Quotes about earring

page 10

Source: Argonautica, Book VIII, Lines 134–136

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

American Notes online at Project Gutenberg http://www.gutenberg.org/cache/epub/675/pg675.html

Industrialism and Cultural Values (1950), a paper presented at meetings of the American Economic Association in Chicago, published in The Bias of Communication (1951) p. 138.
The Bias of Communication (1951)

Book III, line 320
De Arte Poetica (1527)

"Creation", as quoted in "Shattered Identities and Contested Images: Reflections of Poetry and History in 20th-Century Vietnam" by Neil Jamieson, in Crossroads: An Interdisciplinary Journal of Southeast Asian Studies, Vol. 7, No. 2, 1992, p. 89, and in Understanding Vietnam by Neil Jamieson (University of California Press, 1995), ISBN 978-0520916586, p. 164

"Repeal the 26th Amendment!" (10 November 2010).
2010

The Great Modern Poets, London, 2006

"Questions"
Later Poems (1983)

An interview on the Green Wing microsite asking if he had a preoccupation with his hair.

Notes on Democracy (1926), Part II, p. 99
1920s

AJ 17.13.3
Antiquities of the Jews

Source: The Romantic Generation (1995), Ch. 6 : Chopin: Virtuosity Transformed

"Free speech is sacred" (17 March 2009) http://youtube.com/watch?v=8bzTA_D5NpU
2009

Source: Galateo: Or, A Treatise on Politeness and Delicacy of Manners, pp. 14-15

The Anatomy of Loneliness (1941)

http://www.nemostudios.co.uk/vangelis/interviews/covermag/interviews.htm
An interview with Vangelis
Dali De Clair
June 1979
Rock et Folk
France
1979

Source: Hudibras, Part I (1663–1664)

About the conquest of Ajmer (Rajasthan) Hasan Nizami: Taju’l-Ma’sir, in Elliot and Dowson, Vol. II : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. pp. 213-216. Also quoted (in part) in Jain, Meenakshi (2011). The India they saw: Foreign accounts.

Pages 16-17.
Backlash (1992)

Source: The Puppet Masters (1951), Chapter 19 (p. 104)

St. 11
Elegy Written in a Country Churchyard http://www.thomasgray.org/cgi-bin/display.cgi?text=elcc (written 1750, publ. 1751)

The Hill of Dreams (London: Martin Secker, [1907] 1923) p. 126

"Advertisement for Myself on the Way Out"
Advertisements for Myself (1959)

1960s, The Gutenberg Galaxy (1962)

Leningrad, 1 April 1957
Requiem; 1935-1940 (1963; 1987), Instead of a Preface

Sources of Chinese Tradition (1999), vol. 1, pp. 179-180
Human nature is evil

"The Shape of the Fire," ll. 54 - 55
The Lost Son and Other Poems (1948)

"Recalling War," lines 1–6, from Collected Poems 1938 (1938).
Poems

Section 11 (in the far future of the novel, the sun has captured two more planets)
The Einstein Intersection (1967)

Helen Schucman (1976), in interview by David Hammond August 1976 in Belvedere, California. Quoted in: The Voice: A Historical Moment with Helen https://acim.org/Scribing/the_voice.html at acim.org. Accessed May 21, 2014. Also online ar merelyacim.wikispaces.com http://merelyacim.wikispaces.com/An+interview+with+Helen+Schucman.
In answer of question: "Regarding the voice you heard in the scribing A Course in Miracles, did it come from outside or from within?"

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 112

Message to the Tricontinental (1967)
Context: Wherever death may surprise us, let it be welcome, provided that this, our battle cry, may have reached some receptive ear and another hand may be extended to wield our weapons and other men be ready to intone the funeral dirge with the staccato singing of the machine-guns and new battle cries of war and victory.

Book 1, Ch. 8.
The Histories

Odysseus to Kentaur, Book VIII, line 829
The Odyssey : A Modern Sequel (1938)
Context: But we, O blockhead, with dogged spite and armored love
shall force those deaf dark powers to grow ears and hear us!
I know that God is earless, eyeless, and heartless too,
a brainless Dragon Worm that crawls on earth and hopes
in anguish and then in secret that we'll give him soul,
for then he, too, may sprout ears, eyes, to match his growth,
but God is clay in my ten fingers, and I mould him!

Verse 18.
To Demonicus
Context: If you love knowledge, you will be a master of knowledge. What you have come to know, preserve by exercise; what you have not learned, seek to add to your knowledge; for it is as reprehensible to hear a profitable saying and not grasp it as to be offered a good gift by one's friends and not accept it. Spend your leisure time in cultivating an ear attentive to discourse, for in this way you will find that you learn with ease what others have found out with difficulty.

Canto I, first lines
Hudibras, Part I (1663–1664)
Context: When civil fury first grew high,
And men fell out, they knew not why;
When hard words, jealousies, and fears,
Set folks together by the ears,
And made them fight, like mad or drunk,
For Dame Religion, as for punk; Whose honesty they all durst swear for,
Though not a man of them knew wherefore:
When Gospel-Trumpeter, surrounded
With long-ear'd rout, to battle sounded,
And pulpit, drum ecclesiastick,
Was beat with fist, instead of a stick;
Then did Sir Knight abandon dwelling,
And out he rode a colonelling.

The Other World (1657)
Context: When I opened a box, I found inside something made of metal, somewhat like our clocks, full of an endless number of little springs and tiny machines. It was indeed a book, but it was a miraculous one that had no pages or printed letters. It was a book to be read not with eyes but with ears. When anyone wants to read, he winds up the machine with a large number of keys of all kinds. Then he turns the indicator to the chapter he wants to listen to. As though from the mouth of a person or a musical instrument come all the distinct and different sounds that the upper-class Moon-beings use in their language.
When I thought about this marvelous way of making books, I was no longer surprised that the young people of that country know more at the age of sixteen or eighteen than the greybeards of our world. They can read as soon as they can talk and are never at a loss for reading material. In their rooms, on walks, in town, during voyages, on foot or on horseback, they can have thirty books in their pockets or hanging on the pommels of their saddles. They need only wind a spring to hear one or more chapters or a whole book, if they wish. Thus you always have with you all the great men, both living and dead, who speak to you in their own voices.

Forward (April 2011)
God Is Not a Christian: And Other Provocations (2011)
Context: Some of my friends are skeptical when they hear me say this, but I am by nature a person who dislikes confrontation. I have consciously sought during my lifetime to emulate my mother, whom our family knew as a gentle “comforter of the afflicted.” However, when I see innocent people suffering, pushed around by the rich and the powerful, then, as the prophet Jeremiah, says, if I try to keep quiet is is as if the word of God burned like a fire in my breast. I feel compelled to speak out, sometimes to even argue with God over how a loving creator can allow this to happen.
In the Church of Sant'Egido in Rome, home of an extraordinary community of lay people devoted to working with the poor, there is an old crucifix that portrays Christ without arms. When I asked about its importance to the community, I was told that it shows how God relies on us to do God's work in the world.
Without us, God has no eyes, without us, God has no ears; without us, God has no arms or hands. God relies on us. Won't you join other people of faith in becoming God's partners in the world?

Independence Day address (1821)
Context: America, in the assembly of nations, since her admission among them, has invariably, though often fruitlessly, held forth to them the hand of honest friendship, of equal freedom, of generous reciprocity. She has uniformly spoken among them, though often to heedless and often to disdainful ears, the language of equal liberty, of equal justice, and of equal rights. She has, in the lapse of nearly half a century, without a single exception, respected the independence of other nations while asserting and maintaining her own. She has abstained from interference in the concerns of others, even when conflict has been for principles to which she clings, as to the last vital drop that visits the heart. She has seen that probably for centuries to come, all the contests of that Aceldama the European world, will be contests of inveterate power, and emerging right. Wherever the standard of freedom and Independence has been or shall be unfurled, there will her heart, her benedictions and her prayers be. But she goes not abroad, in search of monsters to destroy. She is the well-wisher to the freedom and independence of all. She is the champion and vindicator only of her own. She will commend the general cause by the countenance of her voice, and the benignant sympathy of her example. She well knows that by once enlisting under other banners than her own, were they even the banners of foreign independence, she would involve herself beyond the power of extrication, in all the wars of interest and intrigue, of individual avarice, envy, and ambition, which assume the colors and usurp the standard of freedom. The fundamental maxims of her policy would insensibly change from liberty to force. The frontlet on her brows would no longer beam with the ineffable splendor of freedom and independence; but in its stead would soon be substituted an imperial diadem, flashing in false and tarnished lustre the murky radiance of dominion and power. She might become the dictatress of the world; she would be no longer the ruler of her own spirit.... Her glory is not dominion, but liberty. Her march is the march of the mind. She has a spear and a shield: but the motto upon her shield is, Freedom, Independence, Peace. This has been her Declaration: this has been, as far as her necessary intercourse with the rest of mankind would permit, her practice.

Vol. II, p. 30
1980s, Letters to the Schools (1981, 1985)
Context: Attention involves seeing and hearing. We hear not only with our ears but also we are sensitive to the tones, the voice, to the implication of words, to hear without interference, to capture instantly the depth of a sound. Sound plays an extraordinary part in our lives: the sound of thunder, a flute playing in the distance, the unheard sound of the universe; the sound of silence, the sound of one’s own heart beating; the sound of a bird and the noise of a man walking on the pavement; the waterfall. The universe is filled with sound. This sound has its own silence; all living things are involved in this sound of silence. To be attentive is to hear this silence and move with it.

I Am A Dancer (1952)
Variant: Think of the magic of that foot, comparatively small, upon which your whole weight rests. It's a miracle, and the dance is a celebration of that miracle.

"In Defence Of A New Edition" - Preface to the second edition (1902)
The Defendant (1901)
Context: The cause which is blocking all progress today is the subtle scepticism which whispers in a million ears that things are not good enough to be worth improving. If the world is good we are revolutionaries, if the world is evil we must be conservatives. These essays, futile as they are considered as serious literature, are yet ethically sincere, since they seek to remind men that things must be loved first and improved afterwards.

From Here to Eternity (1951)

Optimism (1903)
Context: Let pessimism once take hold of the mind, and life is all topsy-turvy, all vanity and vexation of spirit. There is no cure for individual or social disorder, except in forgetfulness and annihilation. "Let us eat, drink and be merry," says the pessimist, "for to-morrow we die." If I regarded my life from the point of view of the pessimist, I should be undone. I should seek in vain for the light that does not visit my eyes and the music that does not ring in my ears. I should beg night and day and never be satisfied. I should sit apart in awful solitude, a prey to fear and despair. But since I consider it a duty to myself and to others to be happy, I escape a misery worse than any physical deprivation.

To A Friend
Poems (1851)
Context: Our love was nature; and the peace that floated
On the white mist, and dwelt upon the hills,
To sweet accord subdued our wayward wills:
One soul was ours, one mind, one heart devoted,
That, wisely doating, ask'd not why it doated.
And ours the unknown joy, which knowing kills.
But now I find how dear thou wert to me;
That man is more than half of nature's treasure,
Of that fair beauty which no eye can see,
Of that sweet music which no ear can measure;
And now the streams may sing for other's pleasure,
The hills sleep on in their eternity.

The Cultivation of Conspiracy (1998)
Context: The other eminent moment of the celebration was, of course, the comestio, the communion in the flesh, the incorporation of the believer in the body of the Incarnate Word, but communio was theologically linked to the preceding con-spiratio. Conspiratio became the strongest, clearest and most unambiguously somatic expression for the entirely non-hierarchical creation of a fraternal spirit in preparation for the unifying meal. Through the act of eating, the fellow conspirators were transformed into a "we," a gathering which in Greek means ecclesia. Further, they believed that the "we" is also somebody's "I"; they were nourished by shading into the "I" of the Incarnate Word. The words and actions of the liturgy are not just mundane words and actions, but events occurring after the Word, that is, after the Incarnation. Peace as the commingling of soil and waters sounds cute to my ears; but peace as the result of conspiratio exacts a demanding, today almost unimaginable intimacy.
The practice of the osculum did not go unchallenged; documents reveal that the conspiratio created scandal early on. The rigorist African Church Father, Tertullian, felt that a decent matron should not be subjected to possible embarrassment by this rite. The practice continued, but not its name; the ceremony required a euphemism. From the later third century on, the osculum pacis was referred to simply as pax, and the gesture was often watered down to some slight touch to signify the mutual spiritual union of the persons present through the creation of a fraternal atmosphere. Today, the pax before communion, called "the kiss of peace," is still integral to the Roman, Slavonic, Greek and Syrian Mass, although it is often reduced to a perfunctory handshake.

Appendix Virgiliana, Copa 38.
Attributed

The Prisoner (October 1845)
Context: p>But first a hush of peace, a soundless calm descends;
The struggle of distress and fierce impatience ends
Mute music sooths my breast — unuttered harmony
That I could never dream till earth was lost to me.Then dawns the Invisible; the Unseen its truth reveals;
My outward sense is gone, my inward essence feels —
Its wings are almost free, its home, its harbour found;
Measuring the gulf, it stoops and dares the final bound — O, dreadful is the check — intense the agony
When the ear begins to hear and the eye begins to see;
When the pulse begins to throb, the brain to think again,
The soul to feel the flesh and the flesh to feel the chain.Yet I would lose no sting, would wish no torture less;
The more that anguish racks the earlier it will bless;
And robed in fires of Hell, or bright with heavenly shine
If it but herald Death, the vision is divine —</p

Black Boy (1945)

The Age of Empathy (2009), p. 6
Context: Don’t believe anyone who says that since nature is based on a struggle for life, we need to live like this as well. Many animals survive not by eliminating each other or by keeping everything for themselves, but by cooperating and sharing. This applies most definitely to pack hunters, such as wolves or killer whales, but also our closest relatives, the primates. In a study in Taï National Park, in Ivory Coast, chimpanzees took care of group mates wounded by leopards, licking their blood, carefully removing dirt, and waving away flies that came near the wounds. They protected injured companions, and slowed down during travel in order to accommodate them. All of this makes perfect sense given that chimpanzees live in groups for a reason, the same way wolves and humans are group animals for a reason. If man is wolf to man, he is so in every sense, not just the negative one. We would not be where we are today had our ancestors been socially aloof. What we need is a complete overhaul of assumptions about human nature. Too many economists and politicians model human society on the perpetual struggle they believe exists in nature, but which is a mere projection. Like magicians, they first throw their ideological prejudices into the hat of nature, then pull them out by their very ears to show how much nature agrees with them. It’s a trick for which we have fallen for too long. Obviously, competition is part of the picture, but humans can’t live by competition alone.

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 40
Context: The book of Genesis is a male declaration of independence from the ancient mother-cults. Its challenge to nature, so sexist to modern ears, marks one of the crucial moments in western history. Mind can never be free of matter. Only by mind imagining itself free can culture advance. The mother-cults, by reconciling man to nature, entrapped him in matter. Everything great in western civilization has come from struggling against our origins. Genesis is rigid and unjust, but it gave man hope as a man. It remade the world by male dynasty, canceling the power of mothers.

The Other World (1657)
Context: Tell me, is the cabbage you mention not as much a creature of God as you? Do you not both have God and potentiality for your father and mother? For all eternity has God not occupied His intellect with the cabbage's birth as well as yours? It also seems that He has necessarily provided more for the birth of the vegetable than for the thinking being... Will anyone say that we are born in the image of the Sovereign Being, while cabbages are not? Even if it were true, we have effaced that resemblance by soiling our soul in the way in which we resembled Him, because there is nothing more contrary to God than sin. If our soul, then, is no longer His image, we still do not resemble Him by our hands, feet, mouth, face and ears any more than the cabbage does by its leaves, flowers, stem, heart or head.

Is It Bill Bailey? (TV, 1998)

Source: Space Chantey (1968), Ch. 1

"Song" in The Port Folio Vol. 1, No. 1 (11 January 1806), p. 79; also in Poems of the Late Francis Scott Key, Esq. (1857), p. 34.
Context: When the warrior returns, from the battle afar,
To the home and the country he nobly defended,
O! warm be the welcome to gladden his ear,
And loud be the joy that his perils are ended:
In the full tide of song let his fame roll along,
To the feast-flowing board let us gratefully throng,
Where, mixed with the olive, the laurel shall wave,
And form a bright wreath for the brows of the brave.

Lives of the Poets, Phoenix, 1988

Interview with Tony Schwartz in Playboy (February 1984) p. 166
Context: I write from instinct, from inexplicable sparkle. I don't know why I'm writing what I'm writing. Usually, I sit and I let my hands wander on my guitar. And I sing anything. I play anything. And I wait till I come across a pleasing accident. Then I start to develop it. Once you take a piece of musical information, there are certain implications that it automatically contains — the implication of that phrase elongated, contracted, or inverted or in another time signature. So you start with an impulse and go to what your ear likes.

"Babette's Feast"
Anecdotes of Destiny (1953)
Context: Of what happened later in the evening nothing definite can here be stated. None of the guests later on had any clear remembrance of it. They only knew that the rooms had been filled with a heavenly light, as if a number of small halos had blended into one glorious radiance. Taciturn old people received the gift of tongues; ears that for years had been almost deaf were opened to it. Time itself had merged into eternity. Long after midnight the windows of the house shone like gold, and golden song flowed out into the winter air.

As quoted in "Paul Simon's Workshop at the Guitar Study Center" by Richard Albero and Fred Styles in Guitar Player (April 1975), p. 21
Context: I didn't want to repeat the same notes in the second verse that I used in the first, so I wrote out all the notes of the song and all the notes that were missing in the scale, given that there are twelve notes from octave to octave. All those notes that weren't in the scale were the ones I wanted in for the next verse. The listener isn't aware that they are new notes, but the sound is pleasing to the ear. I change the key, and somehow it's fresh because you haven't heard those notes before.

Rolling Stone #1078 (14 May 2009), p. 45
Context: It's peculiar and unnerving in a way to see so many young people walking around with cellphones and iPods in their ears and so wrapped up in media and video games. It robs them of their self-identity. It's a shame to see them so tuned out to real life. Of course they are free to do that, as if that's got anything to do with freedom. The cost of liberty is high, and young people should understand that before they start spending their life with all those gadgets.

I. 31 as quoted by Edwin Arthur Burtt in The Metaphysical Foundations of Modern Physical Science
Joannis Kepleri Astronomi Opera Omnia, ed. Christian Frisch (1858)
Context: Just as the eye was made to see colours, and the ear to hear sounds, so the human mind was made to understand, not whatever you please, but quantity.

The Day the Universe Changed (1985), 1 - The Way We Are
Context: The oldest answers to the most basic questions about how to operate are common to virtually every culture on the planet, because at the simplest level, every culture needs to keep order -- especially this kind: (James Burke displays a wedding ring.) This is one of those things in life we protect most against being changed when knowledge changes us. We protect it by turning it into a ritual. When we get married, or buried, get christened, or anything else too important to play by ear, the event is turned into a kind of play where everybody gets a role they act out. It's a kind of public agreement to stick to the general rules about whatever it is. The people doing it are effectively saying, "No matter what else may change, we won't rock the boat! We're not maverick. You can trust us." Expressions of approval follow. Most of these ritual ways of answering a social need that we got from the past look like it. They include something from an ancient rite -- in this case, the old symbol of fertility: the ring. And then, it's all done in the presence of a supernatural being: a God. So, the agreement is also made under what was once a real threat of heavenly retribution if you broke your promise later on. Some things, this ritual says, must be permanent.

Source: Drenai series, Legend, Pt 1: Against the Horde, Ch. 7

Lyrics, Misc.

Signs of Change (1888), How We Live And How We Might Live
Context: The word Revolution, which we Socialists are so often forced to use, has a terrible sound in most people's ears, even when we have explained to them that it does not necessarily mean a change accompanied by riot and all kinds of violence, and cannot mean a change made mechanically and in the teeth of opinion by a group of men who have somehow managed to seize on the executive power for the moment. Even when we explain that we use the word revolution in its etymological sense, and mean by it a change in the basis of society, people are scared at the idea of such a vast change, and beg that you will speak of reform and not revolution. As, however, we Socialists do not at all mean by our word revolution what these worthy people mean by their word reform, I can't help thinking that it would be a mistake to use it, whatever projects we might conceal beneath its harmless envelope. So we will stick to our word, which means a change of the basis of society; it may frighten people, but it will at least warn them that there is something to be frightened about, which will be no less dangerous for being ignored; and also it may encourage some people, and will mean to them at least not a fear, but a hope.

Fragment vi.
Golden Sayings of Epictetus, Fragments

Of the Network of Signifiers
The Four Fundamental Concepts of Psycho Analysis (1978)
Context: By, the subject, where it was, where it has always been, the dream. The ancients recognized all kinds of things in dreams, including, on occasion, messages from the gods—and why not? The ancients made something of these messages from the gods. And, anyway—perhaps you will glimpse this in what I shall say later—who knows, the gods may still speak through dreams. Personally, I don't mind either way. What concerns us is the that envelops these messages, the network in which, on occasion, something is caught. Perhaps the voice of the gods makes itself heard, but it is a long time since men lent their ears to them in their original state—it is well known that the ears are made not to hear with.

Nītiśataka 71
Śatakatraya

The Lifted Veil (1859); Eliot here quotes the Latin epitaph of Jonathan Swift, translated as "Where savage indignation can lacerate his heart no more" · The Lifted Veil online at Wikisource
Context: I wish to use my last hours of ease and strength in telling the strange story of my experience. I have never fully unbosomed myself to any human being; I have never been encouraged to trust much in the sympathy of my fellow-men. But we have all a chance of meeting with some pity, some tenderness, some charity, when we are dead: it is the living only who cannot be forgiven — the living only from whom men's indulgence and reverence are held off, like the rain by the hard east wind. While the heart beats, bruise it — it is your only opportunity; while the eye can still turn towards you with moist, timid entreaty, freeze it with an icy unanswering gaze; while the ear, that delicate messenger to the inmost sanctuary of the soul, can still take in the tones of kindness, put it off with hard civility, or sneering compliment, or envious affectation of indifference; while the creative brain can still throb with the sense of injustice, with the yearning for brotherly recognition — make haste — oppress it with your ill-considered judgements, your trivial comparisons, your careless misrepresentations. The heart will by and by be still — "ubi saeva indignatio ulterius cor lacerare nequit" the eye will cease to entreat; the ear will be deaf; the brain will have ceased from all wants as well as from all work. Then your charitable speeches may find vent; then you may remember and pity the toil and the struggle and the failure; then you may give due honour to the work achieved; then you may find extenuation for errors, and may consent to bury them.

"Flight", pp.125, Harper Row 1966
Native Son (1940)

"Quotes", The Educated Imagination (1963), Talk 6: The Vocation of Eloquence
Context: The particular myth that's been organizing this talk, and in a way the whole series, is the story of the Tower of Babel in the Bible. The civilization we live in at present is a gigantic technological structure, a skyscraper almost high enough to reach the moon. It looks like a single world-wide effort, but it's really a deadlock of rivalries; it looks very impressive, except that it has no genuine human dignity. For all its wonderful machinery, we know it's really a crazy ramshackle building, and at ay time may crash around our ears. What the myth tells us is that the Tower of Babel is a work of human imagination, that tis main elements are words, and that what will make it collapse is a confusion of tongues. All had originally one language, the myth says. That language is not English or Russian or Chinese or any common ancestor, if there was one. It is the language of human nature, the language that makes both Shakespeare and Pushkin authentic poets, that gives a social vision to both Lincoln and Gandhi. It never speaks unless we take the time to listen in leisure, and it speaks only in a voice too quite for panic to hear. And then all it has to tell us, when we look over the edge of our leaning tower, is that we are not getting any nearer [to] heaven, and that it is time to return to the earth.

More Worlds Than One: The Creed of the Philosopher and the Hope of the Christian (1856), "Religious Difficulties", p. 152-153
Context: Amid the destructive convulsions of the physical world, even pious minds may have for an instant questioned the superintending providence of God. In the midst of famine, or pestilence, or war, they may have stood horror- struck at the scene. In the triumphs of fraud, oppression, and injustice, over honesty, and liberty, and law. Faith may have wavered, and Hope despaired; but in no condition, either of the physical or the moral world, does the mind question the POWER of its Maker. The omnipotence of the Creator, and the exertion of it in every corner of space, — His care over the falling sparrow, and His guidance of the gigantic planet, are the earliest of our acquired truths, and the very first that observation and experience confirm. When Reason gives wisdom to our perceptions, omnipotence is the grand truth which they inculcate. Whatever the eye sees, or the ear hears, or the fingers touch, — every motion of our body, every function it performs, every structure in its fabric, impresses on the mind, and fixes in the heart the conviction, that the Creator is all-powerful as well as all-wise. Omnipotence, in short, is the only attribute of God which is universally appreciated, which skepticism never unsettles, and which we believe as firmly when under the influence of our corrupt passions, as when we are looking devoutly to heaven. All the other attributes of God are inferences. His omnipresence, His omniscience, His justice, mercy, and truth, are the deductions of reason, and, however true and demonstrable, they exercise little influence over the mind; but the attribute of omnipotence predominates over them all, and no mind responsive to its power will ever be disturbed by the ideas which it suggests of infinity of time, infinity of space, and infinity of life.

Parliament of Whores (1991)

Preface to Villa Rubein and Other Stories (1923)
Context: Writing not long ago to my oldest literary friend, I expressed in a moment of heedless sentiment the wish that we might have again one of our talks of long-past days, over the purposes and methods of our art. And my friend, wiser than I, as he has always been, replied with this doubting phrase "Could we recapture the zest of that old time?"
I would not like to believe that our faith in the value of imaginative art has diminished, that we think it less worth while to struggle for glimpses of truth and for the words which may pass them on to other eyes; or that we can no longer discern the star we tried to follow; but I do fear, with him, that half a lifetime of endeavour has dulled the exuberance which kept one up till morning discussing the ways and means of aesthetic achievement. We have discovered, perhaps with a certain finality, that by no talk can a writer add a cubit to his stature, or change the temperament which moulds and colours the vision of life he sets before the few who will pause to look at it. And so — the rest is silence, and what of work we may still do will be done in that dogged muteness which is the lot of advancing years.
Other times, other men and modes, but not other truth. Truth, though essentially relative, like Einstein's theory, will never lose its ever-new and unique quality — perfect proportion; for Truth, to the human consciousness at least, is but that vitally just relation of part to whole which is the very condition of life itself. And the task before the imaginative writer, whether at the end of the last century or all these aeons later, is the presentation of a vision which to eye and ear and mind has the implicit proportions of Truth.

The Paris Review interview (1999)

"Letter from Abroad" (June 6, 1941)
1940's

Disputed, Give me liberty, or give me death! (1775)

Disputed, Give me liberty, or give me death! (1775)

Source: 1910's, The Art of Noise', 1913, p. 6

Independence Day address (1821)

Tarikh-i-Alamgiri, Kazim 1865, https://books.google.co.in/books?id=lhUwDwAAQBAJ&pg=PA56&lpg=PA56&dq=Abdali%E2%80%99s+soldiers+would+be+paid+5+Rupees+(a+sizeable+amount+at+the+time)+for+every+enemy+head+brought+in.+Every+horseman+had+loaded+up+all+his+horses+with+the+plundered+property,+and+atop+of+it+rode+the+girl-captives+and+the+slaves.+The+severed+heads+were+tied+up+in+rugs+like+bundles+of+grain+and+placed+on+the+heads+of+the+captives%E2%80%A6Then+the+heads+were+stuck+upon+lances+and+taken+to+the+gate+of+the+chief+minister+for+payment.&source=bl&ots=A22xMHoI9O&sig=ACfU3U3cQpuPeB4cwY8beK1nWw8rvuBaHA&hl=en&sa=X&ved=2ahUKEwjQ4MzCnY3mAhXaZSsKHcPcBjQQ6AEwAnoECAkQAQ#v=onepage&q=Abdali%E2%80%99s%20soldiers%20would%20be%20paid%205%20Rupees%20(a%20sizeable%20amount%20at%20the%20time)%20for%20every%20enemy%20head%20brought%20in.%20Every%20horseman%20had%20loaded%20up%20all%20his%20horses%20with%20the%20plundered%20property%2C%20and%20atop%20of%20it%20rode%20the%20girl-captives%20and%20the%20slaves.%20The%20severed%20heads%20were%20tied%20up%20in%20rugs%20like%20bundles%20of%20grain%20and%20placed%20on%20the%20heads%20of%20the%20captives%E2%80%A6Then%20the%20heads%20were%20stuck%20upon%20lances%20and%20taken%20to%20the%20gate%20of%20the%20chief%20minister%20for%20payment.&f=false

2000s, Ayodhya, the Finale (2003)

[Morgan, Forrest, Shakespeare—the Man, published in the Prospective Review, July 1853, The works of Walter Bagehot, vol. 1, 1891, Hartford, Connecticut, Travelers Insurance Company, https://babel.hathitrust.org/cgi/pt?id=njp.32101064786716;view=1up;seq=373, 265–266 of 255–302]
Shakespeare—the Man (1853)

Source: Better-World Philosophy: A Sociological Synthesis (1899), Individual Culture, p. 275

Source: Broca's Brain (1979), Chapter 8, “Norman Bloom, Messenger of God” (p. 152)

On her advice to poets in “The First Native American U.S. Poet Laureate on How Poetry Can Counter Hate” https://time.com/5658443/joy-harjo-poet-interview/ in Time Magazine (2019 Aug 22)

1840s, Essays: Second Series (1844), The Poet

From the short story The Idyll of Miss Sarah Brown, Collier's Weekly, January 28, 1933. Used with slightly different wording in the musical Guys and Dolls -- both the 1950 stage and the 1955 film versions.

The Ocean of Theosophy by William Q. Judge (1893), Chapter 11, Karma

Clairvoyance (1903), Chapter One

Oriana Fallaci. Interview with Ali Bhutto in Karachi, April 1972

Malabar Manual, Page 142 https://archive.org/details/MalabarLogan/page/n154
Malabar Manual (1887)

Quoted from Will Durant, Our Oriental Heritage.

Michael Witzel – An Examination of his Review of my Book (2001)

2017
Orest Slipak, the brother of singer. Brother about brother. The Day. Кyiv.ua. - 2017. - 27 April. https://day.kyiv.ua/en/article/topic-day/brother-about-brother