Quotes about entrance

A collection of quotes on the topic of entrance, time, timing, likeness.

Quotes about entrance

Ludwig Van Beethoven photo

“Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.”

Ludwig Van Beethoven (1770–1827) German Romantic composer

As reported by Elizabeth Brentano (Bettina) in a letter to Goethe, 27 May 1810.
Quoted in Edwin Burgum The new criticism (1930), p. 179

Camille Paglia photo
Thomas Aquinas photo

“Of these the first is "melting," which is opposed to freezing. For things that are frozen, are closely bound together, so as to be hard to pierce. But it belongs to love that the appetite is fitted to receive the good which is loved, inasmuch as the object loved is in the lover…Consequently the freezing or hardening of the heart is a disposition incompatible with love: while melting denotes a softening of the heart, whereby the heart shows itself to be ready for the entrance of the beloved.”

I-II, q. 28, art. 5
Summa Theologica (1265–1274)
Context: it is to be observed that four proximate effects may be ascribed to love: viz. melting, enjoyment, languor, and fervor. Of these the first is "melting," which is opposed to freezing. For things that are frozen, are closely bound together, so as to be hard to pierce. But it belongs to love that the appetite is fitted to receive the good which is loved, inasmuch as the object loved is in the lover... Consequently the freezing or hardening of the heart is a disposition incompatible with love: while melting denotes a softening of the heart, whereby the heart shows itself to be ready for the entrance of the beloved.

Charles Simic photo

“Poetry: three mismatched shoes at the entrance of a dark alley.”

Charles Simic (1938) American poet

Source: Dime-Store Alchemy

Fernando Pessoa photo
William Shakespeare photo

“All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages.”

Jaques, Act II, scene vii.
Variant: All the world's a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts.
Source: As You Like It (1599–1600)

Leonardo Da Vinci photo
Hermann Hesse photo
Bahá'u'lláh photo
Max Planck photo
Isaac Newton photo

“In the beginning of the year 1665 I found the method of approximating Series and the Rule for reducing any dignity of any Binomial into such a series. The same year in May I found the method of tangents of Gregory and Slusius, and in November had the direct method of Fluxions, and the next year in January had the Theory of Colours, and in May following I had entrance into the inverse method of Fluxions. And the same year I began to think of gravity extending to the orb of the Moon, and having found out how to estimate the force with which [a] globe revolving within a sphere presses the surface of the sphere, from Kepler's Rule of the periodical times of the Planets being in a sesquialterate proportion of their distances from the centers of their orbs I deduced that the forces which keep the Planets in their Orbs must [be] reciprocally as the squares of their distances from the centers about which they revolve: and thereby compared the force requisite to keep the Moon in her orb with the force of gravity at the surface of the earth, and found them answer pretty nearly. All this was in the two plague years of 1665 and 1666, for in those days I was in the prime of my age for invention, and minded Mathematicks and Philosophy more than at any time since. What Mr Hugens has published since about centrifugal forces I suppose he had before me. At length in the winter between the years 1676 and 1677 I found the Proposition that by a centrifugal force reciprocally as the square of the distance a Planet must revolve in an Ellipsis about the center of the force placed in the lower umbilicus of the Ellipsis and with a radius drawn to that center describe areas proportional to the times. And in the winter between the years 1683 and 1684 this Proposition with the Demonstration was entered in the Register book of the R. Society. And this is the first instance upon record of any Proposition in the higher Geometry found out by the method in dispute. In the year 1689 Mr Leibnitz, endeavouring to rival me, published a Demonstration of the same Proposition upon another supposition, but his Demonstration proved erroneous for want of skill in the method.”

Isaac Newton (1643–1727) British physicist and mathematician and founder of modern classical physics

(ca. 1716) A Catalogue of the Portsmouth Collection of Books and Papers Written by Or Belonging to Sir Isaac Newton https://books.google.com/books?id=3wcjAAAAMAAJ&pg=PR18 (1888) Preface
Also partially quoted in Sir Sidney Lee (ed.), The Dictionary of National Biography Vol.40 http://books.google.com/books?id=NycJAAAAIAAJ (1894)

Benjamin Disraeli photo

“I say, then, assuming, as I have given you reason to assume, that the price of wheat, when this system is established, ranges in England at 35s. per quarter, and other grain in proportion, this is not a question of rent, but it is a question of displacing the labour of England that produces corn, in order, on an extensive and even universal scale, to permit the entrance into this country of foreign corn produced by foreign labour. Will that displaced labour find new employment? … But what are the resources of this kind of industry to employ and support the people, supposing the great depression in agricultural produce occur which is feared—that this great revolution, as it has appropriately been called, takes place—that we cease to be an agricultural people—what are the resources that would furnish employment to two-thirds of the subverted agricultural population—in fact, from 3,500,000 to 4,000,000 of people? Assume that the workshop of the world principle is carried into effect—assume that the attempt is made to maintain your system, both financial and domestic, on the resources of the cotton trade—assume that, in spite of hostile tariffs, that already gigantic industry is doubled…you would only find increased employment for 300,000 of your population…What must be the consequence? I think we have pretty good grounds for anticipating social misery and political disaster.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Speech http://hansard.millbanksystems.com/commons/1846/may/15/corn-importation-bill-adjourned-debate in the House of Commons (15 May 1846).
1840s

Robert Browning photo

“Forgive me this digression — that I stand
Entranced awhile at Law's first beam, outbreak
O' the business, when the Count's good angel bade
"Put up thy sword, born enemy to the ear,
"And let Law listen to thy difference!"”

And Law does listen and compose the strife,
Settle the suit, how wisely and how well!
On our Pompilia, faultless to a fault,
Law bends a brow maternally severe,
Implies the worth of perfect chastity,
By fancying the flaw she cannot find.
Book IX : Juris Doctor Johannes-Baptista Bottinius, Fisci et Rev. Cam. Apostol. Advocatus.
The Ring and the Book (1868-69)

William Shakespeare photo
Arthur C. Clarke photo
Arthur Rimbaud photo
Cassandra Clare photo
Tom Stoppard photo

“Look on every exit as being an entrance somewhere else.”

Source: Rosencrantz and Guildenstern Are Dead

Tom Stoppard photo
J. Sheridan Le Fanu photo

“But dreams come through stone walls, light up dark rooms, or darken light ones, and their persons make their exits and their entrances as they please, and laugh at locksmiths.”

Variant: Thus fortified I might take my rest in peace. But dreams come through stone walls, light up dark rooms, or darken light ones, and their persons make their exists and their entrances as they please, and laugh at locksmiths.
Source: Carmilla

Ray Bradbury photo
Haruki Murakami photo
Percy Bysshe Shelley photo
Jürgen Moltmann photo

“A very underestimated part of the world, The Entrance is.”

Melina Marchetta (1965) Australian teen writer

Source: The Piper's Son

Radhanath Swami photo

“Lying down to sleep on the earthen riverbank, I thought, Vrindavan is attracting my heart like no other place. What is happening to me? Please reveal Your divine will. With this prayer, I drifted off to sleep.
Before dawn, I awoke to the ringing of temple bells, signaling that it was time to begin my journey to Hardwar. But my body lay there like a corpse. Gasping in pain, I couldn’t move. A blazing fever consumed me from within, and under the spell of unbearable nausea, my stomach churned. Like a hostage, I lay on that riverbank. As the sun rose, celebrating a new day, I felt my life force sinking. Death that morning would have been a welcome relief. Hours passed.
At noon, I still lay there. This fever will surely kill me, I thought.
Just when I felt it couldn’t get any worse, I saw in the overcast sky something that chilled my heart. Vultures circled above, their keen sights focused on me. It seemed the fever was cooking me for their lunch, and they were just waiting until I was well done. They hovered lower and lower. One swooped to the ground, a huge black and white bird with a long, curving neck and sloping beak. It stared, sizing up my condition, then jabbed its pointed beak into my ribcage. My body recoiled, my mind screamed, and my eyes stared back at my assailant, seeking pity. The vulture flapped its gigantic wings and rejoined its fellow predators circling above. On the damp soil, I gazed up at the birds as they soared in impatient circles. Suddenly, my vision blurred and I momentarily blacked out. When I came to, I felt I was burning alive from inside out. Perspiring, trembling, and gagging, I gave up all hope.
Suddenly, I heard footsteps approaching. A local farmer herding his cows noticed me and took pity. Pressing the back of his hand to my forehead, he looked skyward toward the vultures and, understanding my predicament, lifted me onto a bullock cart. As we jostled along the muddy paths, the vultures followed overhead. The farmer entrusted me to a charitable hospital where the attendants placed me in the free ward. Eight beds lined each side of the room. The impoverished and sadhu patients alike occupied all sixteen beds. For hours, I lay unattended in a bed near the entrance. Finally that evening the doctor came and, after performing a series of tests, concluded that I was suffering from severe typhoid fever and dehydration. In a matter-of-fact tone, he said, “You will likely die, but we will try to save your life.””

Radhanath Swami (1950) Gaudiya Vaishnava guru

Republished on The Journey Home website.
The Journey Home: Autobiography of an American Swami (Tulsi Books, 2010)

Peter Greenaway photo
Ludwig Feuerbach photo
Statius photo

“Like is he to a wolf that has forced an entrance to a rich fold of sheep, and now, his breast all clotted with foul corruption and his gaping bristly mouth unsightly with blood-stained wool, hies him from the pens, turning this way and that his troubled gaze, should the angry shepherds find out their loss and follow in pursuit, and flees all conscious of his bold deed.”
Ille velut pecoris lupus expugnator opimi, pectora tabenti sanie grauis hirtaque saetis ora cruentata deformis hiantia lana, decedit stabulis huc illuc turbida versans lumina, si duri comperta clade sequantur pastores, magnique fugit non inscius ausi.

Source: Thebaid, Book IV, Line 363 (tr. J. H. Mozley)

Calvin Coolidge photo
David Horowitz photo
Sueton photo

“His wastefulness showed most of all in the architectural projects. He built a palace, stretching from the Palatine to the Esquiline, which he called…"The Golden House". The following details will give some notion of its size and magnificence. The entrance-hall was large enough to contain a huge statue of himself, 120 feet high…Parts of the house were overlaid with gold and studded with precious stones and mother-of pearl. All the dining-rooms had ceilings of fretted ivory, the panels of which could slide back and let a rain of flowers, or of perfume from hidden sprinklers, shower upon his guests. The main dining-room was circular, and its roof revolved, day and night, in time with the sky. Sea water, or sulphur water, was always on tap in the baths. When the palace had been decorated throughout in this lavish style, Nero dedicated it, and condescended to remark: "Good, now I can at last begin to live like a human being!"”
Non in alia re tamen damnosior quam in aedificando domum a Palatio Esquilias usque fecit, quam…Auream nominavit. De cuius spatio atque cultu suffecerit haec rettulisse. Vestibulum eius fuit, in quo colossus CXX pedum staret ipsius effigie…In ceteris partibus cuncta auro lita, distincta gemmis unionumque conchis erant; cenationes laqueatae tabulis eburneis versatilibus, ut flores, fistulatis, ut unguenta desuper spargerentur; praecipua cenationum rotunda, quae perpetuo diebus ac noctibus vice mundi circumageretur; balineae marinis et albulis fluentes aquis. Eius modi domum cum absolutam dedicaret, hactenus comprobavit, ut se diceret quasi hominem tandem habitare coepisse.

Source: The Twelve Caesars, Nero, Ch. 31

Emily Brontë photo
Vitruvius photo

“There will be no propriety in the spectacle of an elegant interior approached by a low mean entrance.”

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter II, Sec. 6

Camille Paglia photo
Adi Da Samraj photo

“The next monument visited was the great Jain temple built only a few years before by Shantidas Jhaveri, one of the wealthiest men of Gujarat in his day and high in favour both with Shah Jahan and after him with Aurangzeb. …In 1638, however, when Mandelslo visited the place, this temple which he calls ‘ the principal mosque of the Banyas ’ was in all its pristine splendour and ‘ without dispute one of the noblest structures that could be seen’. ‘It was then new,’ he adds, ‘ for the Founder, who was a rich Banya merchant, named Shantidas, was living in my time.
As Mandelslo’s description is the earliest account we have of this famous monument, which was desecrated only seven years after visit by the Orders of Aurangzeb, then viceroy of Gujarat (1645), we shall reproduce it at some length. It stood in the middle of a great court which was enclosed by a high wall of freestone. All about this wall on the inner side was a gallery, similar to the cloisters of the monasteries in Europe, with a large number of cells, in each of which was placed a statue in white or black marble. These figures no doubt represented the Jain Tirthankars, but Mandelslo may be forgiven when he speaks of each of them as ‘ representing a woman naked, sitting, and having her legs lying cross under her, according to the mode of the country. Some of the cells had three statues in them, namely, a large one between two smaller ones.’ At the entrance to the temple stood two elephants of black marble in life- size and on one of them was seated an effigy of the builder. The walls of the temple were adorned with figures of men and animals. At the further end of the building were the shrines consisting of three chapels divided from each other by wooden rails. In these were placed marble statues of the Tirthankars with a lighted lamp before that which stood in the central shrine. One of the priests attending the temple was busy receiving from the votaries flowers which were placed round the images, as also oil for the lamps that hung before the rails, and wheat and salt as a sacrifice. The priest had covered his mouth and nose with a piece of linen cloth so that the impurity of his breath should not profane the images.”

Shantidas Jhaveri (1580–1659) Indian jewellery and bullion trader during Mughal era

Description of the temple built by Shantidas Jhaveri. Mandelslo’s Travels In Western India (a.d.1638-9) https://archive.org/details/in.ernet.dli.2015.531053 p. 23-25

Lee Child photo
Augustus De Morgan photo
Paul Klee photo

“Alfred Kubin, my benefactor, has arrived! He acted so enthusiastic that he carried me away. We actually sat entranced in front of my drawings! Really quite entranced! Profoundly entranced!”

Paul Klee (1879–1940) German Swiss painter

Quote (early 1911), Diary # 888; as cited by Francesco Mazzaferro, in 'The Diaries of Paul Klee Part Four', : Klee as an Expressionist and Constructivist Painter http://letteraturaartistica.blogspot.nl/2015/05/paul-klee-ev27.html
Alfred Kubin understood Klee's hieroglyphic language, based on symbols and signs and bought a series of works. As a reaction Klee started in February 1911 to make a precise catalog of all the works, still in his possession
1911 - 1914

Thomas Jefferson photo
Mahmud of Ghazni photo

“This temple of Somnat was built upon fifty-six pillars of teak wood covered with lead. The idol itself was in a chamber; its height was five cubits and its girth three cubits. This was what appeared to the eye but two cubits were (hidden) in the basement. Yaminu'd daula seized it, part of it he burnt, and part of it he carried away with him to Ghazni, where he made it a step at the entrance of the Jami'-masjid.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

Ali ibn al-Athir: Kamilu’t-Tawarikh, in Elliot and Dowson, Vol. II : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. pp. 469-471
Quotes from The History of India as told by its own Historians

Kenneth Grahame photo
Letitia Elizabeth Landon photo

“For love is like the breathing wind,
That everywhere may entrance find.”

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

The Golden Violet - The Child of the Sea
The Golden Violet (1827)

John Rabe photo
Samuel R. Delany photo
Walter Slezak photo
Patrick Nielsen Hayden photo
Alexander Calder photo
Anton Chekhov photo
Henry Cuyler Bunner photo
Ulysses S. Grant photo
Michael Moore photo

“I stopped reading the comics page a long time ago. It seems that whoever is in charge of what to put on that page is given an edict that states: “For God’s sake, try to be as bland as possible and by no means offend any one!” Thus, whenever something like Doonesbury would come along, it would be continually censored and, if lucky, eventually banished to the editorial pages. The message was clear: Keep it simple, keep it cute, and don’t be challenging, outrageous or political.
And keep it white!
It’s odd that considering all the black ink that goes into making the comics section (and color on Sundays) that you rarely see any black faces on that page. Well, maybe it’s not so odd after all, considering the makeup of most newsrooms in our country. It is even more stunning when you consider that in many of our large cities like New York, Los Angeles, or Chicago where the white population is barely a third of the overall citizenry, the comics pages seem to be one of the last vestiges of the belief that white faces are just…well, you know…so much more happy and friendly and funny!
Of course, the real funnies are on the front pages of most papers these days. That’s where you can see a lot of black faces. The media loves to cover black people on the front page. After all, when you live in a society that will lock up 30 percent of all black men at some time in their lives and send more of them to prison than to college, chances are a fair number of those black faces will end up in the newspaper.
Oops, there I go playing the race card. You see, in America these days, we aren’t supposed to talk about race. We have been told to pretend that things have gotten better, that the old days of segregation and cross burnings are long gone, and that no one needs to talk about race again because, hey, we fixed that problem.
Of course, nothing could be further from the truth. Sure, the “whites only” signs are down, but they have just been replaced by invisible ones that, if you are black, you see hanging in front of the home loan department of the local bank, across the entrance of the ritzy suburban or on the doors of the U. S. Senate”

Michael Moore (1954) American filmmaker, author, social critic, and liberal activist

100 percent Caucasian and going strong!
Foreword to "The Boondocks Treasury: a Right to be Hostile" by Aaron McGruder, (2003).
2003

Mahmud of Ghazni photo
Abraham Joshua Heschel photo
Michael Polanyi photo
Tom Clancy photo
John Constable photo
Ramachandra Guha photo
George Eliot photo
Charles James Napier photo

“But so far as the Hindus are concerned, this period was a prolonged spell of darkness which ended only when the Marathas and the Jats and the Sikhs broke the back of Islamic imperialism in the middle of the 18th century. The situation of the Hindus under Muslim rule is summed up by the author of Tãrîkh-i-Wassãf in the following words: “The vein of the zeal of religion beat high for the subjection of infidelity and destruction of idols… The Mohammadan forces began to kill and slaughter, on the right and the left unmercifully, throughout the impure land, for the sake of Islãm, and blood flowed in torrents. They plundered gold and silver to an extent greater than can be conceived, and an immense number of precious stones as well as a great variety of cloths… They took captive a great number of handsome and elegant maidens and children of both sexes, more than pen can enumerate… In short, the Mohammadan army brought the country to utter ruin and destroyed the lives of the inhabitants and plundered the cities, and captured their off-springs, so that many temples were deserted and the idols were broken and trodden under foot, the largest of which was Somnãt. The fragments were conveyed to Dehlî and the entrance of the Jãmi‘ Masjid was paved with them so that people might remember and talk of this brilliant victory… Praise be to Allah the lord of the worlds.””

The Story of Islamic Imperialism in India (1994)

Kent Hovind photo

“p>One translucent day I leave the city
to visit my home, the land of Champa.Here are stupas gaunt with yearning,
ancient temples ruined by time,
streams that creep alone through the dark
past peeling statues that moan of Champa.Here are dense and drooping forests
where long processions, lost souls of Champa,
march; and evening spills through thick,
fragrant leaves, mingling with the cries of moorhens.Here is the field where two great armies
were reduced to a horde of clamoring souls.
Champa blood still cascades in streams of hatred
to grinding oceans filled with Champa bones.Here too are placid images: hamlets at rest
in evening sun, Champa girls gliding homeward,
their light chatter floating
with the pink and saffron of their dresses.Here are magnificent sunbaked palaces,
temples that blaze in cerulean skies.
Here battleships dream on the glossy river, while the thunder
of sacred elephants shakes the walls.Here, in opaque light sinking through lapis lazuli,
the Champa king and his men are lost in a maze of flesh
as dancers weave, wreathe, entranced,
their bodies harmonizing with the flutes.All this I saw on my way home years ago
and still I am obsessed,
my mind stunned, sagged with sorrow
for the race of Champa.”

Chế Lan Viên (1920–1989) Vietnamese writer

"On the Way Home", in A Thousand Years of Vietnamese Poetry, ed. Nguyễn Ngọc Bích (Alfred A. Knopf, 1975), p. 167; quoted in full in Buddhism & Zen in Vietnam by Thich Thien-an (Tuttle Publishing, 1992)

Roger Waters photo
Robert Spencer photo
Bruno Schulz photo
Allen C. Guelzo photo
Timothy Shay Arthur photo
Rebecca Solnit photo
Helen Hayes photo
Anthony Burgess photo
Ariel Sharon photo
Jean-François Revel photo
Victor Villaseñor photo
Kent Hovind photo
Joseph Conrad photo

“Then, on the slight turn of the Lower Hope Reach, clusters of factory chimneys come distinctly into view, tall and slender above the squat ranges of cement works in Grays and Greenhithe. Smoking quietly at the top against the great blaze of a magnificent sunset, they give an industrial character to the scene, speak of work, manufactures, and trade, as palm-groves on the coral strands of distant islands speak of the luxuriant grace, beauty and vigour of tropical nature. The houses of Gravesend crowd upon the shore with an effect of confusion as if they had tumbled down haphazard from the top of the hill at the back. The flatness of the Kentish shore ends there. A fleet of steam-tugs lies at anchor in front of the various piers. A conspicuous church spire, the first seen distinctly coming from the sea, has a thoughtful grace, the serenity of a fine form above the chaotic disorder of men’s houses. But on the other side, on the flat Essex side, a shapeless and desolate red edifice, a vast pile of bricks with many windows and a slate roof more inaccessible than an Alpine slope, towers over the bend in monstrous ugliness, the tallest, heaviest building for miles around, a thing like an hotel, like a mansion of flats (all to let), exiled into these fields out of a street in West Kensington. Just round the corner, as it were, on a pier defined with stone blocks and wooden piles, a white mast, slender like a stalk of straw and crossed by a yard like a knitting-needle, flying the signals of flag and balloon, watches over a set of heavy dock-gates. Mast-heads and funnel-tops of ships peep above the ranges of corrugated iron roofs. This is the entrance to Tilbury Dock, the most recent of all London docks, the nearest to the sea.”

Hope Point to Tilbury / Gravesend
The Mirror of the Sea (1906), On the River Thames, Ch. 16

Johann Gottfried Herder photo

“The nature of man remains ever the same: in the ten thousandth year of the World he will be born with passions, as he was born with passions in the two thousandth, and ran through his course of follies to a late, imperfect, useless wisdom. We wander in a labyrinth, in which our lives occupy but a span; so that it is to us nearly a matter of indifference, whether there be any entrance or outlet to the intricate path.”

Johann Gottfried Herder (1744–1803) German philosopher, theologian, poet, and literary critic

Die Natur des Menschen bleibt immer dieselbe; im zehntausendsten Jahr der Welt wird er mit Leidenschaften geboren, wie er im zweiten derselben mit Leidenschaften geboren ward, und durchläuft den Gang seiner Thorheiten zu einer späten, unvollkommenen, nutzlosen Weisheit. Wir gehen in einem Labyrinth umher, in welchem unser Leben nur eine Spanne abschneidet; daher es uns fast gleichgültig sein kann, ob der Irrweg Entwurf und Ausgang habe.
Vol. 2, p. 186; translation vol. 2, pp. 266-7
Ideen zur Philosophie der Geschichte der Menschheit (1784-91)

Jim Butcher photo
Isa Bowman photo
Ella Wheeler Wilcox photo

“There is no sudden entrance into Heaven.
Slow is the ascent by the path of Love.”

Ella Wheeler Wilcox (1850–1919) American author and poet

The Way (1913).
Poetry quotes, New Thought Pastels (1913)

Ken Wilber photo
Mahmud of Ghazni photo
Michel De Montaigne photo

“Marriage, a market which has nothing free but the entrance.”

Michel De Montaigne (1533–1592) (1533-1592) French-Occitan author, humanistic philosopher, statesman

Attributed

Haruki Murakami photo
Vytautas Juozapaitis photo
Samuel Johnson photo
Richard Henry Dana Jr. photo
Plutarch photo

“The correct analogy for the mind is not a vessel that needs filling, but wood that needs igniting — no more — and then it motivates one towards originality and instills the desire for truth. Suppose someone were to go and ask his neighbors for fire and find a substantial blaze there, and just stay there continually warming himself: that is no different from someone who goes to someone else to get to some of his rationality, and fails to realize that he ought to ignite his own flame, his own intellect, but is happy to sit entranced by the lecture, and the words trigger only associative thinking and bring, as it were, only a flush to his cheeks and a glow to his limbs; but he has not dispelled or dispersed, in the warm light of philosophy, the internal dank gloom of his mind.”

οὐ γὰρ ὡς ἀγγεῖον ὁ νοῦς ἀποπληρώσεως ἀλλ' ὑπεκκαύματος μόνον ὥσπερ ὕλη δεῖται ὁρμὴν ἐμποιοῦντος εὑρετικὴν καὶ ὄρεξιν ἐπὶ τὴν ἀλήθειαν. ὥσπερ οὖν εἴ τις ἐκ γειτόνων πυρὸς δεόμενος, εἶτα πολὺ καὶ λαμπρὸν εὑρὼν αὐτοῦ καταμένοι διὰ τέλους θαλπόμενος, οὕτως εἴ τις ἥκων λόγου μεταλαβεῖν πρὸς ἄλλον οὐχ οἴεται δεῖν φῶς οἰκεῖον ἐξάπτειν καὶ νοῦν ἴδιον, ἀλλὰ χαίρων τῇ ἀκροάσει κάθηται θελγόμενος, οἷον ἔρευθος ἕλκει καὶ γάνωμα τὴν δόξαν ἀπὸ τῶν λόγων, τὸν δ᾽ ἐντὸς: εὐρῶτα τῆς ψυχῆς καὶ ζόφον οὐκ ἐκτεθέρμαγκεν οὐδ᾽ ἐξέωκε διὰ φιλοσοφίας.
On Listening to Lectures, Plutarch, Moralia 48C (variously called De auditione Philosophorum or De Auditu or De Recta Audiendi Ratione)
Moralia, Others

Stanley A. McChrystal photo
Alexander Maclaren photo
Masiela Lusha photo

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

Masiela Lusha (1985) Albanian actress, writer, author

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