Quotes about image

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Ancient Israel’s Faith and History: An Introduction the Bible in Context (2001)

Preface to King Arthur http://d.lib.rochester.edu/camelot/text/blackmore-king-arthur-I (1697)

Source: Art Talk, Conversations with 15 woman artists 1975, p. 77.

from Form & Value in Modern Poetry, Doubleday , New York 1957

Jewish Chronicle interview http://thejc.com/home.aspx?ParentId=m14s150&AId=57994&ATypeId=1&search=true2&srchstr=murray%20perahia&srchtxt=1&srchhead=1&srchauthor=1&srchsandp=1&scsrch=999 (8 February 2008)

On Heresies.
In, Saint John of Damascus: Writings (The Fathers of the Church, Vol. 37), 1958, 1999, Frederic H. Chase, Trans. p. 160

Source: On Aggression (1963), Ch. XII : On the Virtue of Scientific Humility
Context: We are the highest achievement reached so far by the great constructors of evolution. We are their "latest" but certainly not their last word. The scientist must not regard anything as absolute, not even the laws of pure reason. He must remain aware of the great fact, discovered by Heraclitus, that nothing whatever really remains the same even for one moment, but that everything is perpetually changing. To regard man, the most ephemeral and rapidly evolving of all species, as the final and unsurpassable achievement of creation, especially at his present-day particularly dangerous and disagreeable stage of development, is certainly the most arrogant and dangerous of all untenable doctrines. If I thought of man as the final image of God, I should not know what to think of God. But when I consider that our ancestors, at a time fairly recent in relation to the earth's history, were perfectly ordinary apes, closely related to chimpanzees, I see a glimmer of hope. It does not require very great optimism to assume that from us human beings something better and higher may evolve. Far from seeing in man the irrevocable and unsurpassable image of God, I assert – more modestly and, I believe, in greater awe of the Creation and its infinite possibilities – that the long-sought missing link between animals and the really humane being is ourselves!

February, 1932<!-- p. 51 -->
Diary entries (1914 - 1974)
Context: We don't have a language for the senses. Feelings are images, sensations are like musical sounds.

Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.

Lalanne on why he may never die in Time Magazine (14 July 1980) http://www.time.com/time/magazine/article/0,9171,948916,00.html

"Quotes", The Educated Imagination (1963), Talk 2: The Singing School
Context: [L]iterature not only leads us toward the regaining of identity, but it also separates this state from its opposite, the world we don't like and want to get away from... We have to look at the figures of speech a writer uses, his images and symbols, to realize that underneath all the complexity of human life that uneasy stare at an alien nature is still haunting us, and the problem of surmounting it is still with us.... Literature is still doing the same job that mythology did earlier, but filling in its huge cloudy shapes with sharper lights and deeper shadows.

Albert Einstein, in The World as I See It (1949) http://books.google.com/books?id=ZpdlRg2IJUcC&pg=PT32&dq=%22en+like+Democritus,+Francis+of+Assisi,+and+Spinoza+are+closely+akin+to+one+another%22&hl=en&ei=-J7LTqqNJaG90AHAir0E&sa=X&oi=book_result&ct=result&resnum=10&ved=0CGYQ6AEwCQ#v=onepage&q=%22en%20like%20Democritus%2C%20Francis%20of%20Assisi%2C%20and%20Spinoza%20are%20closely%20akin%20to%20one%20another%22&f=false
Context: The religious geniuses of all ages have been distinguished by this kind of religious feeling, which knows no dogma and no God conceived in man's image; so that there can be no church whose central teachings are based on it. Hence it is precisely among the heretics of every age that we find men who were filled with this highest kind of religious feeling and were in many cases regarded by their contemporaries as atheists, sometimes also as saints. Looked at in this light, men like Democritus, Francis of Assisi, and Spinoza are closely akin to one another.

Lecture to the Chicago chapter of the Daughters of the American Revolution (1904); later published as "The Art and Craft of the Machine" in On Architecture: Selected Writings (1894-1940) (1941) <!-- Duell, Sloan, & Pearce publishers -->
Context: If you would see how interwoven it is in the warp and woof of civilization … go at night-fall to the top of one of the down-town steel giants and you may see how in the image of material man, at once his glory and his menace, is this thing we call a city. There beneath you is the monster, stretching acre upon acre into the far distance. High over head hangs the stagnant pall of its fetid breath, reddened with light from myriad eyes endlessly, everywhere blinking. Thousands of acres of cellular tissue, the city’s flesh outspreads layer upon layer, enmeshed by an intricate network of veins and arteries radiating into the gloom, and in them, with muffled, persistent roar, circulating as the blood circulates in your veins, is the almost ceaseless beat of the activity to whose necessities it all conforms. The poisonous waste is drawn from the system of this gigantic creature by infinitely ramifying, thread-like ducts, gathering at their sensitive terminals matter destructive of its life, hurrying it to millions of small intestines to be collected in turn by larger, flowing to the great sewers, on to the drainage canal, and finally to the ocean.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 53-54

Lecture 1A, 13:45
Mythology and the Individual (1997)
Context: The image of the cosmos must change with the development of the mind and knowledge; otherwise, the mythic statement is lost, and man becomes dissociated from the very basis of his own religious experience. Doubt comes in, and so forth. You must remember: all of the great traditions, and little traditions, in their own time were scientifically correct. That is to say, they were correct in terms of the scientific image of that age. So there must be a scientifically validated image. Now you know what has happened: our scientific field has separated itself from the religious field, or vice-versa. … This divorce this is a fatal thing, and a very unfortunate thing, and a totally unnecessary thing.

As quoted in "Getting Real With Amanda Palmer" at AfterEllen (18 July 2007) http://archive.is/20120728142340/http://www.afterellen.com/people/2007/7/amandapalmer?page=0,0
Context: It makes me very sad when I find out that people who never hear our music think that we are really about image and not about substance. … I can understand why you might get that impression if you've never heard the band's music and see a photo of a guy and a girl dressed up in crazy costumes and think, "I don't need to pay attention to that — why do they need to wear those crazy clothes?" I think that's why we've constantly toured. Our live show is so intense and so substantive and emotional that it's sort of the price we have to pay for being so flamboyant — we have to prove ourselves as a rock band.

You interview (2006)
Context: I live in Victorian Gothic castle in Killiney that I was so bold as to rename Manderley, because Daphne du Maurier 's Rebecca is one of my favourite books.... People have this image of me as an ethereal Lady of Shalott, floating across the battlements, but it's a very small castle as castles go — with no big ballrooms... I don't write my music in my home, only in the studio; I want as normal life as possible at home, with dinner parties and entertaining.

Letter to Markus Fierz (1948)
Context: When one analyzes the pre-conscious step to concepts, one always finds ideas which consist of "symbolic images." The first step to thinking is a painted vision of these inner pictures whose origin cannot be reduced only and firstly to the sensual perception but which are produced by an 'instinct to imagining' and which are re-produced by different individuals independently, i. e. collectively... But the archaic image is also the necessary predisposition and the source of a scientific attitude. To a total recognition belong also those images out of which have grown the rational concepts.

Source: Biographia Literaria (1817), Ch. XIV.
Context: This power... reveals itself in the balance or reconcilement of opposite or discordant qualities: of sameness, with difference; of the general with the concrete; the idea with the image; the individual with the representative; the sense of novelty and freshness with old and familiar objects; a more than usual state of emotion with more than usual order; judgment ever awake and steady self-possession with enthusiasm and feeling profound or vehement; and while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with the poetry.

Rev. William Henry Foote, in "Cornstalk, the Shawanee Chief" in The Southern Literary Messenger Vol. 16, Issue 9, (September 1850) pp. 533-540
Context: All savages seem to us alike as the trees of the distant forest. Here and there one unites in his own person, all the excellencies, and becomes the favourable representative of the whole, the image of savage greatness, the one grand character in which all others are lost to history or observation. Cornstalk possessed all the elements of savage greatness, oratory, statesmanship and heroism, with beauty of person and strength of frame. In appearance he was majestic, in manners easy and winning. Of his oratory, Colonel Benjamin Wilson, Senr., an officer in Dunmore's army, in 1774, having heard the grand speech to Dunmore in Camp Charlotte, says — "I have heard the first orators in Virginia, Patrick Henry, Richard Henry Lee, but never have I heard one whose powers of delivery surpassed those of Cornstalk on that occasion." Of his statesmanship and bravery there is ample evidence both in the fact that he was chosen head of the Confederacy, and in the manner he conducted the war of 1774, and particularly by his directions of the battle at Point Pleasant.

Literary and Historical Miscellanies (1855), The Necessity, the Reality, and the Promise of the Progress of the Human Race (1854)
Context: The unchanging character of law is the only basis on which continuous action can rest. Without it man would be but as the traveller over endless morasses; the builder on quicksands; the mariner without compass or rudder, driven successively whithersoever changing winds may blow. The universe is the reflex and image of its Creator. "The true work of art," says Michael Angelo, "is but a shadow of the Divine perfections." We may say in a more general manner, that Beauty Itself Is But The Sensible Image Of The Infinite; that all creation is a manifestation of the Almighty; not the result of caprice, but the glorious display of his perfection; and as the universe thus produced, is always in the course of change, so its regulating mind is a living Providence, perpetually exerting itself anew. If his designs could be thwarted, we should lose the great evidence of his unity, as well as the anchor of our own hope.
Harmony is the characteristic of the intellectual system of the universe; and immutable laws of moral existence must pervade all time and all space, all ages and all worlds.

Book VI, chapter 3: "Conversations and Exhortations of Father Zossima; The Russian Monk and his possible Significance" (translated by Constance Garnett)
The Brothers Karamazov (1879–1880)
Context: Fathers and teachers, what is the monk? In the cultivated world the word is nowadays pronounced by some people with a jeer, and by others it is used as a term of abuse, and this contempt for the monk is growing. It is true, alas, it is true, that there are many sluggards, gluttons, profligates and insolent beggars among monks. Educated people point to these: “You are idlers, useless members of society, you live on the labor of others, you are shameless beggars.” And yet how many meek and humble monks there are, yearning for solitude and fervent prayer in peace! These are less noticed, or passed over in silence. And how surprised men would be if I were to say that from these meek monks, who yearn for solitary prayer, the salvation of Russia will come perhaps once more! For they are in truth made ready in peace and quiet “for the day and the hour, the month and the year.” Meanwhile, in their solitude, they keep the image of Christ fair and undefiled, in the purity of God's truth, from the times of the Fathers of old, the Apostles and the martyrs. And when the time comes they will show it to the tottering creeds of the world. That is a great thought. That star will rise out of the East.

The Hollow Men (1925)
Context: This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man's hand
Under the twinkle of a fading star.
[... ]
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
http://aduni.org/~heather/occs/honors/Notesonpoem.htm#fiftysevensixtyGathered on this beach of the tumid river
Sightless, unless
The eyes reappear http://aduni.org/~heather/occs/honors/Notesonpoem.htm#sixtyonesixtytwo
As the perpetual star
Multifoliate rose http://aduni.org/~heather/occs/honors/Notesonpoem.htm#sixtyfoursixtythree
Of death's twilight kingdom
The hope only
Of empty men.

Winter, 1931-1932 The Diary of Anaïs Nin , Volume One 1931-1934 <!-- p. 11 -->
Diary entries (1914 - 1974)
Context: I had always believed in Andre Breton's freedom, to write as one thinks, in the order and disorder in which one feels in thinks, to follow sensations and absurd correlations of events and images, to trust to the new realms they lead one into. "The cult of the marvelous." Also the cult of the unconscious leadership, the cult of mystery, the evasion of false logic. The cult of the unconscious as proclaimed by Rimbaud. It is not madness. It is an effort to transcend the rigidities and the patterns made by the rational mind.

ibid
The Rahotep series, Book 2: Tutankhamun
Context: Rhetoric is a dangerous art. It is the manipulation of the difference, one might say the distance, between truth and image [... ] And in our times, that distance has become the means by which power is exercised [... ] Rhetoric has been a force for persuasion since man began to speak, and to convince his enemy that he was indeed his friend.

Strange Horizons interview (2008)
Context: I say the entities that are named as gods by Earthians are imagined into being by Earthians as personal helper-buddies, justifiers, threateners (my god can beat up your god). They don't "run on" anything any more than a mirror image "runs on" anything. They merely reflect what people want them to be. "I want to have more children than my brother does, thus proving I'm a better man than he is, so my god tells me I should have a big family." "I want to screw women, so my god is going to give me seventy virgins I can screw for all eternity." The "gods" in The Margarets who could really do anything were actually an old, highly evolved race of real people. The others were only reflections. The real God, who may really exist, is outside all that, perhaps watching closely, perhaps merely asleep for a few trillion years while the experiment runs out.
We — thee and me as individuals — will never know that God, though after a few trillion years, the universe as a whole may come to understand that God.

Source: LSD : My Problem Child (1980), Ch. 1 : How LSD Originated
Context: Slowly I came back from a weird, unfamiliar world to reassuring everyday reality. The horror softened and gave way to a feeling of good fortune and gratitude, the more normal perceptions and thoughts returned, and I became more confident that the danger of insanity was conclusively past.
Now, little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes. Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux. It was particularly remarkable how every acoustic perception, such as the sound of a door handle or a passing automobile, became transformed into optical perceptions. Every sound generated a vividly changing image, with its own consistent form and color.

Images : My Life in Films (1990)
Context: The final scene when Death dances off with the travelers was…shot at Hovs hallar. We had packed up for the day because of an approaching storm. Suddenly, I caught sight of a strange cloud. Gunnar Fischer hastily set the camera back into place. Several of the actors had already returned to where we were staying, so a few grips and a couple of tourists danced in their place, having no idea what it was all about. The image that later became famous of the Dance of Death beneath the dark cloud was improvised in only a few minutes. That's how things can happen on the set.

Introduction : The absurdity of the Absurd
The Theatre of the Absurd (1961)
Context: The Theatre of the Absurd has renounced arguing about the absurdity of the human condition; it merely presents it in being — that is, in terms of concrete stage images. This is the difference between the approach of the philosopher and that of the poet; the difference, to take an example from another sphere, between the idea of God in the works of Thomas Aquinas or Spinoza and the intuition of God in those of St. John of the Cross or Meister Eckhart — the difference between theory and experience.

Address to the Society for Psychical Research (1897)
Context: The human creature represents the most perfect thinking and acting machine yet evolved on this earth, developing through countless ages in strict harmony with the surrounding conditions of temperature, atmosphere, light, and gravitation. The profound modifications in the human frame, which any important alteration in either of these factors would occasion, are strangely unconsidered. It is true there have been questionings as to the effects that might be occasioned by changes in temperature and atmospheric composition, but possible variations in gravitation seem almost to have escaped notice. The human body, which long experience and habit have taught us to consider in its highest development as the perfection of beauty and grace — "formed in the image of God " — is entirely conditioned by the strength of gravitation on this globe. So far as has been possible to ascertain, the intensity of gravity has not varied appreciably within those geologic ages covering the existence of animated thinking beings.

Farewell to Hollywood's Great White House Romance (2016)
Context: Nancy Reagan became first lady during the height of the feminist movement, and women who were battling for their rights in a male-dominated world saw her as an anachronism. Reagan said her life began when she met her husband. The adoring look she focused on her Ronnie when they were in public became known as "the gaze," adding to the caricature of her as a rich Hollywood socialite who did not understand the concerns of a generation of women coming into their own as professionals and seeking equality.
What her detractors failed to understand (and I was among them) was the substantive role she played behind the scenes at the White House in keeping her husband's presidency on track. She took the long view in looking after his legacy, intervening through favored surrogates to keep conservative ideologues from driving the agenda. Her insistence that no president could be considered great without reaching out to Soviet leaders trumped resistance from the right wing of the GOP.
She was fiercely protective of her husband's image, less so of her own, and she paid the price. When some of her interventions became known, particularly in the personnel department, she was cast as Lady Macbeth — even though the firings she engineered won praise. … Years later, with the benefit of hindsight and after watching Hillary Clinton's failed effort to achieve health-care reform, I came to believe Nancy Reagan deserved a fairer assessment. I wrote an op-ed piece that appeared in The Washington Post on Jan. 8, 1995, with the headline "Nancy with the centrist face: Derided as an elitist, Mrs. Reagan's impact was unequaled." I made the point that unlike Clinton, who took an office in the West Wing and was upfront about wanting to be a player, Reagan operated undercover, usually through a surrogate, and that she was a force for good. She rarely left fingerprints, but she got the job done, and her job was to play up her husband's strengths and cover for his weaknesses. She did both very well.
The piece concluded with this line: "She is without doubt an effective First Lady, and she may yet win our hearts." Soon after I received a handwritten note from Mrs. Reagan saying, "I don't really know how to say this but when something very nice comes from an unexpected source, it's really appreciated — and if you see me in a different light now, I'm happy. I can only hope one day 'to win the heart.' " Later that same year, she cooperated with a NEWSWEEK cover about her reconciliation with daughter Patti Davis, and how the president's Alzheimer's disease had brought the family together after literally decades of turmoil. Another handwritten note arrived shortly after with the lighthearted comment, "We've got to stop meeting like this!" After sharing her thoughts and emotions on her family's difficult times, Reagan said, "Hopefully I'm close to 'winning the heart.' "
In looking back at these notes, I realize how much it meant to her to gain a measure of affection after being treated so harshly in the public eye.

To the Memory of Some I knew Who are Dead and Who Loved Ireland (1917)
Context: Their dream had left me numb and cold,
But yet my spirit rose in pride,
Refashioning in burnished gold
The images of those who died,
Or were shut in the penal cell.
Here's to you, Pearse, your dream not mine,
But yet the thought, for this you fell,
Has turned life's water into wine.

Source: The Life of Poetry (1949), p. 32
Context: The poetic image is not a static thing. It lives in time, as does the poem. Unless it is the first image of the poem, it has already been prepared for by other images; and it prepares us for further images and rhythms to come. Even if it is the first image of the poem, the establishment of the rhythm prepares us — musically — for the music of the image. And if its first word begins the poem, it has the role of putting into motion all the course of images and music of the entire work, with nothing to refer to, except perhaps a title.

Burn the books — Kill the priests — Kill! Kill! Kill!
The Soft Machine (1961)
The Soft Machine (1961)

Source: 1970s, Meditations (1979), p. 105
Context: Meditation is the emptying of the mind of all thought, for thought and feeling dissipate energy. They are repetitive, producing mechanical activities which are a necessary part of existence. But they are only part, and thought and feeling cannot possibly enter into the immensity of life. Quite a different approach is necessary, not the path of habit, association and the known; there must be freedom from these. Meditation is the emptying of the mind of the known. It cannot be done by thought or by the hidden prompting of thought, nor by desire in the form of prayer, nor through the self-effacing hypnotism of words, images, hopes, and vanities. All these have to come to an end, easily, without effort and choice, in the flame of awareness.

His last message, carved onto the walls of his dungeon cell, as quoted in For Faith and Freedom (1997) by Charles A. Howe, p. 109 <!-- Skinner House Books, Boston; also quoted on their web page [LINK now DEAD 2016·03·01] about the Transylvania Unitarian Church (Archive 2007) https://web.archive.org/web/20070717180511/www.emersonhou.org/Transylvania.htm by the Emerson Unitarian Universalist Church, Houston -->
Context: Neither the sword of popes, nor the cross, nor the image of death — nothing will halt the march of truth. I wrote what I felt and that is what I preached with trusting spirit. I am convinced that after my destruction the teachings of false prophets will collapse.

Narration for Crash! (1971), a short film by Harley Cokeliss
Context: I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape. The sense of violence and desire, power and energy; the shared experience of moving together through an elaborately signalled landscape.
We spend a substantial part of our lives in the motor car, and the experience of driving condenses many of the experiences of being a human being in the 1970s, the marriage of the physical aspects of ourselves with the imaginative and technological aspects of our lives. I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death.

The Magic of Images: Word and Picture in a Media Age (2004)
Context: As a classroom teacher for over thirty years, I have become increasingly concerned about evidence of, if not cultural decline, then cultural dissipation since the 1960s, a decade that seemed to hold such heady promise of artistic and intellectual innovation. Young people today are flooded with disconnected images but lack a sympathetic instrument to analyze them as well as a historical frame of reference in which to situate them. I am reminded of an unnerving scene in Stanley Kubrick's epic film, 2001: A Space Odyssey, where an astronaut, his air hose cut by the master computer gone amok, spins helplessly off into space. The new generation, raised on TV and the personal computer but deprived of a solid primary education, has become unmoored from the mother ship of culture. Technology, like Kubrick's rogue computer, Hal, is the companionable servant turned ruthless master. The ironically self-referential or overtly politicized and jargon-ridden paradigms of higher education, far from helping the young to cope or develop, have worsened their vertigo and free fall. Today's students require not subversion of rationalist assumptions -- the childhood legacy of intellectuals born in Europe between the two World Wars -- but the most basic introduction to structure and chronology. With out that, they are riding the tail of a comet in a media starscape of explosive but evanescent images.

Gandhi's Truth : On the Origins of Militant Nonviolence (1969), Prologue : Echoes of an Event, p. 39
Context: All world-images are apt to become corrupt when left to ecclesiastic bureaucracies. But this does not make the formation of world-images expendable. And I can only repeat that we deny the remnants of old-world images at our own risk, because we do not overcome them by declaring them — with all the righteousness of skepticism — something of a secret sin. They are not less powerful for being denied.

22 min 35 sec
Cosmos: A Personal Voyage (1990 Update), Who Speaks for Earth? [Episode 13]
Context: Our global civilisation is clearly on the edge of failure and the most important task it faces, preserving the lives and well-being of its citizens and the future habitability of the planet. But if we're willing to live with the growing likelihood of nuclear war shouldn't we also been willing to explore vigorously every possible means to prevent nuclear war. Shouldn't we consider in every nation major changes in the traditional ways of doing things, a fundamental restructuring of economic political social and religious institutions. We've reached a point where there can be no more special interests or special cases, nuclear arms threaten every person on the Earth. Fundamental changes in society are sometimes labelled impractical or contrary to human nature, as if nuclear war were practical or as if there's only one human nature. But fundamental changes can clearly be made, we're surrounded by them. In the last two centuries abject slavery which was with us for thousands of years has almost entirely been eliminated in a stirring worldwide revolution. Women, systematically mistreated for millennia are gradually gaining the political and economic power traditionally denied them and some wars of aggression have recently been stopped or curtailed because of a revulsion felt by the people in the aggressor nations. The old appeals to racial, sexual, and religious chauvinism and to rabid nationalist fervor are beginning not to work. A new consciousness is developing which sees the earth as a single organism and recognizes that an organism at war with itself is doomed. We are one planet. One of the great revelations of the age of space exploration is the image of the earth finite and lonely, somehow vulnerable, bearing the entire human species through the oceans of space and time.

Notes Toward a Supreme Fiction (1942), It Must Be Abstract
Context: p>He is and may be but oh! He is, he is,
This foundling of the infected past, so bright,
So moving in the manner of his hand. Yet look not at his colored eyes. Give him
No names. Dismiss him from your images.
The hot of him is purest in the heart. </p

The Paris Review interview (1984)
Context: Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.) Similarly, in my play The New Tenant, there is no speech, or rather, the speeches are given to the Janitor. The Tenant just suffocates beneath proliferating furniture and objects — which is a symbol of death. There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.

World War Z
Context: Attack. When I first heard that word, my gut reaction was, "oh shit". Does that surprise you? Of course it does. You probably expected "the brass" to be just champing at that bit, all that blood and guts, "hold 'em by the nose while we kick 'em in the ass" crap. I don't know who created the stereotype hard-charging, dim-witted, high school football coach of a general officer. Maybe it was Hollywood, or the civilian press, or maybe we did it to ourselves, by allowing those insipid, egocentric clowns- the MacArthurs and Halseys and Curtis E. LeMays- to define our image to the rest of the country. Point is, that's the image of those in uniform, and it couldn't be further from the truth.

Address to the British Association for the Advancement of Science (1898)
Context: No incident in my scientific career is more widely known than the part I took many years ago in certain psychic researches. Thirty years have passed since I published an account of experiments tending to show that outside our scientific knowledge there exists a Force exercised by intelligence differing from the ordinary intelligence common to mortals. This fact in my life is, of course, well understood by those who honored me with the invitation to become your president. Perhaps among my audience some may feel curious as to whether I shall speak out or be silent. I elect to speak, although briefly. … To ignore the subject would be an act of cowardice — an act of cowardice I feel no temptation to commit.
To stop short in any research that bids fair to widen the gates of knowledge, to recoil from fear of difficulty or adverse criticism, is to bring reproach on science. There is nothing for the investigator to do but to go straight on; "to explore up and down, inch by inch, with the taper his reason; "to follow the light wherever it may lead, even should it at times resemble a will-o'-the-wisp. I have nothing to retract. I adhere to my already published statements. Indeed, I might add much thereto. I regret only a certain crudity in those early expositions which, no doubt justly, militated against their acceptance by the scientific world. My own knowledge at that time scarcely extended beyond the fact that certain phenomena new to science had assuredly occurred, and were attested by my own sober senses and, better still, by automatic record. I was like some two-dimensional being who might stand at the singular point of a Riemann's surface, and thus find himself in infinitesimal and inexplicable contact with a plane of existence not his own.
I think I see a little farther now. I have glimpses of something like coherence among the strange elusive phenomena; of something like continuity between those unexplained forces and laws already known. This advance is largely due to the labors of another association, of which I have also this year the honor to be president — the Society for Psychical Research. And were I now introducing for the first time these inquiries to the world of science I should choose a starting point different from that of old. It would be well to begin with telepathy; with the fundamental law, as I believe it to be, that thoughts and images may be transferred from one mind to another without the agency of the recognized organs of sense — that knowledge may enter the human mind without being communicated in any hitherto known or recognized ways.

As quoted in Isherwood : A Life (2004) by Peter Parker, pp. 40-41; this reminiscence is from the first draft of the biographical study Isherwood did of his parents (Huntington CI 1082: 81). The version published in Kathleen and Frank (1971), chapter 15, p. 285 differs slightly.
Context: The images which remained in the memory are not in themselves terrible or rigorous: they are of boot-lockers, wooden desks, lists on boards, name-tags in clothes — yes, the name pre-eminently; the name which in a sense makes you nameless, less individual rather than more so: Bradshaw-Isherwood, C. W. in its place on some alphabetical list; the cold daily, hourly reminder that you are not the unique, the loved, the household’s darling, but just one among many. I suppose that this loss of identity is really much of the painfulness which lies at the bottom of what is called Homesickness; it is not Home that one cries for but one’s home-self.

Jonas Sima interview <!-- p. 117 -->
Bergman on Bergman (1970)
Context: To the fanatical believer physical and spiritual suffering is beside the point, compared with salvation. That is why, to him, everything happening around him is irrelevant, a mirror-image, a mere will-o'-the-wisp. … I can really never get shot of them, the fanatics. Whether they appear as religious fanatics or vegetarian fanatics makes no odds. They're catastrophic people. These types whose whole cast of mind as it were looks beyond mere human beings toward some unknown goal. The terrible thing is the great power they often wield over their fellow human beings. Apart from the fact that I believe they suffer like the very devil, I've no sympathy for them.

1950s, Loving Your Enemies (November 1957)
Context: There is something within all of us that causes us to cry out with Ovid, the Latin poet, "I see and approve the better things of life, but the evil things I do." There is something within all of us that causes us to cry out with Plato that the human personality is like a charioteer with two headstrong horses, each wanting to go in different directions. There is something within each of us that causes us to cry out with Goethe, "There is enough stuff in me to make both a gentleman and a rogue." There is something within each of us that causes us to cry out with Apostle Paul, "I see and approve the better things of life, but the evil things I do." So somehow the "isness" of our present nature is out of harmony with the eternal "oughtness" that forever confronts us. And this simply means this: That within the best of us, there is some evil, and within the worst of us, there is some good. When we come to see this, we take a different attitude toward individuals. The person who hates you most has some good in him; even the nation that hates you most has some good in it; even the race that hates you most has some good in it. And when you come to the point that you look in the face of every man and see deep down within him what religion calls "the image of God," you begin to love him in spite of. No matter what he does, you see God’s image there. There is an element of goodness that he can never sluff off. Discover the element of good in your enemy. And as you seek to hate him, find the center of goodness and place your attention there and you will take a new attitude.

The Long Dream (1958)

Lecture 1A, 13:45
Mythology and the Individual (1997)
Context: The image of the cosmos must change with the development of the mind and knowledge; otherwise, the mythic statement is lost, and man becomes dissociated from the very basis of his own religious experience. Doubt comes in, and so forth. You must remember: all of the great traditions, and little traditions, in their own time were scientifically correct. That is to say, they were correct in terms of the scientific image of that age. So there must be a scientifically validated image. Now you know what has happened: our scientific field has separated itself from the religious field, or vice-versa. … This divorce this is a fatal thing, and a very unfortunate thing, and a totally unnecessary thing.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 111-112

"Likeness to God", an address in Providence, Rhode Island (1828)
Context: I begin with observing, what all indeed will understand, that the likeness to God, of which I propose to speak, belongs to man's higher or spiritual nature. It has its foundation in the original and essential capacities of the mind. In proportion as these are unfolded by right and vigorous exertion, it is extended and brightened. In proportion as these lie dormant, it is obscured. In proportion as they are perverted and overpowered by the appetites and passions, it is blotted out. In truth, moral evil, if unresisted and habitual, may so blight and lay waste these capacities, that the image of God in man may seem to be wholly destroyed.

Source: The Life of Poetry (1949), p. 31
Context: The meanings of poetry take their growth through the interaction of the images and the music of the poem. The music is not the rhythm, which is a representation of life, alone. The music involves the interplay of the sounds of words, the length of the sequences, the keeping and breaking of rhythms, and the repetition and variation of syllables unrhymed and rhymed. It also involves the play of ideas and images.

Notes Toward a Supreme Fiction (1942), It Must Give Pleasure
Context: p>The difficultest rigor is forthwith,
On the image of what we see, to catch from that
Irrational moment its unreasoning,
As when the sun comes rising, when the sea
Clears deeply, when the moon hangs on the wall Of heaven-haven. These are not things transformed.
Yet we are shaken by them as if they were.
We reason about them with a later reason.</p

"The First Morning", p. 1
Desert Solitaire (1968)
Context: This is the most beautiful place on earth.
There are many such places. Every man, every woman, carries in heart and mind the image of the ideal place, the right place, the one true home, known or unknown, actual or visionary. A houseboat in Kashmir, a view down Atlantic Avenue in Brooklyn, a gray gothic farmhouse two stories high at the end of a red dog road in the Allegheny Mountains, a cabin on the shore of a blue lake in spruce and fir country, a greasy alley near the Hoboken waterfront, or even, possibly, for those of a less demanding sensibility, the world to be seen from a comfortable apartment high in the tender, velvety smog of Manhattan, Chicago, Paris, Tokyo, Rio, or Rome — there's no limit to the human capacity for the homing sentiment.

Source: 1970s, The Awakening of Intelligence (1973), p. 337
Context: How can one be free of the images that one has? First of all, I must find out how these images come into being, what is the mechanism that creates them. You can see that at the moment of actual relationship, that is, when you are talking, when there are arguments, when there are insults and brutality, if you are not completely attentive at that moment, then the mechanism of building an image starts. That is, when the mind is not completely attentive at the moment of action, then the mechanism of building images is set in motion. When you say something to me which I do not like — or which I like — if at that moment I am not completely attentive, then the mechanism starts. If I am attentive, aware, then there is no building of images.

Radio Interview, September 11 2001 http://www.geocities.jp/bobbby_b/mp3/F_19_1.MP3
Context: Look at all I've done for the US. Nobody has single-handedly done more for the US image than me, I really believe this. When I won the World Championship in '72, the United States had an image of, you know, a football country, baseball country, but nobody thought of it as an intellectual country. I turned all that around single-handedly, right? But I was useful then because there was the Cold War, right? But now I'm not useful anymore, you see, the Cold War is over, and now they want to wipe me out, steal everything I have, put me in prison, and so on.

Review of Nausea by Jean-Paul Sartre, published in the newspaper Alger Républicain (20 October 1938), p. 5; reprinted in Selected Essays and Notebooks, translated and edited by Philip Thody
Context: A novel is never anything but a philosophy put into images. And in a good novel, the whole of the philosophy has passed into the images. But if once the philosophy overflows the characters and action, and therefore looks like a label stuck on the work, the plot loses its authenticity and the novel its life. Nevertheless, a work that is to last cannot dispense with profound ideas. And this secret fusion between experiences and ideas, between life and reflection on the meaning of life, is what makes the great novelist.

Part 4, Section 7
A Treatise of Human Nature (1739-40), Book 1: Of the understanding
Context: I am first affrighted and confounded with that forelorn solitude, in which I am plac'd in my philosophy, and fancy myself some strange uncouth monster, who not being able to mingle and unite in society, has been expell'd all human commerce, and left utterly abandon'd and disconsolate. Fain wou'd I run into the crowd for shelter and warmth; but cannot prevail with myself to mix with such deformity. I call upon others to join me, in order to make a company apart; but no one will hearken to me. Every one keeps at a distance, and dreads that storm, which beats upon me from every side. I have expos'd myself to the enmity of all metaphysicians, logicians, mathematicians, and even theologians; and can I wonder at the insults I must suffer? I have declar'd my disapprobation of their systems; and can I be surpriz'd, if they shou'd express a hatred of mine and of my person? When I look abroad, I foresee on every side, dispute, contradiction, anger, calumny and detraction. When I turn my eye inward, I find nothing but doubt and ignorance. All the world conspires to oppose and contradict me; tho' such is my weakness, that I feel all my opinions loosen and fall of themselves, when unsupported by the approbation of others. Every step I take is with hesitation, and every new reflection makes me dread an error and absurdity in my reasoning.
For with what confidence can I venture upon such bold enterprises, when beside those numberless infirmities peculiar to myself, I find so many which are common to human nature? Can I be sure, that in leaving all established opinions I am following truth; and by what criterion shall I distinguish her, even if fortune shou'd at last guide me on her foot-steps? After the most accurate and exact of my reasonings, I can give no reason why I shou'd assent to it; and feel nothing but a strong propensity to consider objects strongly in that view, under which they appear to me. Experience is a principle, which instructs me in the several conjunctions of objects for the past. Habit is another principle, which determines me to expect the same for the future; and both of them conspiring to operate upon the imagination, make me form certain ideas in a more intense and lively manner, than others, which are not attended with the same advantages. Without this quality, by which the mind enlivens some ideas beyond others (which seemingly is so trivial, and so little founded on reason) we cou'd never assent to any argument, nor carry our view beyond those few objects, which are present to our senses. Nay, even to these objects we cou'd never attribute any existence, but what was dependent on the senses; and must comprehend them entirely in that succession of perceptions, which constitutes our self or person. Nay farther, even with relation to that succession, we cou'd only admit of those perceptions, which are immediately present to our consciousness, nor cou'd those lively images, with which the memory presents us, be ever receiv'd as true pictures of past perceptions. The memory, senses, and understanding are, therefore, all of them founded on the imagination, or the vivacity of our ideas.

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

The Paris Review interview (1984)
Context: I let characters and symbols emerge from me, as if I were dreaming. I always use what remains of my dreams of the night before. Dreams are reality at its most profound, and what you invent is truth because invention, by its nature, can’t be a lie. Writers who try to prove something are unattractive to me, because there is nothing to prove and everything to imagine. So I let words and images emerge from within. If you do that, you might prove something in the process.

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

Vol. 2 "On Philosophy and the Intellect" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Context: The poet presents the imagination with images from life and human characters and situations, sets them all in motion and leaves it to the beholder to let these images take his thoughts as far as his mental powers will permit. This is why he is able to engage men of the most differing capabilities, indeed fools and sages together. The philosopher, on the other hand, presents not life itself but the finished thoughts which he has abstracted from it and then demands that the reader should think precisely as, and precisely as far as, he himself thinks. That is why his public is so small.

Jesus, as portrayed in Preface, Difference Between Reader And Spectator
1930s, On the Rocks (1933)
Context: I am no mere chance pile of flesh and bone: if I were only that, I should fall into corruption and dust before your eyes. I am the embodiment of a thought of God: I am the Word made flesh: that is what holds me together standing before you in the image of God. … The Word is God. And God is within you. … In so far as you know the truth you have it from my God, who is your heavenly father and mine. He has many names and his nature is manifold. … It is by children who are wiser than their fathers, subjects who are wiser than their emperors, beggars and vagrants who are wiser than their priests, that men rise from being beasts of prey to believing in me and being saved. … By their fruits ye shall know them. Beware how you kill a thought that is new to you. For that thought may be the foundation of the kingdom of God on earth.

"Crucifixion"
Pleasures of the Harbor (1967)
Context: Images of innocence charge him go on
But the decadence of destiny is looking for a pawn
To a nightmare of knowledge he opens up the gate
And a blinding revelation is laid upon his plate
That beneath the greatest love is a hurricane of hate
And God help the critic of the dawn.

"I do not love you..." (1831)
Poems

Welcome to the Hellmouth (1997) DVD Commentary
Context: The first thing I ever thought of when I thought of Buffy, the movie, was the little... blonde girl who goes into a dark alley and gets killed, in every horror movie. The idea of Buffy was to subvert that idea, that image, and create someone who was a hero where she had always been a victim. That element of surprise … genre-busting is very much at the heart of both the movie and the series.

Literary and Historical Miscellanies (1855), The Necessity, the Reality, and the Promise of the Progress of the Human Race (1854)
Context: The unchanging character of law is the only basis on which continuous action can rest. Without it man would be but as the traveller over endless morasses; the builder on quicksands; the mariner without compass or rudder, driven successively whithersoever changing winds may blow. The universe is the reflex and image of its Creator. "The true work of art," says Michael Angelo, "is but a shadow of the Divine perfections." We may say in a more general manner, that Beauty Itself Is But The Sensible Image Of The Infinite; that all creation is a manifestation of the Almighty; not the result of caprice, but the glorious display of his perfection; and as the universe thus produced, is always in the course of change, so its regulating mind is a living Providence, perpetually exerting itself anew. If his designs could be thwarted, we should lose the great evidence of his unity, as well as the anchor of our own hope.
Harmony is the characteristic of the intellectual system of the universe; and immutable laws of moral existence must pervade all time and all space, all ages and all worlds.

The Aristos (1964)
Context: The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity. <!-- no. 61

Spiritual Freedom http://www.americanunitarian.org/spiritualfreedom.htm (1830)
Context: I call that mind free, which masters the senses, which protects itself against animal appetites, which contemns pleasure and pain in comparison to its own energy, which penetrates beneath the body and recognises its own reality and greatness, which passes life, not in asking what it shall eat or drink, but in hungering, thirsting, and seeking after righteousness.
I call that mind free, which escapes the bondage of matter, which, instead of stopping at the material universe and making it a prison wall, passes beyond it to its Author, and finds in the radiant signatures which everywhere bears of the Infinite Spirit, helps to its own spiritual enlightenment.
I call that mind free, which jealously guards its intellectual rights and powers, which calls no man master, which does not content itself with a passive or hereditary faith, which opens itself to light whencesoever it may come, which receives new truth as an angel from heaven.
I call that mind free, which sets no bounds to its love, which is not imprisoned in itself or in a sect, which recognises in all human beings the image of God and the rights of his children, which delights in virtue and sympathizes with suffering wherever they are seen, which conquers pride, anger, and sloth, and offers itself up a willing victim to the cause of mankind.

On Mind and Thought (1993), p. 34
Posthumous publications
Context: It is astonishingly beautiful and interesting, how thought is absent when you have an insight. Thought cannot have an insight. It is only when the mind is not operating mechanically in the structure of thought that you have an insight. Having had an insight, thought draws a conclusion from that insight. And then thought acts and thought is mechanical. So I have to find out whether having an insight into myself, which means into the world, and not drawing a conclusion from it is possible. If I draw a conclusion, I act on an idea, on an image, on a symbol, which is the structure of thought, and so I am constantly preventing myself from having insight, from understanding things as they are.

"Fear and loathing" (2001)
Context: This moment was the apotheosis of the postmodern era — the era of images and perceptions. Wind conditions were also favourable; within hours, Manhattan looked as though it had taken 10 megatons.

Source: A Soldier Reports (1976), p. 21.
Context: I first met George S. Patton, Jr., before World War II when he was a lieutenant colonel at Fort Sill, and in North Africa, when he was a general, I saw him often. Almost every day he would head for the front, standing erect in his jeep, helmet and brass shining, a pistol on each hip, a siren blaring. For the return trip, either a light plane would pick him up or he would sit huddled, unrecognizable, in the jeep in his raincoat. His image with the troops was foremost with General Patton, and that meant always going forward, never backward. General Patton had two fetishes that to my mind did little for his image with the troops. First, he apparently loathed the olive drab wool cap that the soldier wore under his helmet for warmth and insisted that it be covered; woe be the soldier whom the general caught wearing the cap without the helmet. Second, he insisted that every soldier under his command always wear a necktie with shirt collar buttoned, even in combat action.

Vol. IV, p. 172
Posthumous publications, The Collected Works
Context: Questioner: Can one love truth without loving man? Can one love man without loving truth? What comes first?
Krishnamurti: Love comes first. To love truth, you must know truth. To know truth is to deny truth. What is known is not truth. What is known is already encased in time and ceases to be truth. Truth is an eternal movement, and so cannot be measured in words or in time. It cannot be held in the fist. You cannot love something which you do not know. But truth is not to be found in books, in images, in temples. It is to be found in action, in living. The very search for the unknown is love itself, and you cannot search for the unknowable away from relationship. You cannot search for reality, or for what you will, in isolation. It comes into being only in relationship, only when there is right relationship between man and man. So the love of man is the search for reality.

Notes on the Banner of Peace (24 May 1939)
Context: I was asked to collect information where the symbols of our Banner of Peace could be found. It turned out that the symbol of the Holy Trinity has been scattered all over the world. This has been explained in various ways. Some say it means the past, present and future, bound by the ring of eternity. Others find it more palatable to explain it as religion, knowledge and art in the ring of Culture. Obviously there were various explanations already in the ancient times, but the symbol, the sign itself had become fixed all over the world. … You can find it on the ancient icon in Bar depicting St. Nicholas. The same is on the centuries-old image of St. Sergius. It is on the image of Holy Trinity. It is on the coat of arms of Samarkand. It is on ancient Ethiopian and Coptic antiquities. It is on Mongolian rocks. It is on Tibetan rings. The steed of happiness on the Himalayan Mountains passes bears the same flaming sign. It is on all the brooches of Lahuli, Ladakhi and Himalayan Mountains. It is on Buddhist banners. Going back to the Neolithic depths we can find the same sign in the ornaments decorating their pottery. … And that is why the symbol was chose for all uniting Banner as the symbol that has passed through centuries, more exactly — millennia. The symbol was not a mere decorating ornament all over, it bore a very special meaning. Collecting all its images together, we might prove that it is the most extensively spread and ancient one among all the symbols of mankind. No one can claim that it belongs but to one religion or is based on the only one folk-lore. It would be very beneficial to glance at the evolution of human consciousness in its variegated forms.

Essays on the Art of Theater (1954).
Context: It is not enough to demand insight and informative images of reality from the theater. Our theater must stimulate a desire for understanding, a delight in changing reality. Our audience must experience not only the ways to free Prometheus, but be schooled in the very desire to free him. Theater must teach all the pleasures and joys of discovery, all the feelings of triumph associated with liberation.

Address to the Society for Psychical Research (1897)
Context: Let me specially apply this general conception of the impossibility of predicting what secrets the universe may still hold, what agencies undivined may habitually be at work around us.
Telepathy, the transmission of thought and images directly from one mind to another without the agency of the recognized organs of sense, is a conception new and strange to science. To judge from the comparative slowness with which the accumulated evidence of our society penetrates the scientific world, it is, I think, a conception even scientifically repulsive to many minds. We have supplied striking experimental evidence; but few have been found to repeat our experiments, We have offered good evidence in the observation of spontaneous cases, — as apparitions at the moment of death and the like, — but this "evidence has failed to impress the scientific world in the same way as evidence less careful and less coherent has often done before. Our evidence is not confronted and refuted; it is shirked and evaded as though there were some great a priori improbability which absolved the world of science from considering it. I at least see no a priori improbability whatever. Our alleged facts might be true in all kinds of ways without contradicting any truth already known. I will dwell now on only one possible line of explanation, — not that I see any way of elucidating all the new phenomena I regard as genuine, but because it seems probable I may shed a light on some of those phenomena. All the phenomena of the universe are presumably in some way continuous; and certain facts, plucked as it were from the very heart of nature, are likely to be of use in our gradual discovery of facts which lie deeper still.

XXIII. 103–104 (tr. R. Lattimore); Achilles after seeing Patroclus' ghost.
Iliad (c. 750 BC)

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 111

The Letters Of William Blake https://archive.org/details/lettersofwilliam002199mbp (1956), p. 74-75
Context: And now let me finish with assuring you that, Tho I have been very unhappy, I am so no longer. I am again. Emerged into the light of day; I still & shall to Eternity Embrace Christianity and Adore him who is the Express image of God; but I have travel'd thro' Perils & Darkness not unlike a Champion. I have Conquer'd, and shall still Go on Conquering. Nothing can withstand the fury of my Course among the Stars of God & in the Abysses of the Accuser. My Enthusiasm is still what it was, only Enlarged and conform'd.

Introduction
The Life of Poetry (1949)
Context: In time of crisis, we summon up our strength.
Then, if we are lucky, we are able to call every resource, every forgotten image that can leap to our quickening, every memory that can make us know our power. And this luck is more than it seems to be: it depends on the long preparation of the self to be used.
In time of the crises of the spirit, we are aware of all our need, our need for each other and our need for our selves. We call up, with all the strength of summoning we have, our fullness.

Source: The Golden Bough (1890), Chapter 3, Sympathetic Magic.
Context: The natives of British Columbia live largely upon the fish which abound in their seas and rivers. If the fish do not come in due season, and the Indians are hungry, A Nootka wizard will make an image of a swimming fish and put it into the water in the direction from which the fish generally appear. This ceremony, accompanied by a prayer to the fish to come, will cause them to arrive at once.

Bewilderness (DVD, 2001)

"New Maps of Hyperspace" (1989); originally published in Magical Blend magazine, also in The Archaic Revival: Speculations on Psychedelic Mushrooms, the Amazon, Virtual Reality, UFOs, Evolution, Shamanism, the Rebirth of the Goddess, and the End of History (1992)]
Context: The alternative physics is a physics of light. Light is composed of photons, which have no antiparticle. This means that there is no dualism in the world of light. The conventions of relativity say that time slows down as one approaches the speed of light, but if one tries to imagine the point of view of a thing made of light, one must realize that what is never mentioned is that if one moves at the speed of light there is no time whatsoever. There is an experience of time zero. … The only experience of time that one can have is of a subjective time that is created by one's own mental processes, but in relationship to the Newtonian universe there is no time whatsoever. One exists in eternity, one has become eternal, the universe is aging at a staggering rate all around one in this situation, but that is perceived as a fact of this universe — the way we perceive Newtonian physics as a fact of this universe. One has transited into the eternal mode. One is then apart from the moving image; one exists in the completion of eternity.

Introduction
Cosmic Imagery: Key Images in the History of Science (2008)

Also quoted in Nelson Mandela: from freedom to the future: tributes and speeches (2003), edited by ‎Kader Asmal & ‎David Chidester. Jonathan Ball, p. 332
1990s, Speech at the Zionist Christian Church Easter Conference (1992)
Context: Yes! We affirm it and we shall proclaim it from the mountaintops, that all people – be they black or white, be they brown or yellow, be they rich or poor, be they wise or fools, are created in the image of the Creator and are his children! Those who dare to cast out from the human family people of a darker hue with their racism! Those who exclude from the sight of God's grace, people who profess another faith with their religious intolerance! Those who wish to keep their fellow countrymen away from God's bounty with forced removals! Those who have driven away from the altar of God people whom He has chosen to make different, commit an ugly sin! The sin called Apartheid.

How to Understand Politics: What the Humanities Can Say to Science (2007)
Context: Literature... seeks to entertain — and why is this?... The reason, fundamentally, is that literature knows something that science does not: the human resistance to hearing the truth. Science does not inform scientists of this basic fact.... The wisdom of literature arises mainly from its attention to this point. To overcome the resistance to truth, literature makes use of fictions that are images of truth.

Cahiers du Cinema (1960)
Context: The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical.

2007, "Modi walks out of TV interview after being quizzed on riots", 2007
Context: I am busy with my work. I am committed to Gujarat and I am dedicated to Gujarat. I never talk about my image, never spent a single minute for my image and confusions may be there[. ]

On his childhood inspiration to become a poet, and later studies and efforts to produce poetry.
The Paris Review interview (1963)
Context: I think Ushant describes it pretty well, with that epigraph from Tom Brown’s School Days: “I’m the poet of White Horse Vale, sir, with Liberal notions under my cap!” For some reason those lines stuck in my head, and I’ve never forgotten them. This image became something I had to be. … I compelled myself all through to write an exercise in verse, in a different form, every day of the year. I turned out my page every day, of some sort — I mean I didn’t give a damn about the meaning, I just wanted to master the form — all the way from free verse, Walt Whitman, to the most elaborate of villanelles and ballad forms. Very good training. I’ve always told everybody who has ever come to me that I thought that was the first thing to do. And to study all the vowel effects and all the consonant effects and the variation in vowel sounds.

Ch 29
A Canticle for Leibowitz (1959), Fiat Voluntas Tua
Context: The image of those cool green eyes lingered with him as long as life. He did not ask why God would choose to raise up a creature of primal innocence from the shoulder of Mrs. Grales, or why God gave to it the preternatural gifts of Eden — these gifts which Man had been trying to seize by brute force again from Heaven since first he lost them. He had seen primal innocence in those eyes, and a promise of resurrection. One glimpse had been a bounty, and he wept in gratitude. Afterwards he lay with his face in the wet dirt and waited.
Nothing else ever came — nothing that he saw, or felt, or heard.

Fragments of Markham's notes
The Nemesis of Faith (1849)
Context: A man is born into the world — a real man — such a one as it has never seen; he lives a life consistently the very highest; his wisdom is the calm earnest voice of humanity; to the worldly and the commonplace so exasperating, as forcing upon them their own worthlessness — to the good so admirable that every other faculty is absorbed in wonder. The one killed him. The other said, this is too good to be a man — this is God. His calm and simple life was not startling enough for their eager imagination; acts of mercy and kindness were not enough, unless they were beyond the power of man. To cure by ordinary means the bruised body, to lift again with deep sympathy of heart the sinking sinner was not enough. He must speak with power to matter as well as mind; eject diseases and eject devils with command. The means of ordinary birth, to the oriental conception of uncleanness, were too impure for such as he, and one so holy could never dissolve in the vulgar corruption of the grave.
Yet to save his example, to give reality to his sufferings, he was a man nevertheless. In him, as philosophy came in to incorporate the first imagination, was the fulness of humanity as well as the fulness of the Godhead. And out of this strange mixture they composed a being whose life is without instruction, whose example is still nothing, whose trial is but a helpless perplexity. The noble image of the man is effaced, is destroyed. Instead of a man to love and to follow, we have a man-god to worship. From being the example of devotion, he is its object; the religion of Christ ended with his life, and left us instead but the Christian religion.

Source: Liber Kaos (1992), p. 87
Context: The Conscious mind is a maelstrom of fleeting thoughts, images, sensations, feelings, conflicting desires, and doubts; barely able to confine its attention to a single clear objective for a microsecond before secondary thoughts begin to adulterate it and provoke yet further trains of mental discourse. If you do not believe this, then attempt to confine your conscious attention to the dot at the end of this sentence without involving yourself in any other form of thinking, including thinking about the dot.

Quotes, Our Larger Tasks (2002)
Context: As important as identifying Iraq, Iran and North Korea for what they are, we must be equally bold in identifying other evils that confront us. For there is another Axis of Evil in the world: poverty and ignorance; disease and environmental disorder; corruption and political oppression. We may well put down terror in its present manifestations. But if we do not attend to the larger fundamentals as well, then the ground is fertile and has been seeded for the next generation of those born to hate us, who will hold these things up before the world's poor and dispossessed, and say that all these things are in our image, and rekindle the war we are now hoping to snuff out.

Note, on "The Book of the Dead"
U.S. 1 (1938), The Book of the Dead
Context: This is to be a summary poem of the life of the Atlantic coast of this country, nourished by the communications which run down it. Gauley Bridge is inland, but it was created by theories, systems, and workmen from many coastal sections — factors which are, in the end, not regional or national. Local images have one kind of reality. U. S. 1 will, I hope, have that kind and another too. Poetry can extend the document.

Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.

As quoted in "Salma Hayek's Condom Campaign" at femalefirst.co.uk http://www.femalefirst.co.uk/health/3382004.htm
Context: Before you do anything, think. If you do something to try and impress someone, to be loved, accepted or even to get someone's attention, stop and think. So many people are busy trying to create an image, they die in the process. Sleeping with the wrong person is one thing, but not using a condom because you want to please someone, or because you're in a romantic bubble, is another. … I wish we weren't so busy trying to impress people.

As quoted by Tobias Dantzig, Number: The Language of Science (1930)

Source: Guide for the Perplexed (c. 1190), Part III, Ch.29
Context: In accordance with the Sabean theories images were erected to the stars, golden images to the sun, images of silver to the moon, and they attributed the metals and the climates to the influence of the planets, saying that a certain planet is the god of a certain zone. They built temples, placed in them images, and assumed that the stars sent forth their influence upon these images, which are thereby enabled (to speak) to understand, to comprehend, to inspire human beings, and to tell them what is useful to them. They apply the same to trees which fall to the lot of these stars.

Source: On Aggression (1963), Ch. XII : On the Virtue of Scientific Humility
Context: We are the highest achievement reached so far by the great constructors of evolution. We are their "latest" but certainly not their last word. The scientist must not regard anything as absolute, not even the laws of pure reason. He must remain aware of the great fact, discovered by Heraclitus, that nothing whatever really remains the same even for one moment, but that everything is perpetually changing. To regard man, the most ephemeral and rapidly evolving of all species, as the final and unsurpassable achievement of creation, especially at his present-day particularly dangerous and disagreeable stage of development, is certainly the most arrogant and dangerous of all untenable doctrines. If I thought of man as the final image of God, I should not know what to think of God. But when I consider that our ancestors, at a time fairly recent in relation to the earth's history, were perfectly ordinary apes, closely related to chimpanzees, I see a glimmer of hope. It does not require very great optimism to assume that from us human beings something better and higher may evolve. Far from seeing in man the irrevocable and unsurpassable image of God, I assert – more modestly and, I believe, in greater awe of the Creation and its infinite possibilities – that the long-sought missing link between animals and the really humane being is ourselves!