Quotes about greens
page 3

Pablo Neruda photo

“Then
Scale by scale,
We strip off
The delicacy
And eat
The peaceful mush
Of its green heart.”

Pablo Neruda (1904–1973) Chilean poet

Source: Odes to Common Things

Richelle Mead photo
Lois Lowry photo

“Keep a green tree in your heart and perhaps the singing bird will come.”

Lois Lowry (1937) American writer

Source: Taking Care of Terrific

David Levithan photo
Edna Ferber photo

“When the light at Vernon turned green, we stepped into the street and George grabbed my hand and the ghosts of our younger selves crossed with us.”

Aimee Bender (1969) Novelist, short story writer

Source: The Particular Sadness of Lemon Cake

Stephen King photo
Martha Gellhorn photo
Haruki Murakami photo
E.E. Cummings photo
Confucius photo
William Carlos Williams photo
John Banville photo
Han-shan photo
Adam Gopnik photo

“I saw a dream, Earth safe and green. No hunger no war, water so clean. I’ll work for the world that I saw, set my mind and say insha Allah.”

Dawud Wharnsby (1972) Canadian musician

Subhanallah, Alhamdulillah and Insha Allah
A Picnic of Poems in Allah's Green Garden (2011)

Eldon Hoke photo
Dave Barry photo
John Milton photo
C. D. Broad photo

“Those who, like the present writer, never had the privilege of meeting Sidgwick can infer from his writings, and still more from the characteristic philosophic merits of such pupils of his as McTaggart and Moore, how acute and painstaking a thinker and how inspiring a teacher he must have been. Yet he has grave defects as a writer which have certainly detracted from his fame. His style is heavy and involved, and he seldom allowed that strong sense of humour, which is said to have made him a delightful conversationalist, to relieve the uniform dull dignity of his writing. He incessantly refines, qualifies, raises objections, answers them, and then finds further objections to the answers. Each of these objections, rebuttals, rejoinders, and surrejoinders is in itself admirable, and does infinite credit to the acuteness and candour of the author. But the reader is apt to become impatient; to lose the thread of the argument: and to rise from his desk finding that he has read a great deal with constant admiration and now remembers little or nothing. The result is that Sidgwick probably has far less influence at present than he ought to have, and less than many writers, such as Bradley, who were as superior to him in literary style as he was to them in ethical and philosophical acumen. Even a thoroughly second-rate thinker like T. H. Green, by diffusing a grateful and comforting aroma of ethical "uplift", has probably made far more undergraduates into prigs than Sidgwick will ever make into philosophers.”

C. D. Broad (1887–1971) English philosopher

From Five Types of Ethical Theory (1930)

John Updike photo
Alex Jones photo
Mikhail Bulgakov photo
Don Marquis photo

“well boss
mehitabel the cat
has reappeared in her old
haunts with a
flock of kittens

archy she said to me
yesterday
the life of a female
artist is continually
hampered what in hell
have i done to deserve
all these kittens
i look back on my life
and it seems to me to be
just one damned kitten
after another
i am a dancer archy
and my only prayer
is to be allowed
to give my best to my art
but just as i feel
that i am succeeding
in my life work
along comes another batch
of these damned kittens
it is not archy
that i am shy on mother love
god knows i care for
the sweet little things
curse them
but am i never to be allowed
to live my own life
i have purposely avoided
matrimony in the interests
of the higher life
but i might just
as well have been a domestic
slave for all the freedom
i have gained
i hope none of them
gets run over by
an automobile
my heart would bleed
if anything happened
to them and i found it out
but it isn t fair archy
it isn t fair
these damned tom cats have all
the fun and freedom
if i was like some of these
green eyed feline vamps i know
i would simply walk out on the
bunch of them and
let them shift for themselves
but i am not that kind
archy i am full of mother love
my kindness has always
been my curse
a tender heart is the cross i bear
self sacrifice always and forever
is my motto damn them
i will make a home
for the sweet innocent
little things
unless of course providence
in his wisdom should remove
them they are living
just now in an abandoned
garbage can just behind
a made over stable in greenwich
village and if it rained
into the can before i could
get back and rescue them
i am afraid the little
dears might drown
it makes me shudder just
to think of it
of course if i were a family cat
they would probably
be drowned anyhow
sometimes i think
the kinder thing would be
for me to carry the
sweet little things
over to the river
and drop them in myself
but a mother s love archy
is so unreasonable
something always prevents me
these terrible
conflicts are always
presenting themselves
to the artist
the eternal struggle
between art and life archy
is something fierce
yes something fierce
my what a dramatic
life i have lived
one moment up the next
moment down again
but always gay archy always gay
and always the lady too
in spite of hell
well boss it will
be interesting to note
just how mehitabel
works out her present problem
a dark mystery still broods
over the manner
in which the former
family of three kittens
disappeared
one day she was talking to me
of the kittens
and the next day when i asked
her about them
she said innocently
what kittens
interrogation point
and that was all
i could ever get out
of her on the subject
we had a heavy rain
right after she spoke to me
but probably that garbage can
leaks so the kittens
have not yet
been drowned”

Don Marquis (1878–1937) American writer

mehitabel and her kittens http://donmarquis.com/reading-room/kittens/
archy and mehitabel (1927)

E.E. Cummings photo
Joseph Goebbels photo

“1927. I stood in front of your grave; in radiating sunshine there was a still, green mound. And it was preaching about mortality.
My answer was: resurrection.”

Joseph Goebbels (1897–1945) Nazi politician and Propaganda Minister

1927. Ich stand an deinem Grab; im glastenden Sonnenschein lag ein stiller, grüner Hügel. Und predigte Vergänglichkeit.
Meine Antwort war: Auferstehung.
Michael: a German fate in diary notes (1926)

Boris Johnson photo

“Use materials with forceful MUSCULAR colours – the reddest of reds, the most purple of purples, the greenest of greens, intense yellows, orange, vermillion – and SKELETON tones of white, grey and black.”

Giacomo Balla (1871–1958) Italian artist

(Manuscript, 1914); as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 148
Futurist Manifesto of Men's clothing,' 1913/1914

Yury Dombrovsky photo
Homér photo
William Hogarth photo
Isa Genzken photo
Maneka Gandhi photo

“For many years, the country has believed these pesticides are vital to keeping away starvation, to advance the green revolution. The main concern was food production and disease control - not public health safety. Some of us believe this must change, but it... will take some time.”

Maneka Gandhi (1956) Indian politician and activist

Commenting on a pesticide-poisoning incident, "Where Toxic Pesticides Seep Into Everyday Life" http://articles.philly.com/1990-09-23/news/25879516_1_hazardous-pesticides-pesticide-action-network-indian-village, The Philadelphia Inquirer (23 September 1990)
1981-1990

Leigh Brackett photo
John Gray photo
Robert Southey photo

“It was a summer evening,
Old Kaspar's work was done,
And he before his cottage door
Was sitting in the sun,
And by him sported on the green
His little grandchild Wilhelmine.”

Robert Southey (1774–1843) British poet

St. 1.
The Battle of Blenheim http://www.poetry-archive.com/s/the_battle_of_blenheim.html (1798)

Umberto Boccioni photo

“It will be readily admitted that brown tints have never coursed beneath our skin; it will be discovered that yellow shines forth in our flesh, that red blazes, and that green, blue and violet dance upon it with untold charms, voluptuous and caressing.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 136.
1910, Manifesto of Futurist Painters,' April 1910

James Howard Kunstler photo
Nicholas Sparks photo
Letitia Elizabeth Landon photo
Georges Seurat photo

“Rood was in my possession the day after the appearance of Philippe Gille's book review, published by 'Le Figaro', 1881 (change of palette). I abandon earth colors from [18]82 to 1884. On Pissarro's advice I stop using emerald green”

Georges Seurat (1859–1891) French painter

1885
Rood etait en ma possession le lendemain du jour oil paru la revue biblio graphique de Philippe Gille, collection du Figaro 1881 [changement de palette]. J'abandonne les terres en 82 a 1884. Sur le conseil de Pissarro je lache le verr emeraud (1885
Quotes, 1881 - 1890, Letter to Félix Fénéon', June 1890

James Gates Percival photo

“Theirs is no vulgar sepulchre--green sods
Are all their monument, and yet it tells
A nobler history than pillared piles
Or the eternal pyramids.”

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

"The Graves of the Patriots," first published in the United States Literary Gazette, Vol. 2 (1825).

Edwin Arlington Robinson photo
Akira Toriyama photo
Théodore Rousseau photo

“Do you see all those beautiful trees there? I sketched them all thirty years ago; I have had all their portraits. Look at that beech there, the sun lights it up and makes of it a marble column, a column that has muscles, limbs, hands and a fair skin, white and pallid... See the modest green of the heath and its plants, rosy, amaranthine, which distil honey for the bees and fragrance for the butterflies. The sun lights them up and gives them a diapason of extraordinary color. Ah, the sun..”

Théodore Rousseau (1812–1867) French painter (1812-1867)

Quote of Th. Rousseau, Sept. 1867; recorded by fr:Alfred Sensier; as cited by Charles Sprague Smith, in Barbizon days, Millet-Corot-Rousseau-Barye; publisher, A. Wessels Company, New York, July 1902, p. 164
In September 1867 (two months before Rousseau’s death, when already half paralyzed), Th. Rouseau took a ride with Sensier to look once more at the heather. He was pointing to the Sully, a giant of the wood
1851 - 1867

Jopie Huisman photo

“In 1946 it was the first time I saw a Van Gogh, a painting from his years in France. It was excactly what I had always felt here [in the fields of Friesland]: infinity, the unimaginable. I was bewildered and thought: who has been painting here for God's sake? Pink stripes in a green sky, you can't imagine! Ultramarine and carmine in the soil with a big yellow sun behind it..”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: In 1946 zag ik voor het eerst een Van Gogh, uit z'n Franse tijd. Dàt was wat ik hier [in Friesland] altijd gevoeld had: de oneindigheid, het onvoorstelbare. Ik was verbouwereerd, [en] dacht: wie is hier in godsnaam bezig geweest? Roze strepen in een groene lucht, moet je es nagaan. Ultramarijn en karmijn in de bodem, een grote gele zon erachter..
Mens & Gevoelens: Jopie Huisman', 1993

Fred Astaire photo

“A four wood I hit on the 13th hole at Bel Air Country Club in June of 1945. It landed right on the green and rolled into the cup for a hole in one.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

Fred Astaire on his proudest achievement in Lewis, Jerry D. "Interview : Fred Astaire." Glendale Federal Magazine, Summer 1982, pp. 8-10. (M).

Nasreddin photo

“Knowledge is like the carrot, few know by looking at the green top that the best part, the orange part, is there. Like the carrot, if you don't work for it, it will wither away and rot. And finally, like the carrot, there are a great many donkeys and jackasses that are associated with it.”

Nasreddin (1208–1284) philosopher, Sufi and wise man from Turkey, remembered for his funny stories and anecdotes

Dan Keding, Elder Tales: stories of wisdom and courage from around the world (2008), ISBN 1591585945, p. 151

Paul Gabriël photo

“Although I can look a bit grumpy myself, I love it when the sun shines in the water, but besides that I think my country is colored and what I particularly noticed when I came from abroad: our country is colored sappy fat, that's why our beautiful- colored and built cattle, their flesh, milk and butter, nowhere you can find this, but they [the cows] are also fed by that sappy, greasy and colored land - I have often heard strangers say, those Dutch painters all paint gray and their land is green.... the more I observe the more colored and transparent nature becomes and then the air seen altogether, something very different and yet so [strong] in harmony, it is delightful when one has learned to see, because that too must be learned, I repeat, our country is not gray, even not in gray weather, the dunes aren't gray either.”

Paul Gabriël (1828–1903) painter (1828-1903)

translation from the Dutch original: Fons Heijnsbroek
version in original Dutch / citaat van Paul Gabriël, in Nederlands: Alhoewel ik er zelf wat knorrig uit kan zien houd ik er veel van dat het zonnetje in het water schijnt, maar buiten dat ik vind mijn land gekleurd en wat mij bijzonder opviel wanneer ik uit den vreemde kwam: ons land is gekleurd sappig vet, vandaar onze schoone gekleurde en gebouwde runderen, hun vleesch melk en boter, nergens vind men dat zoo maar ze worden ook door dat sappige vette en gekleurde land gevoed - ik heb vreemdelingen dikwijls horen zeggen, die Hollandsche schilders schilderen allemaal grijs en hun land is groen.. ..hoe meer ik opserveer hoe gekleurder en transparanter de natuur word en dan de lucht erbij gezien een heel ander iets en toch zoo in harmonie, het is verrukkelijk wanneer men heeft leeren zien, want ook dat moet geleerd worden, ik herhaal het ons land is niet grijs, zelfs niet bij grijs weer, de duinen zijn ook niet grijs.
written note of Paul Gabriël, 1901; as cited in De Haagse School. Hollandse meesters van de 19de eeuw, ed. R. de Leeuw, J. Sillevis en C. Dumas); exhibition. cat. - Parijs, Grand Palais / Londen, Royal Academy of Arts / Den Haag, Haags Gemeentemuseum, Parijs, Londen, Den Haag 1983, p.183 - 23
after 1900

Arthur Symons photo
Van Morrison photo

“Look at the ivy on the cold clinging wall
Look at the flowers and the green grass so tall
It's not a matter of when push comes to shove
It's just an hour on the wings of a dove.”

Van Morrison (1945) Northern Irish singer-songwriter and musician

Warm Love
Song lyrics, Hard Nose the Highway (1973)

Van Jones photo
Henry Wadsworth Longfellow photo
Harvey Milk photo
Dion Boucicault photo
Cristoforo Colombo photo
Yves Klein photo
John Constable photo
Robert Burns photo
Michael Shea photo
Rod McKuen photo

“Jean, Jean, roses are red
All the leaves have gone green
And the clouds are so low
You can touch them, and so
Come out to the meadow, Jean.”

Rod McKuen (1933–2015) American poet, songwriter, composer, and singer

Music to The Prime of Miss Jean Brodie (1968)

Letitia Elizabeth Landon photo
Montesquieu photo
Stewart Lee photo
Tommy Douglas photo
Statius photo

“Wonderful but true! Shall future progeny of men believe, when crops grow again and this desert shall once more be green, that cities and peoples are buried below and that an ancestral countryside vanished in a common doom? Nor does the summit yet cease its deadly thrust.”
Mira fides! credetne virum ventura propago, cum segetes iterum, cum iam haec deserta virebunt, infra urbes populosque premi proavitaque tanto rura abiisse mari? necdum letale minari cessat apex.

iv, line 81
Silvae, Book IV

Milton Friedman photo
Patricia Conde photo

“I don't have counsel, I have more idioms as: Don't come to monkey mother with green bananas.”

Patricia Conde (1979) Spanish actress

No soy de consejos, soy más de frases hechas como: A mamá mono no le vengas con bananas verdes.
blog oficial Patricia Conde

Theo van Doesburg photo
Jack Vance photo
Peter Greenaway photo
Charles Perrault photo
Will Cuppy photo
Letitia Elizabeth Landon photo
Menina Fortunato photo
Edvard Munch photo
Ernst Gombrich photo
John Prescott photo

“The Green Belt is a Labour achievement — and we mean to build on it.”

John Prescott (1938) Deputy Prime Minister of the United Kingdom (1997–2007)

Remark on BBC Radio (19 January 1998), quoted in "Passing Comment", The Times (31 January 1998)

William Carlos Williams photo

“Among
of
green stiff
old
bright broken
branch
come white
sweet
May again”

"The Locust Tree in Flower"
An Early Martyr and Other Poems (1935)

Wassily Kandinsky photo

“First I will make different color tests: I will study the dark – deep blue, deep violet, deep dirty green, etc. Often I see the colors before my eyes. Sometimes I imitate with my lips the deep sounds of the trumpet – then I see various deep mixtures which the word is uncapable od conceiving and which the palette can only feebly reproduce.”

Wassily Kandinsky (1866–1944) Russian painter

Quote in Kandinsky's letter to Gabriele Münter, 1915; as cited in Schönberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 16 note 54
1910 - 1915

John Gray photo
Toni Morrison photo
Victor Villaseñor photo

“It was from this day on that I began to notice a real difference between our vaqueros on the ranch from Mexico and the gringo cowboys. The American cowboys always seemed so ready to act rough and tough, wanting to “break” the horse, cow, or goat or anything else. Where, on the other hand, our vaqueros—who used the word “amanzar,” meaning to make “tame,” for dealing with horses—had a whole different attitude towards everything. To “break” a horse, for the cowboys, actually, really meant to take a green, untrained horse and rope him, knock him down, saddle him while he fought to get loose, then mount him as he got up on all four legs, and ride the living hell out of the horse until you tired him out, taught him who was boss, and “broke” his spirit. To “amanzar” a horse, on the other hand, was a whole other approach that took weeks of grooming, petting, and leading the green horse around in the afternoon with a couple of well-trained horses. Then, after about a month, you began to put a saddle on the horse and tie him up in shade in the afternoon for a couple of hours until, finally, the saddle felt like just a natural part of him. Then, and only then, did a person finally mount the horse, petting and sweet-talking him the whole time, and once more the green horse was taken on a walk between two well-trained horses.”

Victor Villaseñor (1940) American writer

Burro Genius: A Memoir (2004)

Thomas Sackville, 1st Earl of Dorset photo

“Then here’s to the oak, the brave old oak,
Who stands in his pride alone!
And still flourish he, a hale green tree,
When a hundred years are gone!”

Henry Fothergill Chorley (1808–1872) English literary, art and music critic and editor

The brave old Oak (lyrics, 1837).

Elizabeth May photo
Mark Satin photo
Dylan Thomas photo

“When all my five and country senses see,
The fingers will forget green thumbs and mark
How, through the halfmoon's vegetable eye,
Husk of young stars and handfull zodiac,
Love in the frost is pared and wintered by.”

Dylan Thomas (1914–1953) Welsh poet and writer

" When All My Five And Country Senses See http://www.poetryconnection.net/poets/Dylan_Thomas/1149" (1939)

Wallace Stevens photo
Frederick Goddard Tuckerman photo
Sidney Lanier photo