Quotes about image

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Source: Against the Heavenly Prophets in the Matter of Images and Sacraments (1525), pp. 84-85

The Lover Tells Of The Rose In His Heart http://poetry.poetryx.com/poems/1649/, st. 1
The Wind Among the Reeds (1899)

II 12 as translated by Dorothea Waley Singer (1950)
De immenso (1591)

The Notebooks of Leonardo da Vinci (1883), II Linear Perspective

Socrates, pp. 147–8
Eupalinos ou l'architecte (1921)

Love For Sale – The Words and Pictures of Barbara Kruger, Museum of Modern Art at Heide, Melbourne, Australia, 17th October – 24th November 1996

As quoted in Marc Chagall, – a Biography, by Sidney Alexander, Cassell, London, 1978, p. 33
Attributed from posthumous publications

Letter to Markus Fierz (1948)
Context: What now is the answer to the question as to the bridge between the perception of the senses and the concepts, which is now reduced to the question as to the bridge between the outer perceptions and those inner image-like representations. It seems to me one has to postulate a cosmic order of nature — outside of our arbitrariness— to which the outer material objects are subjected as are the inner images... The organizing and regulating has to be posited beyond the differentiation of physical and psychical... I am all for it to call this "organizing and regulating" "archetypes." It would then be inadmissible to define these as psychic contents. Rather, the above-mentioned inner pictures (dominants of the collective unconscious, see Jung) are the psychic manifestations of the archetypes, but which would have to produce and condition all nature laws belonging to the world of matter. The nature laws of matter would then be the physical manifestation of the archetypes.

News of the World (June 1986)
Context: Every time I do anything, I have to ask myself: Is it a good role, and is it right to do it? There may be sex or nudity or violence in the script, and then you have to say: Is it gratuitous just out to shock people? Or is it there because it has to be? If role demands it, and it isn't gratuitous, I'll do it. It's my job, after all. I'm an actress. I know what I'm capable of — it's other people who have a problem with my image, not me. I hope I can do all sorts of things, not just one type who's all sweetness and light. Unfortunately, people forget it's a role and confuse it with you.

From a BBC Interview (1962), p. 14.
Strong Opinions (1973)
Context: I don't think in any language. I think in images. I don't believe that people think in languages. They don't move their lips when they think. It is only a certain type of illiterate person who moves his lips as he reads or ruminates. No, I think in images, and now and then a Russian phrase or an English phrase will form with the foam of the brainwave, but that’s about all.

On Truth and Lie in an Extra-Moral Sense (1873)
Context: Everything which distinguishes man from the animals depends upon this ability to volatilize perceptual metaphors in a schema, and thus to dissolve an image into a concept. For something is possible in the realm of these schemata which could never be achieved with the vivid first impressions: the construction of a pyramidal order according to castes and degrees, the creation of a new world of laws, privileges, subordinations, and clearly marked boundaries — a new world, one which now confronts that other vivid world of first impressions as more solid, more universal, better known, and more human than the immediately perceived world, and thus as the regulative and imperative world.

1984
Context: On inspiration: "Of course, inspiration can come in different ways, depending on what field you’re working in? When I’m writing music for a film, inspiration will come from the subject matter and visual images, because I don’t agree to any offers of film work unless I believe I can add another dimension to the film. But if l’m writing music purely for myself, inspiration comes naturally, from everything around. I absorb every experience in life, every situation, because anything can become a source of inspiration — positive or negative. In general l’m influenced more by everyday concepts — nature, the city and so forth — than by hearing other pieces of music. Neither do I find any special inspiration from working in a studio. Obviously it makes life a lot easier to have 24 tracks to record on, and I use the studio as a tool to help in the writing process. I see the mixing desk really as another instrument, the conductor for all the others. But although the tape recorder and the console are just as important as the keyboards, I haven’t equipped my studio with a lot of hi-tech effects: l’d rather spend time searching through my sound library to get the exact colour I want".

Source: The Birth of Tragedy (1872), p. 15
Context: Thus the man who is responsive to artistic stimuli reacts to the reality of dreams as does the philosopher to the reality of existence; he observes closely, and he enjoys his observation: for it is out of these images that he interprets life, out of these processes that he trains himself for life. It is not only pleasant and agreeable images that he experiences with such universal understanding: the serious, the gloomy, the sad and the profound, the sudden restraints, the mockeries of chance, fearful expectations, in short the whole 'divine comedy' of life, the Inferno included, passes before him, not only as a shadow-play — for he too lives and suffers through these scenes — and yet also not without that fleeting sense of illusion; and perhaps many, like myself, can remember calling out to themselves in encouragement, amid the perils and terrors of the dream, and with success: 'It is a dream! I want to dream on!' Just as I have often been told of people who have been able to continue one and the same dream over three and more successive nights: facts which clearly show that our innermost being, our common foundation, experiences dreams with profound pleasure and joyful necessity.

Invitation to the Journey
Journey Within (1947)
Context: Never do I hesitate to look squarely at the unexpected face that every passing hour unveils to us, and to sacrifice the false images of it formed in advance, however dear they may be. In me, the love of life in general predominates over love of my own life (that, indeed, would never have sufficed to bear me up). May life herself speak! However inadequate I may be in listening to her, and in repeating her words, I shall try to record them, even if they contradict my most secret desires. In all that I write, may her will, not mine, be done!

Fragment 50 Voigt
The Willis Barnstone translations, Exhortation to Learning

Source: Pale Blue Dot: A Vision of the Human Future in Space (1994), p. 8, Supplemental image at randi.org http://www.randi.org/images/122801-BlueDot.jpg
Context: Consider again that dot. That's here. That's home. That's us. On it everyone you love, everyone you know, everyone you ever heard of, every human being who ever was, lived out their lives. The aggregate of our joy and suffering, thousands of confident religions, ideologies, and economic doctrines, every hunter and forager, every hero and coward, every creator and destroyer of civilization, every king and peasant, every young couple in love, every mother and father, hopeful child, inventor and explorer, every teacher of morals, every corrupt politician, every "superstar", every "supreme leader", every saint and sinner in the history of our species lived there — on a mote of dust suspended in a sunbeam.
The Earth is a very small stage in a vast cosmic arena. Think of the rivers of blood spilled by all those generals and emperors so that, in glory and triumph, they could become the momentary masters of a fraction of a dot. Think of the endless cruelties visited by the inhabitants of one corner of this pixel on the scarcely distinguishable inhabitants of some other corner, how frequent their misunderstandings, how eager they are to kill one another, how fervent their hatreds.
Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves.
The Earth is the only world known so far to harbor life. There is nowhere else, at least in the near future, to which our species could migrate. Visit, yes. Settle, not yet. Like it or not, for the moment the Earth is where we make our stand.
It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world. To me, it underscores our responsibility to deal more kindly with one another, and to preserve and cherish the pale blue dot, the only home we've ever known.

XI, 26, Parts of this passage has been heavily compared with later statements of René Descartes; in Latin and with a variant translations:
The City of God (early 400s)
Context: We both are, and know that we are, and delight in our being, and our knowledge of it. Moreover, in these three things no true-seeming illusion disturbs us; for we do not come into contact with these by some bodily sense, as we perceive the things outside of us of all which sensible objects it is the images resembling them, but not themselves which we perceive in the mind and hold in the memory, and which excite us to desire the objects. But, without any delusive representation of images or phantasms, I am most certain that I am, and that I know and delight in this. In respect of these truths, I am not at all afraid of the arguments of the Academicians, who say, What if you are deceived? For if I am deceived, I am. For he who is not, cannot be deceived; and if I am deceived, by this same token I am. And since I am if I am deceived, how am I deceived in believing that I am? for it is certain that I am if I am deceived. Since, therefore, I, the person deceived, should be, even if I were deceived, certainly I am not deceived in this knowledge that I am. And, consequently, neither am I deceived in knowing that I know. For, as I know that I am, so I know this also, that I know. And when I love these two things, I add to them a certain third thing, namely, my love, which is of equal moment. For neither am I deceived in this, that I love, since in those things which I love I am not deceived; though even if these were false, it would still be true that I loved false things. For how could I justly be blamed and prohibited from loving false things, if it were false that I loved them? But, since they are true and real, who doubts that when they are loved, the love of them is itself true and real? Further, as there is no one who does not wish to be happy, so there is no one who does not wish [themself] to be [into being]. For how can he be happy, if he is nothing?

Source: The Courage to Create (1975), Ch. 1 : The Courage to Create, p. 32
Context: Artists are generally soft-spoken persons who are concerned with their inner visions and images. But that is precisely what makes them feared by any coercive society. For they are the bearers of the human being's age old capacity to be insurgent. They love to immerse themselves in chaos in order to put it into form, just as God created form out of chaos in Genesis. Forever unsatisfied with the mundane, the apathetic, the conventional, they always push on to newer worlds.

On Truth and Lie in an Extra-Moral Sense (1873)
Context: Between two absolutely different spheres, as between subject and object, there is no causality, no correctness, and no expression; there is, at most, an aesthetic relation: I mean, a suggestive transference, a stammering translation into a completely foreign tongue — for which I there is required, in any case, a freely inventive intermediate sphere and mediating force. "Appearance" is a word that contains many temptations, which is why I avoid it as much as possible. For it is not true that the essence of things "appears" in the empirical world. A painter without hands who wished to express in song the picture before his mind would, by means of this substitution of spheres, still reveal more about the essence of things than does the empirical world. Even the relationship of a nerve stimulus to the generated image is not a necessary one. But when the same image has been generated millions of times and has been handed down for many generations and finally appears on the same occasion every time for all mankind, then it acquires at last the same meaning for men it would have if it were the sole necessary image and if the relationship of the original nerve stimulus to the generated image were a strictly causal one. In the same manner, an eternally repeated dream would certainly be felt and judged to be reality. But the hardening and congealing of a metaphor guarantees absolutely nothing concerning its necessity and exclusive justification.

The Notebooks of Leonardo da Vinci (1883), II Linear Perspective
Context: The air is filled with endless images of the objects distributed in it; and all are represented in all, and all in one, and all in each, whence it happens that if two mirrors are placed in such a manner as to face each other exactly, the first will be reflected in the second and the second in the first. The first being reflected in the second takes to it the image of itself with all the images represented in it, among which is the image of the second mirror, and so, image within image, they go on to infinity in such a manner as that each mirror has within it a mirror, each smaller than the last and one inside the other. Thus, by this example, it is clearly proved that every object sends its image to every spot whence the object itself can be seen; and the converse: That the same object may receive in itself all the images of the objects that are in front of it.

Source: Psychological Types, or, The Psychology of Individuation (1921), Ch. 5, p. 271
Context: The great problems of life — sexuality, of course, among others — are always related to the primordial images of the collective unconscious. These images are really balancing or compensating factors which correspond with the problems life presents in actuality. This is not to be marvelled at, since these images are deposits representing the accumulated experience of thousands of years of struggle for adaptation and existence.

Pupils at Sais (1799)
Context: Over his own heart and his own thoughts he watched attentively. He knew not whither his longing was carrying him. As he grew up, he wandered far and wide; viewed other lands, other seas, new atmospheres, new rocks, unknown plants, animals, men; descended into caverns, saw how in courses and varying strata the edifice of the Earth was completed, and fashioned clay into strange figures of rocks. By and by, he came to find everywhere objects already known, but wonderfully mingled, united; and thus often extraordinary things came to shape in him. He soon became aware of combinations in all, of conjunctures, concurrences. Erelong, he no more saw anything alone. — In great variegated images, the perceptions of his senses crowded round him; he heard, saw, touched and thought at once. He rejoiced to bring strangers together. Now the stars were men, now men were stars, the stones animals, the clouds plants; he sported with powers and appearances; he knew where and how this and that was to be found, to be brought into action; and so himself struck over the strings, for tones and touches of his own.

Psychedelic Society (1984)
Context: Our ability to destroy ourselves is the mirror image of our ability to save ourselves, and what is lacking is the clear vision of what should be done... What needs to be done is that fundamental, ontological conceptions of reality need to be redone. We need a new language, and to have a new language we must have a new reality... A new reality will generate a new language, a new language will fix a new reality, and make it part of this reality.

Wholeness and the Implicate Order (1980)
Context: My suggestion is that at each state the proper order of operation of the mind requires an overall grasp of what is generally known, not only in formal logical, mathematical terms, but also intuitively, in images, feelings, poetic usage of language, etc. (Perhaps we could say that this is what is involved in harmony between the 'left brain' and the 'right brain'). This kind of overall way of thinking is not only a fertile source of new theoretical ideas: it is needed for the human mind to function in a generally harmonious way, which could in turn help to make possible an orderly and stable society. <!-- p. xi

Wording in Ideas and Opinions: Common to all these types is the anthropomorphic character of their conception of God. In general, only individuals of exceptional endowments, and exceptionally high-minded communities, rise to any considerable extent above this level. But there is a third stage of religious experience which belongs to all of them, even though it is rarely found in a pure form: I shall call it cosmic religious feeling. It is very difficult to elucidate this feeling to anyone who is entirely without it, especially as there is no anthropomorphic conception of God corresponding to it. The individual feels the futility of human desires and aims and the sublimity and marvelous order which reveal themselves both in nature and in the world of thought. Individual existence impresses him as a sort of prison and he wants to experience the universe as a single significant whole. The beginnings of cosmic religious feeling already appear at an early stage of development, e.g., in many of the Psalms of David and in some of the Prophets. Buddhism, as we have learned especially from the wonderful writings of Schopenhauer, contains a much stronger element of this. 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.
1930s, Religion and Science (1930)
Context: Common to all these types is the anthropomorphic character of the idea of God. Only exceptionally gifted individuals or especially noble communities rise essentially above this level; in these there is found a third level of religious experience, even if it is seldom found in a pure form. I will call it the cosmic religious sense. This is hard to make clear to those who do not experience it, since it does not involve an anthropomorphic idea of God; the individual feels the vanity of human desires and aims, and the nobility and marvelous order which are revealed in nature and in the world of thought. He feels the individual destiny as an imprisonment and seeks to experience the totality of existence as a unity full of significance. Indications of this cosmic religious sense can be found even on earlier levels of development—for example, in the Psalms of David and in the Prophets. The cosmic element is much stronger in Buddhism, as, in particular, Schopenhauer's magnificent essays have shown us. The religious geniuses of all times have been distinguished by this cosmic religious sense, which recognizes neither dogmas nor God made in man's image. Consequently there cannot be a church whose chief doctrines are based on the cosmic religious experience. It comes about, therefore, that we find precisely among the heretics of all ages men who were inspired by this highest religious experience; often they appeared to their contemporaries as atheists, but sometimes also as saints. Viewed from this angle, men like Democritus, Francis of Assisi, and Spinoza are near to one another.

The portion of "The figure a poem makes. It begins in delight and ends in wisdom." is often misquoted as: Poetry begins in delight and ends in wisdom.
The Figure a Poem Makes (1939)
Context: It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same as for love. No one can really hold that the ecstasy should be static and stand still in one place. It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification of life-not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion. It has denouement. It has an outcome that though unforeseen was predestined from the first image of the original mood-and indeed from the very mood. It is but a trick poem and no poem at all if the best of it was thought of first and saved for the last. It finds its own name as it goes and discovers the best waiting for it in some final phrase at once wise and sad-the happy-sad blend of the drinking song.

Source: The Warrior Within : The Philosophies of Bruce Lee (1996), p. 133
Context: I have come to discover through earnest personal experience and dedicated learning that ultimately the greatest help is self-help; that there is no other help but self-help— doing one’s best, dedicating one’s self wholeheartedly to a given task, which happens to have no end but is an ongoing process. I have done a lot during these years of my process. A swell in my process, I have changed from self-image actualization to self-actualization, from blindly following propaganda, organized truths, etc. to searching internally for the cause of my ignorance.

Introduction
The Culture of Cities (1938)
Context: Nothing is permanent: certainly not the frozen images of barbarous power with which fascism now confronts us. Those images may easily be smashed by an external shock, cracked as ignominiously as the fallen Dagon, the massive idol of the heathen; or they may be melted, eventually, by the internal warmth of normal men and women. Nothing endures except life: the capacity for birth, growth, and renewal. As life becomes insurgent once more in our civilization, conquering the reckless thrust of barbarism, the culture of cities will be both instrument and goal.

Speech at the Audubon Ballroom in Harlem (13 December 1964), later published in Malcolm X Speaks: Selected Speeches and Statements (1965), edited by George Breitman, p. 93
Context: The press is so powerful in its image-making role, it can make the criminal look like he's a the victim and make the victim look like he's the criminal. This is the press, an irresponsible press. It will make the criminal look like he's the victim and make the victim look like he's the criminal. If you aren't careful, the newspapers will have you hating the people who are being oppressed and loving the people who are doing the oppressing.
If you aren't careful, because I've seen some of you caught in that bag, you run away hating yourself and loving the man — while you're catching hell from the man. You let the man maneuver you into thinking that it's wrong to fight him when he's fighting you. He's fighting you in the morning, fighting you in the noon, fighting you at night and fighting you all in between, and you still think it's wrong to fight him back. Why? The press. The newspapers make you look wrong.

The monster to Robert Walton
Frankenstein (1818)
Context: Some years ago, when the images which this world affords first opened upon me, when I felt the cheering warmth of summer and heard the rustling of the leaves and the warbling of the birds, and these were all to me, I should have wept to die; now it is my only consolation. Polluted by crimes and torn by the bitterest remorse, where can I find rest but in death?

Vol. I, Ch. 3: Of the vision of the Image composed of four Metals
Observations upon the Prophecies of Daniel, and the Apocalypse of St. John (1733)
Context: Now in this vision of the Image composed of four Metals, the foundation of all Daniel's Prophecies is laid. It represents a body of four great nations, which should reign over the earth successively, viz. the people of Babylonia, the Persians, the Greeks, and the Romans. And by a stone cut out without hands, which fell upon the feet of the Image, and brake all the four Metals to pieces, and became a great mountain, and filled the whole earth; it further represents that a new kingdom should arise, after the four, and conquer all those nations, and grow very great, and last to the end of all ages.

The Notebooks of Leonardo da Vinci (1883), II Linear Perspective
Context: All objects project their whole image and likeness, diffused and mingled in the whole of the atmosphere, opposite to themselves. The image of every point of the bodily surface, exists in every part of the atmosphere. All the images of the objects are in every part of the atmosphere.

Remarks after the Solvay Conference (1927)
Context: I feel very much like Dirac: the idea of a personal God is foreign to me. But we ought to remember that religion uses language in quite a different way from science. The language of religion is more closely related to the language of poetry than to the language of science. True, we are inclined to think that science deals with information about objective facts, and poetry with subjective feelings. Hence we conclude that if religion does indeed deal with objective truths, it ought to adopt the same criteria of truth as science. But I myself find the division of the world into an objective and a subjective side much too arbitrary. The fact that religions through the ages have spoken in images, parables, and paradoxes means simply that there are no other ways of grasping the reality to which they refer. But that does not mean that it is not a genuine reality. And splitting this reality into an objective and a subjective side won't get us very far.

Folks little indebted to Nature, since it is only by chance that they wear the human form and without it I might class them with the herds of beasts.
The Notebooks of Leonardo da Vinci (1883), I Prolegomena and General Introduction to the Book on Painting

Source: Culture and Value (1980), p. 50e
Context: A hero looks death in the face, real death, not just the image of death. Behaving honourably in a crisis doesn't mean being able to act the part of a hero well, as in the theatre, it means being able to look death itself in the eye.
For an actor may play lots of different roles, but at the end of it all he himself, the human being, is the one who has to die.

Source: The Two Sources of Morality and Religion (1932), Chapter III : Dynamic Religion
Context: Religion is to mysticism what popularization is to science. What the mystic finds waiting for him, then, is a humanity which has been prepared to listen to his message by other mystics invisible and present in the religion which is actually taught. Indeed his mysticism itself is imbued with this religion, for such was its starting point. His theology will generally conform to that of the theologians. His intelligence and his imagination will use the teachings of the theologians to express in words what he experiences, and in material images what he sees spiritually. And this he can do easily, since theology has tapped that very current whose source is the mystical. Thus his mysticism is served by religion, against the day when religion becomes enriched by his mysticism. This explains the primary mission which he feels to be entrusted to him, that of an intensifier of religious faith.

As quoted in "Pope at Mass: Culture of encounter is the foundation of peace" at Vatican Radio (22 May 2013) http://en.radiovaticana.va/news/2013/05/22/pope_at_mass:_culture_of_encounter_is_the_foundation_of_peace/en1-694445
2010s, 2013
Context: The Lord created us in His image and likeness, and we are the image of the Lord, and He does good and all of us have this commandment at heart: do good and do not do evil. All of us. "But, Father, this is not Catholic! He cannot do good." Yes, he can. He must. Not can: must! Because he has this commandment within him. Instead, this "closing off" that imagines that those outside, everyone, cannot do good is a wall that leads to war and also to what some people throughout history have conceived of: killing in the name of God. That we can kill in the name of God. And that, simply, is blasphemy. To say that you can kill in the name of God is blasphemy.

Speech to United Nations General Assembly, , quoted in
2012
Context: The future must not belong to those who target Coptic Christians in Egypt — it must be claimed by those in Tahrir Square who chanted "Muslims, Christians, we are one." The future must not belong to those who bully women — it must be shaped by girls who go to school, and those who stand for a world where our daughters can live their dreams just like our sons. The future must not belong to those corrupt few who steal a country's resources — it must be won by the students and entrepreneurs; workers and business owners who seek a broader prosperity for all people. Those are the men and women that America stands with; theirs is the vision we will support. The future must not belong to those who slander the prophet of Islam. Yet to be credible, those who condemn that slander must also condemn the hate we see when the image of Jesus Christ is desecrated, churches are destroyed, or the Holocaust is denied. Let us condemn incitement against Sufi Muslims, and Shiite pilgrims. It is time to heed the words of Gandhi: "Intolerance is itself a form of violence and an obstacle to the growth of a true democratic spirit." Together, we must work towards a world where we are strengthened by our differences, and not defined by them. That is what America embodies, and that is the vision we will support.

"How Happiness Happpens", p. 61
Awareness (1992)
Context: Is it possible for the rose to say, "I will give my fragrance to the good people who smell me, but I will withhold it from the bad?" Or is it possible for the lamp to say, "I will give my light to the good people in this room, but I will withhold it from the evil people"? Or can a tree say, "I'll give my shade to the good people who rest under me, but I will withhold it from the bad"? These are images of what love is about.

The Notebooks of Leonardo da Vinci (1883), I Prolegomena and General Introduction to the Book on Painting
Context: The eye — which sees all objects reversed — retains the images for some time. This conclusion is proved by the results; because, the eye having gazed at light retains some impression of it. After looking (at it) there remain in the eye images of intense brightness, that make any less brilliant spot seem dark until the eye has lost the last trace of the impression of the stronger light.

1960s, Why I Am Opposed to the War in Vietnam (1967)
Context: We are presently moving down a dead-end road that can lead to national disaster. America has strayed to the far country of racism and militarism. The home that all too many Americans left was solidly structured idealistically; its pillars were solidly grounded in the insights of our Judeo-Christian heritage. All men are made in the image of God. All men are brothers. All men are created equal. Every man is an heir to a legacy of dignity and worth. Every man has rights that are neither conferred by, nor derived from the State — they are God-given. Out of one blood, God made all men to dwell upon the face of the earth. What a marvelous foundation for any home! What a glorious and healthy place to inhabit. But America's strayed away, and this unnatural excursion has brought only confusion and bewilderment. It has left hearts aching with guilt and minds distorted with irrationality.

The Way to Love (1995)
Context: If you want to know what it means to be happy, look at a flower, a bird, a child; they are perfect images of the kingdom. For they live from moment to moment in the eternal now with no past and no future. So they are spared the guilt and anxiety that so torment human beings and they are full of the sheer joy of living, taking delight not so much in persons or things as in life itself. As long as your happiness is caused or sustained by something or someone outside of you, you are still in the land of the dead. The day you are happy for no reason whatsoever, the day you find yourself taking delight in everything and in nothing, you will know that you have found the land of unending joy called the kingdom.

Letter to Frank Belknap Long (27 February 1931), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 293
Non-Fiction, Letters, to Frank Belknap Long

On mortality driving his creative energies (as quoted in [https://www.lacma.org/carlos-almaraz-other-voices “Other Voices: Reflections on Almaraz's Legacy”)

Glimpses of World History (1949)

William Wilson (1839)

William Wilson (1839)

Indira Gandhi, the former Prime Minister of India, quoted in [Gandhi, Indira, Selected Thoughts of Indira Gandhi: A Book of Quotes, http://books.google.com/books?id=vJbcODokoHsC&pg=PA35, 1985, Mittal Publications, 35–, GGKEY:A2GGQ58B3WF, 35]

The Prophecy of the Son of man coming in the clouds of heaven relates to the second coming of Christ; that of the Prince of the host relates to his first coming: and this Prophecy of the Messiah, in explaining them, relates to both comings, and assigns the times thereof.
Vol. I, Ch. 10: Of the Prophecy of the Seventy Weeks
Observations upon the Prophecies of Daniel, and the Apocalypse of St. John (1733)

"Prayers" (1770)
Questions sur l'Encyclopédie (1770–1774)
Original: (fr) L’Éternel a ses desseins de toute éternité. Si la prière est d’accord avec ses volontés immuables, il est très inutile de lui demander ce qu’il a résolu de faire. Si on le prie de faire le contraire de ce qu’il a résolu, c’est le prier d’être faible, léger, inconstant; c’est croire qu’il soit tel, c’est se moquer de lui. Ou vous lui demandez une chose juste; en ce cas il la doit, et elle se fera sans qu’on l’en prie; c’est même se défier de lui que lui faire instance ou la chose est injuste, et alors on l’outrage. Vous êtes digne ou indigne de la grâce que vous implorez: si digne, il le sait mieux que vous; si indigne, on commet un crime de plus en demandant ce qu’on ne mérite pas.
En un mot, nous ne faisons des prières à Dieu que parce que nous l’avons fait à notre image. Nous le traitons comme un bacha, comme un sultan qu’on peut irriter ou apaiser.

Solaris (1961), Ch. 6: "The Little Apocrypha", p. 72
Solaris (1961)

I cannot begin to describe my emotions. Pygmalion seeing his statue come to life could not have been more deeply moved. A thousand secrets of nature which I might have stumbled upon accidentally, I would have given for that one which I had wrested from her against all odds and at the peril of my existence …

On the Invention of the Induction Motor
My Inventions (1919)

On how envisioning an ending allows him to conclude each character’s journey in “Extended interview: Colson Whitehead on writing ‘The Nickel Boys’" https://www.cbsnews.com/news/extended-interview-colson-whitehead-on-writing-the-nickel-boys/ in CBS News (2019 Jul 14)

285e-286b
Statesman

Chap. xii.—The two kinds of spirits.
Address to the Greeks

Source: Tradition and the Individual Talent: An Essay

Source: Night Pleasures

Source: A Season in Hell/The Drunken Boat

Source: On Photography

Source: Drums, Girls & Dangerous Pie

Variant: The beginning of love is the will to let those we love be perfectly themselves, the resolution not to twist them to fit our own image.
Source: The Way of Chuang Tzu

Source: The Name of the Star

Source: (1940), II

Source: Amusing Ourselves to Death: Public Discourse in the Age of Show Business

Source: On Photography

Source: The Beekeeper's Apprentice

Source: Earth House Hold

Source: Reel to Real: Race, Sex, and Class at the Movies

Source: Bad Moon Rising

Source: The Fact of a Doorframe: Poems Selected and New, 1950-1984

Source: Finnikin of the Rock

Source: A Sand County Almanac, 1949, "The Land Ethic", p. 214.

Source: Proven Guilty

Source: Oceans of Fire

Page 38.
Golden Booklet of the True Christian Life (1551)
Source: Institutes of the Christian Religion, 2 Vols

Source: Finding Noel

Source: One Hundred Years of Solitude

Source: Never Cry Wolf

Source: The Bridges of Madison County

Die Quantentheorie ist so ein wunderbares Beispiel dafür, daß man einen Sachverhalt in völliger Klarheit verstanden haben kann und gleichzeitig doch weiß, daß man nur in Bildern und Gleichnissen von ihm reden kann.
Der Teil und das Ganze. Gespräche im Umkreis der Atomphysik (1969); also in "Kein Chaos, aus dem nicht wieder Ordnung würde", Die Zeit No. 34 (22 August 1969) http://www.zeit.de/1969/34/kein-chaos-aus-dem-nicht-wieder-ordnung-wuerde/komplettansicht; as translated in Physics and Beyond : Encounters and Conversation (1971)

Seeds of Contemplation (1949).

Source: The Last Olympian

Source: Canyons of Night

Source: The Waste Land

Source: If on a Winter's Night a Traveler

Source: The Hidden Oracle

Source: The Woman in White