regarded by bodies of men as by individuals. Respect for character is always diminished in proportion to the number among whom the blame or praise is to be divided. Conscience, the only remaining tie, is known to be inadequate in individuals: In large numbers, little is to be expected from it. Besides, Religion itself may become a motive to persecution & oppression. — These observations are verified by the Histories of every Country antient & modern. In Greece & Rome the rich & poor, the creditors & debtors, as well as the patricians & plebians alternately oppressed each other with equal unmercifulness. What a source of oppression was the relation between the parent cities of Rome, Athens & Carthage, & their respective provinces: the former possessing the power, & the latter being sufficiently distinguished to be separate objects of it? Why was America so justly apprehensive of Parliamentary injustice? Because G. Britain had a separate interest real or supposed, & if her authority had been admitted, could have pursued that interest at our expence. We have seen the mere distinction of colour made in the most enlightened period of time, a ground of the most oppressive dominion ever exercised by man over man. What has been the source of those unjust laws complained of among ourselves? Has it not been the real or supposed interest of the major number? Debtors have defrauded their creditors. The landed interest has borne hard on the mercantile interest. The Holders of one species of property have thrown a disproportion of taxes on the holders of another species. The lesson we are to draw from the whole is that where a majority are united by a common sentiment, and have an opportunity, the rights of the minor party become insecure. In a Republican Govt. the Majority if united have always an opportunity. The only remedy is to enlarge the sphere, & thereby divide the community into so great a number of interests & parties, that in the 1st. place a majority will not be likely at the same moment to have a common interest separate from that of the whole or of the minority; and in the 2d. place, that in case they shd. have such an interest, they may not be apt to unite in the pursuit of it. It was incumbent on us then to try this remedy, and with that view to frame a republican system on such a scale & in such a form as will controul all the evils wch. have been experienced.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 94

[O] : Introduction, 0.8
Semiotics and the Philosophy of Language (1984)
Context: Certainly, the categories posited by a general semiotics can prove their power insofar as they provide a satisfactory working hypothesis to specific semiotics. However, they can also allow one to look at the whole of human activity from a coherent point of view. To see human beings as signifying animals — even outside the practice of verbal language — and to see that their ability to produce and to interpret signs, as well as their ability to draw inferences, is rooted in the same cognitive structures, represent a way to give form to our experience. There are obviously other philosophical approaches, but I think that this one deserves some effort.

Context: To draw up in advance an exact and detailed plan is to deprive our minds of the pleasures of the encounter and the novelty that comes from executing the work. It is to make the execution insipid for us and consequently impossible in works that depends on enthusiasm and imagination. Such a plan is itself a half-work. It must be left imperfect if we want to please ourselves. We must say it cannont be finished. In fact, it must not be for a very good reason: it is impossible. We can, however, draw up such plans for works whose execution and accomplishment are a mechanical thing, a thing that depends above all others on the hand. This is suitable and even very useful for painters, for sculptors. Their senses, with each stroke of the brush or chisel, will find this novelty that did not exist for their minds. Forms and colors, which the imagination cannot represent to us as perfectly as the eye can, will offer the artist a horde of these encounters which are indispensable to giving genius pleasure in work. But the orator, the poet, and the philosopher will not find the same encouragement in writing down what they have already thought. Everything is one for them. Because the words they use have beauty only for the mind and, having been spoken in their head in the same way they are written on the page, the mind no longer has anything to discover in what it wants to say. A plan, however is necessary, but a plan that is vague, that has not been pinned down. We must have above all the notion of the beginning, the end, and the middle of our work. That is to say, we must choose its pitch and range, its pauses, and its objectives. The first word must give the color, the beginning determines the tone; the middle rules the measure, the time, the space, and the proportions.

VIII. On Mind and Soul, and that the latter is immortal.
On the Gods and the Cosmos
Context: There is a certain force, less primary than being but more primary than the soul, which draws its existence from being and completes the soul as the sun completes the eyes. Of souls some are rational and immortal, some irrational and mortal. The former are derived from the first Gods, the latter from the secondary.

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Jan Mankes, in het Nederlands:) Toch zou ik wel eens graag kennis maken met Japansche teekeningen of schilderijen.. ..vooral daar ze vogels zo hoog stellen en daardoor dus al mijn vrinden zijn.

In a letter of Jan Mankes to A.A.M. Pauwels, 2 Feb. 1911 – RKD in The Hague: Archive: Pauwels
1909 - 1914

Cheers.
Speech in Birmingham (16 May 1902), quoted in The Times (17 May 1902), p. 12
1900s

Speech to the 1900 Club at Grosvenor House, London (10 June 1936) on the Italo-Abyssinian War, quoted in The Times (11 June 1936), p. 10
Chancellor of the Exchequer

“Stalin-Wells Talk: The Verbatim Report and A Discussion”, G.B. Shaw, J.M. Keynes et al., London, The New Statesman and Nation, (1934) p. 35

India in Transition (1918)

The Internal Constitution of Stars (1926)

On how drawings are used in all of its forms as a recurrent theme in From the Cables of Genocide in “Poetry Saved My Life: An Interview with Lorna Dee Cervantes” https://opencourses.uoa.gr/modules/document/file.php/ENL9/Instructional%20Package/Texts//Readings/Chicana%20Movement-%20Further%20Reading/An%20Interview%20with%20Lorna%20Dee%20Cervantes.pdf (Spring 2007)

Introduction
The History Of Magic (1860)

Correspondence between Viceroy Lord Minto’s private secretary, Colonel Dunlop Smith, and Muslim leaders. quoted in Vikram Sampath - Savarkar, Echoes from a Forgotten Past, 1883–1924 (2019)

1990, Gary Groth interview

On the chosen language for Nowhere on the Border (as quoted in the book Nuestras Voces: Latino Plays, Volume One https://books.google.com/books?id=FLj1AwAAQBAJ&pg=PA258&lpg=PA258&dq)

Source: Initiation Into Hermetics (1956), p. 37

Speech to his crew off of Puerto San Julian, Argentina, prior to entering the Strait of Magellan (May 1578)

Unsung hero of the India story

Randolph Hoppe, as qtd in Arturo Garcia, "Would Captain America’s Co-Creator Punch Nazis?" https://www.snopes.com/news/2017/01/24/captain-americas-co-creator-punch-nazis/, Snopes, (24 January 2017).
About

L. Bender, L. Cobrinik, G. Faretra, D.V. Siva Sankar, "The Treatment of Childhood Schizophrenia with LSD and UML" http://www.neurodiversity.com/library_bender_1966a.html, Biological Treatment of Mental Illness, Proceedings II of the International Conference of the Manfred Sakel Foundation 10/31-11/3/1962, 1966; 2(4):463-91.