Quotes about handful
page 41

Quentin Crisp photo
Madonna photo

“No man can have sex with anyone but me and since I don't have that kind of time on my hands, you might as well all be gay!”

Madonna (1958) American singer, songwriter, and actress

(Joked during Johnjay and Rich interview, 11 April '08).

David Brewster photo
Arthur Schopenhauer photo
Mordehai Milgrom photo
Nathaniel Lindley, Baron Lindley photo
Ben Croshaw photo

“Winning the lottery is like slipping your hand into the bra of the most beautiful woman in the world, then getting it stuck and having to saw it off at the wrist.”

Ben Croshaw (1983) English video game journalist

Source: Fullyramblomatic Novels, Articulate Jim: A Search For Something, Chapter Eight

Ian Paisley photo

“"I say to the Dublin government, Mr Faulkner says it's "hands across the border to Dublin". I say, if they don't behave themselves in the South, it will be shots across the border!"”

Ian Paisley (1926–2014) Politician and former church minister

In responce to Northern Ireland Prime Minister Brian Faulkner's sigining of the Sunningdale Agreement with the Republic of Ireland in 1974 http://www.youtube.com/watch?v=FjLsPDLzbBI

Joel Fuhrman photo

“While the spoken word can travel faster, you can’t take it home in your hand. Only the written word can be absorbed wholly at the convenience of the reader.”

Kingman Brewster, Jr. (1919–1988) American diplomat

The Enduring American Press (October 1964) edited by The Hartford Courant

Albert Szent-Györgyi photo

“It is impossible to encircle the hips of a girl with my right arm and hold her smile in my left hand, then proceed to study the two items separately. Similarly, we can not separate life from living matter, in order to study only living matter and its reactions. Inevitably, studying living matter and its reactions, we study life itself”

Albert Szent-Györgyi (1893–1986) Hungarian biochemist who won the Nobel Prize in Physiology or Medicine in 1937

Mi è impossibile cingere i fianchi di una ragazza con il mio braccio destro e serrare il suo sorriso nella mia mano sinistra, per poi tentare di studiare i due oggetti separatamente. Allo stesso modo, non ci è possibile separare la vita dalla materia vivente, allo scopo di studiare la sola materia vivente e le sue reazioni. Inevitabilmente, studiando la materia vivente e le sue reazioni, studiamo la vita stessa.
The Nature of Life, Academic press, 1948.

Derren Brown photo
David Harvey photo

“The accumulation of capital and misery go hand in hand, concentrated in space.”

David Harvey (1935) British anthropologist

Source: The Limits To Capital (2006 VERSO Edition), Chapter 13, Crisis In The Space Economy Of Capitalism, p. 418

Phil Collins photo
John Dickinson photo

“Then join hand in hand, brave Americans all!
By uniting we stand, by dividing we fall.”

John Dickinson (1732–1808) American politician

The Liberty Song (1768).

John Harvey Kellogg photo
Nicole Krauss photo

“Franz Kafka is dead.He died in a tree from which he wouldn't come down. "Come down!" they cried to him. "Come down! Come down!" Silence filled the night, and the night filled the silence, while they waited for Kafka to speak. "I can't," he finally said, with a note of wistfulness. "Why?" they cried. Stars spilled across the black sky. "Because then you'll stop asking for me." The people whispered and nodded among themselves. […] They turned and started for home under the canopy of leaves. Children were carried on their fathers' shoulders, sleepy from having been taken to see who wrote his books on pieces of bark he tore off the tree from which he refused to come down. In his delicate, beautiful, illegible handwriting. And they admired those books, and they admired his will and stamina. After all: who doesn't wish to make a spectacle of his loneliness? One by one families broke off with a good night and a squeeze of the hands, suddenly grateful for the company of neighbors. Doors closed to warm houses. Candles were lit in windows. Far off, in his perch in the trees, Kafka listened to it all: the rustle of the clothes being dropped to the floor, or lips fluttering along naked shoulders, beds creaking along the weight of tenderness. That night a freezing wind blew in. When the children woke up, they went to the window and found the world encased in ice.”

Source: The History of Love (2005), P. 187

Herbert Spencer photo

“What is essential to the idea of a slave? We primarily think of him as one who is owned by another. To be more than nominal, however, the ownership must be shown by control of the slave's actions — a control which is habitually for the benefit of the controller. That which fundamentally distinguishes the slave is that he labours under coercion to satisfy another's desires. The relation admits of sundry gradations. Remembering that originally the slave is a prisoner whose life is at the mercy of his captor, it suffices here to note that there is a harsh form of slavery in which, treated as an animal, he has to expend his entire effort for his owner's advantage. Under a system less harsh, though occupied chiefly in working for his owner, he is allowed a short time in which to work for himself, and some ground on which to grow extra food. A further amelioration gives him power to sell the produce of his plot and keep the proceeds. Then we come to the still more moderated form which commonly arises where, having been a free man working on his own land, conquest turns him into what we distinguish as a serf; and he has to give to his owner each year a fixed amount of labour or produce, or both: retaining the rest himself. Finally, in some cases, as in Russia before serfdom was abolished, he is allowed to leave his owner's estate and work or trade for himself elsewhere, under the condition that he shall pay an annual sum. What is it which, in these cases, leads us to qualify our conception of the slavery as more or less severe? Evidently the greater or smaller extent to which effort is compulsorily expended for the benefit of another instead of for self-benefit. If all the slave's labour is for his owner the slavery is heavy, and if but little it is light. Take now a further step. Suppose an owner dies, and his estate with its slaves comes into the hands of trustees; or suppose the estate and everything on it to be bought by a company; is the condition of the slave any the better if the amount of his compulsory labour remains the same? Suppose that for a company we substitute the community; does it make any difference to the slave if the time he has to work for others is as great, and the time left for himself is as small, as before? The essential question is—How much is he compelled to labour for other benefit than his own, and how much can he labour for his own benefit? The degree of his slavery varies according to the ratio between that which he is forced to yield up and that which he is allowed to retain; and it matters not whether his master is a single person or a society. If, without option, he has to labour for the society, and receives from the general stock such portion as the society awards him, he becomes a slave to the society.”

Herbert Spencer (1820–1903) English philosopher, biologist, sociologist, and prominent classical liberal political theorist

The Man versus the State (1884), The Coming Slavery

James Weldon Johnson photo

“With his head in his hands,
God thought and thought,
Till he thought: I'll make me a man!”

James Weldon Johnson (1871–1938) writer and activist

The Creation, st. 10.
God's Trombones: Seven Negro Sermons in Verse (1927)

Horace Smith photo
Henry Wadsworth Longfellow photo
Oliver Cowdery photo
Dugald Stewart photo

“The Christian belief in heaven originated after the death of Jesus with the idea that he had been taken up into heaven or exalted to the right hand of God.”

Albert Nolan (1934) South African priest and activist

Source: Jesus Before Christianity: The Gospel of Liberation (1976), p. 46.

Jerzy Vetulani photo
David Lloyd George photo

“We must make, if we can, an enduring peace. That is why I feel so strongly regarding the proposal to hand over two million Germans to the Poles, who are an inferior people so far as concerns the experience and capacity for government. We do not want to create another Alsace-Lorraine.”

David Lloyd George (1863–1945) Former Prime Minister of the United Kingdom

Quoted in Lord Riddell's diary entry (28 March 1919), J. M. McEwen (ed.), The Riddell Diaries 1908-1923 (London: The Athlone Press, 1986), p. 262
Prime Minister

Montesquieu photo

“In every government there are three sorts of power: the legislative; the executive in respect to things dependent on the law of nations; and the executive in regard to matters that depend on the civil law.
By virtue of the first, the prince or magistrate enacts temporary or perpetual laws, and amends or abrogates those that have been already enacted. By the second, he makes peace or war, sends or receives embassies, establishes the public security, and provides against invasions. By the third, he punishes criminals, or determines the disputes that arise between individuals. The latter we shall call the judiciary power, and the other, simply, the executive power of the state.
When the legislative and executive powers are united in the same person, or in the same body of magistrates, there can be no liberty; because apprehensions may arise, lest the same monarch or senate should enact tyrannical laws, to execute them in a tyrannical manner.
Again, there is no liberty if the judiciary power be not separated from the legislative and executive. Were it joined with the legislative, the life and liberty of the subject would be exposed to arbitrary control; for the judge would be then the legislator. Were it joined to the executive power, the judge might behave with violence and oppression.
There would be an end of every thing, were the same man, or the same body, whether of the nobles or of the people, to exercise those three powers, that of enacting laws, that of executing the public resolutions, and of trying the causes of individuals.
The executive power ought to be in the hands of a monarch, because this branch of government, having need of dispatch, is better administered by one than by many: on the other hand, whatever depends on the legislative power, is oftentimes better regulated by many than by a single person.
But, if there were no monarch, and the executive power should be committed to a certain number of persons, selected from the legislative body, there would be an end of liberty, by reason the two powers would be united; as the same persons would sometimes possess, and would be always able to possess, a share in both.”

Book XI, Chapter 6.
The Spirit of the Laws (1748)
Source: Esprit des lois (1777)/L11/C6 - Wikisource, fr.wikisource.org, fr, 2018-07-07 https://fr.wikisource.org/wiki/Esprit_des_lois_(1777)/L11/C6,

Peter Paul Rubens photo

“[were I] not detained here by age and by the gout which renders me useless, I should go there to enjoy with my own eyes and admire the perfection of such worthy works.... [I pray] look upon all the marvels of your hand.... before I close my eyes forever.”

Peter Paul Rubens (1577–1640) Flemish painter

In a letter to Francois Duquesnoy, 1639-1640 ; as quoted in Rembrandts Eyes', by w:Simon Schrama, Alfred A. Knopf, Borzoi Books, New York 1999, p. 180
The sculptor Francois Duquesnoy, then living drawing heightened with in Rome, had sent him models of work done for a tomb monument, Windsor Castle, Rubens praised them with his usual expansive generosity. Rubens had begun to resign himself to his end, but could write still some letters
1625 - 1640

William Cullen Bryant photo
Samuel Taylor Coleridge photo
Oliver E. Williamson photo
Josh Billings photo
Stephenie Meyer photo

“I held you in my hand, Wanderer. And you were so beautiful.”

Ian O'Shea to Wanderer, p. 605
The Host (2008)

Hugo Chávez photo

“The world has an offer for everybody but it turned out that a few minorities--the descendants of those who crucified Christ, the descendants of those who expelled Bolivar from here and also those who in a certain way crucified him in Santa Marta, there in Colombia--they took possession of the riches of the world, a minority took possession of the planet’s gold, the silver, the minerals, the water, the good lands, the oil, and they have concentrated all the riches in the hands of a few; less than 10 percent of the world population owns more than half of the riches of the world.”

Hugo Chávez (1954–2013) 48th President of Venezuela

Chavez is invoking a Christian metaphor to condemn capitalism in this Christmas address, December 24, 2005, which some commentators have taken to be a reference to the Jews. http://www.gobiernoenlinea.gob.ve/docMgr/sharedfiles/Chavez_visita_Centro_Manantial_de_los_suenos24122005.pdf http://bostonreview.net/BR34.4/lomnitz_sanchez.php http://fair.org/take-action/media-advisories/editing-chavez-to-manufacture-a-slur/
2005

Frederick York Powell photo

“Poor playthings of the man that's gone,
Surely we would not have them thrown,
Like wreckage on a barren strand,
The prey of every greedy hand.”

Frederick York Powell (1850–1904) British historian

"On a Certain Auction in 1897"
Actually 1898, of the personal effects of Lewis Carroll
Frederick York Powell, a life and a selection from his letters and occasional writings http://www.archive.org/stream/frederickyorkpow02eltouoft/frederickyorkpow02eltouoft_djvu.txt

Jimi Hendrix photo
Muhammad bin Qasim photo
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)

Vladimir Lenin photo
The Mother photo
Arshile Gorky photo

“About a hundred and ninety-four feet away from our house [Gorky was born in Armenia] on the road to the spring, my father had a little garden with a few apple trees which had retired from giving fruit. There was a ground constantly in shade where grew incalculable amounts of wild carrots, and porcupines had made their nests. There was a blue rock half buried in the black earth with a few patches of moss placed here and there like fallen clouds. But from where came all the shadows in constant battle like the lancers of w:Paolo Ucello's painting? This garden was identified as the Garden of Wish Fulfilment and often I had seen my mother and other village women opening their bosoms and taking out their soft breasts in their hands to rub them on the rock. Above this all stood an enormous tree all bleached under the sun, the rain, the cold, and deprived of leaves. This was the Holy Tree. I myself don't know why this tree was holy but I had witnessed many people, whoever did pass by, that would tear voluntarily a strip of their clothes and attach this to the tree. Thus through many years of the same ac, like a veritable parade of banners under the pressure of wind all these personal inscriptions of signatures, very softly to my innocent ear used to give echo to the sh-h—h-sh—h of silver leaves of the poplars.”

Arshile Gorky (1904–1948) Armenian-American painter

Source: posthumous, Astract Expressionist Painting in America, p. 124, (in Gorky Memorial Exhibition, Schwabacher pp. 22,23

Algis Budrys photo
George Dantzig photo
Abul A'la Maududi photo
James Madison photo
Giorgio Vasari photo

“Men of genius sometimes accomplish most when they work the least, for they are thinking out inventions and forming in their minds the perfect idea that they subsequently express with their hands”

Giorgio Vasari (1511–1574) Italian painter, architect, writer and historian

Often attributed to Giorgio Vasari, while in the text Vasari attributes these words to Leonardo da Vinci in: Giorgio Vasari. Lives of the Most Eminent Painters, Sculptors and Architects as translated by Mrs. Jonathan Foster (1852), Vol. 2;
Misattributed

Immanuel Kant photo
Miyamoto Musashi photo
Max Weber photo
Robert Graves photo
Kamisese Mara photo
Daniel Defoe photo
Veronica Roth photo

“I thought about reaching out with my authorial hand and snatching her from that awful situation. I thought about it and I agonized over it. But to me, that felt dishonest and emotionally manipulative. This was the end she had chosen, and I felt she had earned an ending that was as powerful as she was.”

Veronica Roth (1988) American author

About the End of Allegiant (SPOILERS), Roth, Veronica, Veronica Roth, October 28, 2013, November 3, 2013 http://veronicarothbooks.blogspot.com/2013/10/about-end-of-allegiant-spoilers.html,

Sylvia Plath photo
Sri Aurobindo photo
Thiruvalluvar photo
Tommy Franks photo
André Breton photo
Winston S. Churchill photo
Lucio Russo photo
Charles Taze Russell photo
Ayumi Hamasaki photo

“How many times have I lost my way?
Every time, the one who gave me a hand
Was you.”

Ayumi Hamasaki (1978) Japanese recording artist, lyricist, model, and actress

Voyage
Lyrics, Rainbow

Henry Kirke White photo

“O Lord, another day has flown,And we, a lonely band, Are met once more before thy throne, To bless thy fostering hand”

Henry Kirke White (1785–1806) English poet

Opening quatrain from White's hymn A Hymn of Family Worship The Poetical Works of Henry Kirke White, Pickering London 1855.
Other

Dorothy Parker photo

“Van and Schenck put their songs over so skillfully that it isn’t until their act is all done that you realize what extremely indifferent songs they are. Now, when John Steel is singing, on the other hand, you are never fooled for a moment. p.153”

Dorothy Parker (1893–1967) American poet, short story writer, critic and satirist

Dorothy Parker: Complete Broadway, 1918–1923 (2014) https://openlibrary.org/books/OL25758762M/Dorothy_Parker_Complete_Broadway_1918-1923, Chapter 3: 1920

Hermann Rauschning photo
Alexander Maclaren photo

“Seekest thou a place at my right hand? Nay, I give thee a more wondrous dignity. "To him that overcometh will I grant to sit with me in my throne."”

Alexander Maclaren (1826–1910) British minister

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 432.

Klaus Barbie photo

“If I think of all those homosexuals in Germany today, I think I'd hand my German passport back, if I had one.”

Klaus Barbie (1913–1991) SS-Hauptsturmführer, soldier and Gestapo member

Quoted in "Klaus Barbie, the "Butcher of Lyons" - Page 23 - by Tom Bower - Biography & Autobiography - 1984

George Rogers Clark photo

“I carry in my right hand war, and peace in my left… Here is a bloody belt and a white one. Take which you please.”

George Rogers Clark (1752–1818) American general

Clark, Speech to the Indian Chiefs at Cahokia (1778) http://www.kdla.ky.gov/resources/KYGRClark.htm

Ahmad Sirhindi photo
Firuz Shah Tughlaq photo

“Firuz Shah Tughlaq organised an industry out of catching slaves. Shams-i-Siraj Afif writes in his Tarikh-i-Firuz Shahi: “The Sultan commanded his great fief-holders and officers to capture slaves whenever they were at war (that is, suppressing Hindu rebellions), and to pick out and send the best for the service of the court. The chiefs and officers naturally exerted themselves in procuring more and more slaves and a great number of them were thus collected. When they were found to be in excess, the Sultan sent them to important cities… It has been estimated that in the city and in the various fiefs, there were 1,80,000 slaves… The Sultan created a separate department with a number of officers for administering the affairs of these slaves.”. Firuz Shah beat all previous records in his treatment of the Hindus… He records another instance in which Hindus who had built new temples were butchered before the gate of his palace, and their books, images, and vessels of Worship were publicly burnt. According to him “this was a warning to all men that no zimmi could follow such wicked practices in a Musulman country”. Afif reports yet another case in which a Brahmin of Delhi was accused of “publicly performing idol-worship in his house and perverting Mohammedan women leading them to become infidels”. The Brahmin “was tied hand and foot and cast into a burning pile of faggots.””

Firuz Shah Tughlaq (1309–1388) Tughluq sultan

The historian who witnessed this scene himself expresses his satisfaction by saying, “Behold the Sultan’s strict adherence to law and rectitude, how he would not deviate in the least from its decrees.”
Quoted from Goel, Sita Ram (2001). The story of Islamic imperialism in India. ISBN 9788185990231

Peter Greenaway photo
Francisco De Goya photo
Vladimir I. Arnold photo
Theodor Reuss photo
Fannie Lou Hamer photo

“With the people, for the people, by the people. I crack up when I hear it; I say, with the handful, for the handful, by the handful, 'cause that's what really happens.”

Fannie Lou Hamer (1917–1977) American civil rights activist (October 6, 1917 – March 14, 1977)

As quoted in This Little Light of Mine, ch. 8, by Hay Mills (1993).

Henry Van Dyke photo
Adolf Eichmann photo

“I loved playing an open hand against all the Jewish political functionaries … For me, 'open hand' is a winged word.”

Adolf Eichmann (1906–1962) German Nazi SS-Obersturmbannführer

As quoted in Eichmann Before Jerusalem by Bettina Stangneth (2015).

William Burges photo

“Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

William Morris photo
Julian of Norwich photo
William Hazlitt photo
Suzanne Collins photo
Rudy Giuliani photo

“Iraq may get better; Iraq may get worse. We may be successful in Iraq; we may not be. I don’t know the answer to that. That’s in the hands of other people. But what we do know for sure is the terrorists are going to be at war with us a year, a year and a half from now.”

Rudy Giuliani (1944–2001) American businessperson and politician, former mayor of New York City

News conference (12 June 2007); as quoted in "Giuliani Sets Forth a Dozen Priorities for His Presidency" in The New York Times (13 June 2007) http://www.nytimes.com/2007/06/13/us/politics/13giuliani.html?_r=1&pagewanted=print&oref=slogin

Gottfried Feder photo
Suzanne Collins photo
Amy Schumer photo

“I'm the last person he called that night. I wonder, how many girls didn't answer before he got to fat freshman me? Am I in his phone as Schumer? Probably. But I was here, and I wanted to be held and touched and felt desired, despite everything. I wanted to be with him. I imagined us on campus together, holding hands, proving, "Look! I am lovable! And this cool older guy likes me!"”

Amy Schumer (1981) American comedian and actor

I can't be the troll doll I'm afraid I've become.
Ms. Foundation for Women’s Gloria Awards and Gala [Vulture, http://www.vulture.com/2014/05/read-amy-schumers-ms-gala-speech.html, May 2014, Read Amy Schumer’s Powerful Speech About Confidence, Jennifer, Vineyard]

Pablo Neruda photo

“Later on you will find buried near the coconut tree
the knife which I hid there for fear you would kill me,
and now suddenly I would be glad to smell its kitchen steel
used to the weight of your hand, the shine of your foot:
under the dampness of the ground, among the deaf roots,
in all the languages of the men only the poor will know your name,
and the dense earth does not understand your name
made of impenetrable divine substances.”

Pablo Neruda (1904–1973) Chilean poet

Enterrado junto al cocotero hallarás más tarde
el cuchillo que escodí allí por temor de que me mataras,
y ahora repentinamente quisiera oler su acero de cocina
acostumbrado al peso de tu mano y al brillo de tu pie:
bajo la humedad de la tierra, entre las sordas raíces,
de los lenguajes humanos el pobre sólo sabría tu nombre,
y la espesa tierra no comprende tu nombre
hecho de impenetrables y substancias divinas.
Tango del Viudo (The Widower's Tango), Residencia I (Residence I), III, stanza 3.
Alternate translation by Donald D. Walsh:
Buried next to the coconut tree you will later find
the knife that I hid there for fear that you would kill me,
and now suddenly I should like to smell its kitchen steel
accustomed to the weight of your hand and the shine of your foot:
under the moisture of the earth, among the deaf roots,
of all human labguages the poor thing would know only your name,
and the thick earth does not understand your name
made of impenetrable and divine substances.
Residencia en la Tierra (Residence on Earth) (1933)

Harriet Tubman photo

“I looked at my hands, to see if I was de same person now I was free. Dere was such a glory over everything, de sun came like gold trou de trees, and over de fields, and I felt like I was in heaven.”

Harriet Tubman (1820–1913) African-American abolitionist and humanitarian

On realizing that she had passed out of the slavery states into the northern states
Modernized rendition: I looked at my hands to see if I was the same person. There was such a glory over everything. The sun came up like gold through the trees, and over the fields, and I felt like I was in heaven.
1880s, Harriet, The Moses of Her People (1886)