Quotes about glow
page 2

“With living colours give my verse to glow:
The sad memorial of a tale of woe!”

William Falconer (1732–1769) British writer

Introduction, lines 35-36.
The Shipwreck (1762)

Luís de Camões photo

“Enough, my muse, thy wearied wing no more
Must to the seat of Jove triumphant soar.
Chilled by my nation's cold neglect, thy fires
Glow bold no more, and all thy rage expires.”

Luís de Camões (1524–1580) Portuguese poet

Nô mais, Musa, nô mais, que a Lira tenho
Destemperada e a voz enrouquecida,
E não do canto, mas de ver que venho
Cantar a gente surda e endurecida.
O favor com que mais se acende o engenho
Não no dá a pátria, não, que está metida
No gosto da cobiça e na rudeza
Dũa austera, apagada e vil tristeza.
Stanza 145 (tr. William Julius Mickle)
Epic poetry, Os Lusíadas (1572), Canto X

Vincent Van Gogh photo
Lydia Maria Child photo
Orson Welles photo

“Come o'er the moonlit sea,
The waves are brightly glowing.”

Charles Jefferys (1807–1865) British music publisher

The Moonlit Sea, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Gregory of Nyssa photo
Emily Dickinson photo
Bob Dylan photo

“Disillusioned words like bullets bark
As human gods aim for their mark
Make everything from toy guns that spark
To flesh-colored Christs that glow in the dark
It's easy to see without looking too far
That not much is really sacred”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Bringing It All Back Home (1965), It's Alright, Ma (I'm Only Bleeding)

George William Russell photo
Larry the Cable Guy photo
Han-shan photo
Henry Wadsworth Longfellow photo
Aaro Hellaakoski photo

“When the early morning sun
first pierced the grayness in the sky,
a pickerel rose from his watery home
to climb a pine tree, singing.
And high in the branches, he looked upon
the morning's glowing beauty -
the wind-blown ripples on the lake,
dew-freshened flowers and fields below.”

Aaro Hellaakoski (1893–1952) Finnish writer, poet, geographer and teacher

Aaro Hellaakoski. "The song of the pike hauen laulu." Aina Swan Cutler (trans.) in: Aili Jarvenpa, ‎Michael G. Karni (1989), Sampo, the magic mill: a collection of Finnish-American writing.

Eino Leino photo

“Outbursts blossom in Lapland rapidly
. in earth, in barley, grass, dwarf birches too.
This I have pondered very frequently
when people’s daily lives there I review.

Oh why are all our beautiful ones dying
and why do great ones rot in disarray?
Oh why among us many minds are losing?
Oh why so few the kantele now play?

Oh why here everywhere a man soon crashes
like hay when scythed – ambitious man indeed,
a man of honour, sense – it all soon smashes,
or breaks apart one day in life of need?

Elsewhere, a fire still glints in greying tresses,
in old ones glows still spirit of the sun.
But here our new-born infants death possesses
and youth will grave’s dull earth soon press upon.

And what of me? Why ponder I so sadly?
An early sign, be sure, of grim old age.
Oh why the blood-spent rule keep I not gladly,
but sigh instead at people’s mortal wage?

One answer is there only: Lapland’s summer.
In thinking then my mind is soon distressed.
In Lapland birdsong, joy are short – a glimmer –
as flowers’ blooms and gladness wilt and rest.

But winter’s wrath is only long. Dear moment
when resting thoughts delay and don’t take flight,
in search of lands where blazing sun is potent
and take their leave of Lapland’s icy bite.

Oh, great white birds, you guests of summer Lapland,
with noble thoughts we’ll greet you, when you’re here!
Oh, tarry here among us, build your nests and
a while delay your southern journey near!

Oh, from the swan now learn a lesson wholesome!
They leave in autumn, come back in the spring.
It’s our own peaceful shore that us-wards pulls them,
Our sloping fell’s kind shelter will them bring.

Batter the air with whooping wings and leave us!
Wonders perform, enlighten other lands!
But when you see that winter’s gone relieve us –
I beg, beseech, re-clasp our weary hands!”

Eino Leino (1878–1926) Finnish poet and journalist
Dejan Stojanovic photo

“The holy world glows like a lightening bug.”

“The Fruit Bearer,” p. 29
The Creator (2000), Sequence: “Forest of the Universe”

Nikos Kazantzakis photo
Winston S. Churchill photo
Robert Erskine Childers photo
Vanna Bonta photo
Happy Rhodes photo
Rudolf Höss photo
Helen Nearing photo
Paula Modersohn-Becker photo

“Is it true that all I ever write you about is painting and nothing else? Isn't there love in my lines to you and between the lines, shining and glowing and quiet and loving, the way a woman should love and the way your woman loves you?”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her husband Otto Modersohn, from Berlin, 4 February 1901; as quoted in Voicing our visions, -Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 201
1900 - 1905

T.I. photo

“Candy on the 6-4, leather guts and fishbowl
Fifty on the pinky ring just to make my fist glow”

T.I. (1980) American rapper, record producer, actor, and businessman from Georgia

"What You Know" (2006)
2000s, King

Robert Southwell photo
Charlotte Brontë photo
Thomas Francis Meagher photo

“We now look into history with the generous pride of the nationalist, not with the cramped prejudice of the partisan. We do homage to Irish valour, whether it conquers on the walls of Derry, or capitulates with honour before the ramparts of Limerick; and, sir, we award the laurel to Irish genius, whether it has lit its flames within the walls of old Trinity, or drawn its inspiration from the sanctuary of Saint Omer’s. Acting in this spirit, we shall repair the errors and reverse the mean condition of the past. If not, we perpetuate the evil that has for so many years consigned this Country to the calamities of war and the infirmities of vassalage, "We must tolerate each other," said Henry Grattan, the inspired preacher of Irish nationality — he whose eloquence, as Moore has described it, was the very music of Freedom — "We must tolerate each other, or we must tolerate the common enemy…"But, sir, whilst we must endeavour wisely to conciliate let us not, to the strongest foe, nor in the most tempting emergency, weakly capitulate…Let earnest truth, stern fidelity to principle, love for all who bear the name of Irishmen, sustain, ennoble and immortalise this cause. Thus shall we reverse the dark fortunes of the Irish race, and call forth here a new nation from the ruins of the old.Thus shall a Parliament moulded from the soil, pregnant with the sympathies and glowing with the genius of the soil, be here raised up. Thus shall an honourable kingdom be enabled to fulfil the great ends that a bounteous Providence hath assigned her—which ends have been signified to her in the resources of her soil and the abilities of her sons.”

Thomas Francis Meagher (1823–1867) Irish nationalist & American politician

Legislative "Union" with Greath Britain (1846)

Hans Christian Andersen photo
James Thurber photo

“When all things are equal, translucence in writing is more effective than transparency, just as glow is more revealing than glare.”

James Thurber (1894–1961) American cartoonist, author, journalist, playwright

Memo to The New Yorker (1959); reprinted in New York Times Book Review (4 December 1988)
Letters and interviews

John Greenleaf Whittier photo

“Fine Art then, records by idealised imitation the glorious works of good men, whilst it holds those of bad men up to our abhorrence — it gives to posterity their images, either on the tinted canvass or the sculptured marble — it imitates the beautiful effects of nature as seen in the glowing landscape or the rising storm, and perpetuates the appearance of those beauteous gems of the seasons — flowers and fruits, which, though fading whilst the painter catches their tints, yet live after decay by and through his genius.
Industrial Art, on the contrary, aims at the embellishment of the works of man, by and through that power which is given to the artist for the investigation of the beautiful in nature; and in transferring it to the loom, the printing machine, the potter's wheel, or the metal worker's mould, he reproduces nature in a new form, adapting it to his purpose by an intelligence arising out of his knowledge as an artist and as a workman. In short, the adaptation of the natural type to a new material compels him to reproduce, almost create, as well as imitate — invent as well as copy”

design as well as draw!
George Wallis. " Art Education for the people. No IV. The principles of Fine Art as Applied to Industrial Purposes http://books.google.com/books?id=l55GAQAAIAAJ&pg=PA231." In: People's & Howitt's Journal: Of Literature, Art, and Popular Progress, Vol. 3. John Saunders ed. 1847, p. 231.

Camille Pissarro photo
Oliver Wendell Holmes photo

“Speak not too well of one who scarce will know
Himself transfigured in its roseate glow;
Say kindly of him what is, chiefly, true,
Remembering always he belongs to you;
Deal with him as a truant, if you will,
But claim him, keep him, call him brother still!”

Oliver Wendell Holmes (1809–1894) Poet, essayist, physician

"Poem", read at a dinner given for the author by the medical profession of the City of New York (April 12, 1883); reported in The Poetical Works of Oliver Wendell Holmes, ed. Eleanor M. Tilton (1895, rev. 1975), p. 71.

Paul Gauguin photo
Constantine P. Cavafy photo

“Do you see it?
Do you see that sunflower, raising its head
Glaring at the sun?
Its head almost eclipses the sun
Yet even when there is no sun
Its head still glows.”

Mang Ke (1951) Chinese writer

"Sunflower in the Sun" ( trans. Jonathan Stalling and Yibing Huang https://english.chass.ncsu.edu/freeverse/Archives/Winter_2010/prose/PushOpenTheWindow.htm)

Kathy Freston photo
Conrad Aiken photo
Robert Stanley Weir photo
Robert E. Howard photo
H. Rider Haggard photo
Halldór Laxness photo
Aleksis Kivi photo

“Grove of Tuoni, grove of night!
There thy bed of sand is light.
Thither my baby I lead.
Mirth and joy each long hour yields
In the Prince of Tuoni's fields
Tending the Tuonela cattle.
Mirth and joy my babe will know,
Lulled to sleep at evening glow
By the pale Tuonela maiden.
Surely joy hours will hold,
Lying in thy cot of gold,
Hearing the nightjar singing.
Grove of Tuoni, grove of peace!
There all strife and passion cease.
Distant the treacherous world.”

Aleksis Kivi (1834–1872) Finnish writer

"Tuonen lehto, öinen lehto! / Siell' on hieno hietakehto, / Sinnepä lapseni saatan. // Siell' on lapsen lysti olla, / Tuonen herran vainiolla / Kaitsea Tuonelan karjaa. // Siell' on lapsen lysti olla, / Illan tullen tuuditella / Helmassa Tuonelan immen. // Onpa kullan lysti olla, / Kultakehdoss' kellahdella, / Kuullella kehräjälintuu. // Tuonen viita, rauhan viita! / Kaukana on vaino, riita, / Kaukana kavala maailma." (Äiti Aleksis Kiven kuvaamana, koonnut Ukko Kivistö, Turussa, kustannusosakeyhtiö Aura 1948)

“Glories, like glow-worms, afar off shine bright,
But look'd too near have neither heat nor light.”

Act IV, scene 4. Compare Distance.
The White Devil (1612)

“Where still the branches guarded the skin of ruddy hue, like to illumined cloud or to Iris when she ungirds her robe and glides to meet glowing Phoebus.”
Cuius adhuc rutilam servabant bracchia pellem, nubibus accensis similem aut cum veste recincta labitur ardenti Thaumantias obvia Phoebo.

Source: Argonautica, Book VIII, Lines 114–116

Ferdinand Lundberg photo
Thomas Campbell photo

“On Prague's proud arch the fires of ruin glow,
His blood-dyed waters murmuring far below.”

Thomas Campbell (1777–1844) British writer

Part I, line 385
Pleasures of Hope (1799)

Luís de Camões photo

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

Luís de Camões (1524–1580) Portuguese poet

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

Pliny the Younger photo
Jonathan Edwards photo
L. Frank Baum photo
George Lippard photo

“Let the glow in your heart reflect in your soul.”

Source: Life, the Truth, and Being Free (2010), p. 78

Herbert Giles photo
Henry Van Dyke photo
George Bird Evans photo
Paul Klee photo

“I am armed, I am not here, / I am in the depths, am far away … / I am far away … / I glow amidst dead.”

Paul Klee (1879–1940) German Swiss painter

Quote (1912), # 931, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Gerald Griffin photo

“When, like the rising day,
Eileen Aroon!
Love sends his early ray,
Eileen Aroon!
What makes his dawning glow
Changeless through joy and woe?
Only the constant know!—
Eileen Aroon!”

Gerald Griffin (1803–1840) Irish novelist, poet and playwright

Eileen Aroon, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Vitruvius photo
Henry Rollins photo
Roger Waters photo

“I used to think the world was flat
Rarely threw my hat into the crowd
I felt I had used up my quota of yearning
Used to look in on the children at night
In the glow of their Donald Duck light
And frighten myself with the thought of my little ones burning But ooh, the tide is turning
The tide is turning.”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd

"The Tide Is Turning (After Live Aid)", on Radio K.A.O.S. (1987) - Full lyrics at LyricWiki http://lyrics.wikia.com/Roger_Waters:The_Tide_Is_Turning_(After_Live_Aid) · Tour performance http://www.youtube.com/watch?v=66nqhVtq6xo · Video 2 https://www.youtube.com/watch?v=GvTvWJWeQ2g Live in Berlin https://www.youtube.com/watch?v=sFWCAYPWFbs

Robert Murray M'Cheyne photo
Van Morrison photo
George Eliot photo
Daniel Abraham photo

“Treasure maps; Czarist bonds; a case of stuffed dodos; Scarlett O'Hara's birth certificate; two flattened and deformed silver bullet heads in an old matchbox; Baedeker's guide to Atlantis (seventeenth edition, 1902); the autograph score of Schubert's Unfinished Symphony, with Das Ende written neatly at the foot of the last page; three boxes of moon rocks; a dumpy, heavy statuette of a bird covered in dull black paint, which reminded him of something but he couldn't remember what; a Norwich Union life policy in the name of Vlad Dracul; a cigar box full of oddly shaped teeth, with CAUTION: DO NOT DROP painted on the lid in hysterical capitals; five or six doll's-house-sized books with titles like Lilliput On $2 A Day; a small slab of green crystal that glowed when he opened the envelope; a thick bundle of love letters bound in blue ribbon, all signed Margaret Roberts; a left-luggage token from North Central railway terminus, Ruritania; Bartholomew's Road Atlas of Oz (one page, with a yellow line smack down the middle); a brown paper bag of solid gold jelly babies; several contracts for the sale and purchase of souls; a fat brown envelope inscribed To Be Opened On My Death: E. A. Presley, unopened; Oxford and Cambridge Board O-level papers in Elvish language and literature, 1969-85; a very old drum in a worm-eaten sea-chest marked F. Drake, Plymouth, in with a load of minute-books and annual accounts of the Winchester Round Table; half a dozen incredibly ugly portraits of major Hollywood film stars; Unicorn-Calling, For Pleasure & Profit by J. R. Hartley; a huge collection of betting slips, on races to be held in the year 2019; all water, as far as Paul was concerned, off a duck's {back]”

Tom Holt (1961) British writer

The Portable Door (2003)

James Gates Percival photo

“The water is calm and still below,
For the winds and waves are absent there,
And the sands are bright as the stars that glow
In the motionless fields of upper air.”

James Gates Percival (1795–1856) American geologis, poet, and surgeon

The coral Grove, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Colin Wilson photo
Leo Tolstoy photo
Manav Gupta photo
Willem de Kooning photo
Cesare Pavese photo

“The untransacted destiny of the American people is to subdue the continent — to rush over this vast field to the Pacific Ocean — to animate the many hundred millions of its people, and to cheer them upward — to set the principle of self-government at work — to agitate these herculean masses — to establish a new order in human affairs — to set free the enslaved — to regenerate superannuated nations — to change darkness into light — to stir up the sleep of a hundred centuries — to teach old nations a new civilization — to confirm the destiny of the human race — to carry the career of mankind to its culminating point — to cause stagnant people to be re-born — to perfect science — to emblazon history with the conquest of peace — to shed a new and resplendent glory upon mankind — to unite the world in one social family — to dissolve the spell of tyranny and exalt charity — to absolve the curse that weighs down humanity, and to shed blessings round the world!
Divine task! immortal mission! Let us tread fast and joyfully the open trail before us! Let every American heart open wide for patriotism to glow undimmed, and confide with religious faith in the sublime and prodigious destiny of his well-loved country.”

Address to the U.S. Senate (2 March 1846); quoted in Mission of the North American People, Geographical, Social, and Political (1873), by William Gilpin, p. 124.

Conrad Aiken photo
John Muir photo
Jim Steinman photo

“It never felt so good, it never felt so right
And we're glowing like the metal on the edge of a knife.”

Jim Steinman (1947) American musician

Bat out of Hell (1977), Paradise by the Dashboard Light

Colin Wilson photo
James Callaghan photo

“For 338 paragraphs the Franks report painted a splendid picture, delineated the light and the shade, and the glowing colours in it, and when Franks got to paragraph 339 he got fed up with the canvas he was painting and chucked a bucket of whitewash over it.”

James Callaghan (1912–2005) Prime Minister of the United Kingdom; 1976-1979

Speech http://hansard.millbanksystems.com/commons/1983/jan/26/falkland-islands-franks-report in the House of Commons (26 January 1983) responding to the Franks Inquiry into intelligence before the Falklands War.
Post-Prime Ministerial

John Milton photo
Henry Adams photo
H. Rider Haggard photo
Vernon Corea photo

“We have all shared the treat of your lovely Lyrics, your tuneful compositions, your friendly presentation and your spontaneous sense of sharing with your followers, your treasury of talent. Keep going, keep growing, keep glowing.”

Vernon Corea (1927–2002) The legendary broadcaster – a pioneer with Radio Ceylon/Sri Lanka Broadcasting Corporation and the BBC.

'Remembering Clarence,' in the Sunday Times newspaper, Sri Lanka http://sundaytimes.lk/971221/plus8.html
Vernon Corea on Sri Lanka's King of Pop, Clarence Wijewardena, introducing a Lotus LP with Clarence's top hits.

Halldór Laxness photo
Gabrielle Roy photo
Czeslaw Milosz photo
John Muir photo

“I'm now done with this glorious continent [South America] …. I've seen all I sought for and far, far, far more. … wandered most joyfully … through millions of acres of the ancient tree I was so anxious to find, Araucaria braziliensis. Just think of the glow of my joy in these noble aboriginal forests — the face of every tree marked with the inherited experiences of millions of years. … Crossed the Andes… Then straight to snowline and found a glorious forest of Araucaria imbricata, the strangest of the strange genus.”

John Muir (1838–1914) Scottish-born American naturalist and author

letter to Mrs. J.D. Hooker http://www.westadamsheritage.org/katharine-putnam-hooker (6 December 1911); published in The Life and Letters of John Muir http://www.sierraclub.org/john_muir_exhibit/life/life_and_letters/default.aspx (1924), chapter 17, II; and in John Muir's Last Journey, edited by Michael P. Branch (Island Press, 2001), page 125 <!-- Terry Gifford, LLO, page 357 -->
1910s

Dafydd ap Gwilym photo

“O sea-bird, beautiful upon the tides,
White as the moon is when the night abides,
Or snow untouched, whose dustless splendour glows
Bright as a sunbeam and whose white wing throws
A glove of challenge on the salt sea-flood.”

Dafydd ap Gwilym (1320–1380) Welsh poet

Yr wylan deg ar lanw dioer
Unlliw ag eiry neu wenlloer,
Dilwch yw dy degwch di,
Darn fel haul, dyrnfol, heli.
"Yr Wylan" (To the Sea-gull), line 1; translation from Robert Gurney (ed. and trans.) Bardic Heritage (London: Chatto & Windus, 1969) p. 130.

Statius photo

“Beyond the cloud-wrapt chambers of western gloom and Aethiopia's other realm there stands a motionless grove, impenetrable by any star; beneath it the hollow recesses of a deep and rocky cave run far into a mountain, where the slow hand of Nature has set the halls of lazy Sleep and his untroubled dwelling. The threshold is guarded by shady Quiet and dull Forgetfulness and torpid Sloth with ever drowsy countenance. Ease, and Silence with folded wings sit mute in the forecourt and drive the blustering winds from the roof-top, and forbid the branches to sway, and take away their warblings from the birds. No roar of the sea is here, though all the shores be sounding, nor yet of the sky; the very torrent that runs down the deep valley nigh the cave is silent among the rocks and boulders; by its side are sable herds, and sheep reclining one and all upon the ground; the fresh buds wither, and a breath from the earth makes the grasses sink and fail. Within, glowing Mulciber had carved a thousand likenesses of the god: here wreathed Pleasure clings to his side, here Labour drooping to repose bears him company, here he shares a couch with Bacchus, there with Love, the child of Mars. Further within, in the secret places of the palace he lies with Death also, but that dread image is seen by none. These are but pictures: he himself beneath humid caverns rests upon coverlets heaped with slumbrous flowers, his garments reek, and the cushions are warm with his sluggish body, and above the bed a dark vapour rises from his breathing mouth. One hand holds up the locks that fall from his left temple, from the other drops his neglected horn.”
Stat super occiduae nebulosa cubilia Noctis Aethiopasque alios, nulli penetrabilis astro, lucus iners, subterque cavis graue rupibus antrum it uacuum in montem, qua desidis atria Somni securumque larem segnis Natura locavit. limen opaca Quies et pigra Oblivio servant et numquam vigili torpens Ignauia vultu. Otia vestibulo pressisque Silentia pennis muta sedent abiguntque truces a culmine ventos et ramos errare vetant et murmura demunt alitibus. non hic pelagi, licet omnia clament litora, non ullus caeli fragor; ipse profundis vallibus effugiens speluncae proximus amnis saxa inter scopulosque tacet: nigrantia circum armenta omne solo recubat pecus, et nova marcent germina, terrarumque inclinat spiritus herbas. mille intus simulacra dei caelaverat ardens Mulciber: hic haeret lateri redimita Voluptas, hic comes in requiem vergens Labor, est ubi Baccho, est ubi Martigenae socium puluinar Amori obtinet. interius tecti in penetralibus altis et cum Morte jacet, nullique ea tristis imago cernitur. hae species. ipse autem umentia subter antra soporifero stipatos flore tapetas incubat; exhalant vestes et corpore pigro strata calent, supraque torum niger efflat anhelo ore vapor; manus haec fusos a tempore laevo sustentat crines, haec cornu oblita remisit.

Source: Thebaid, Book X, Line 84 (tr. J. H. Mozley)

Calvin Coolidge photo
Bob Dylan photo

“And every one of them words rang true and glowed like burnin' coal. Pourin' off of every page, like it was written in my soul from me to you…”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Blood on the Tracks (1975), Tangled Up In Blue

John the Evangelist photo

“His feet were like fine copper when glowing in a furnace, and his voice was like the sound of many waters.”

John the Evangelist (10–98) author of the Gospel of John; traditionally identified with John the Apostle of Jesus, John of Patmos (author o…

1:15 http://www.jw.org/en/publications/bible/nwt/books/revelation/1/
Revelation

Dante Gabriel Rossetti photo
Henri Matisse photo

“I knew Muhammad Mujeeb personally. He was Head of the Department of History and Shaikh-ul-Jamia… In 1972, however, there was a mild 'confrontation' between him and me. Sometime that year there was a Selection Committee meeting for the post of Professor of History in Delhi University. I was then a Reader and candidate for the post of Professor. Mujeeb was an 'expert'… Mujeeb asked me a question: "Why did the Hindu convert to Islam?" It was a loaded question carrying the suggestion that the initiative for conversion came from the Hindu. In all probability Mujeeb expected me to say that the Hindus suffered from the injustices of the caste system, that Islam was spiritually so great and its message of social equality so attractive that the Hindus queued up for conversion the moment they came in contact with Islamic invaders. A tactful candidate (not a truthful one) would have said what Mujeeb desired, but my answer was different. I said that Hindus did not (voluntarily) convert to Islam; they were converted, often forcibly, as told by Muslim chroniclers. Muslim invaders and rulers felt proud of their achievements in the fields of loot and destruction, enslavement and proselytization. Their chroniclers, writing at their command or independently, speak about their achievements in these spheres in glowing terms. They repeatedly write about the choice offered to the Hindus - "Islam or death". Mujeeb expected a different answer. I was not selected.”

Source: Theory and Practice of Muslim State in India (1999), Chapter 6