Quotes about intensity
page 8

“No one can ever heap enough insults upon me to suit my taste. I think we all really thrive on hostility, because it's the most intense kind of massage the ego can undergo. Other people's indifference is the only horror.”

Paul Bowles (1910–1999) American composer, writer, translator

Letter to Charles Henri Ford (25 January 1948), as published in In Touch : The Letters of Paul Bowles (1995) edited by Jeffrey Miller, p. 192

Otto Weininger photo
Martin Buber photo
James Fenimore Cooper photo
Robert Delaunay photo

“What they are saying is okay [the Futurist artists like Severini, Carra and Russolo, who debated in Paris intensively with the Cubist artists].”

Robert Delaunay (1885–1941) French painter

Quote in Delaunay's letter, February 1912; as cited in Futurism, ed. by Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 184
1910 - 1915

William James photo
John Burroughs photo
J. William Fulbright photo
Franklin Pierce photo
William Styron photo

“When I was first aware that I had been laid low by the disease, I felt a need, among other things, to register a strong protest against the word “depression.” Depression, most people know, used to be termed “melancholia,” a word which appears in English as early as the year 1303 and crops up more than once in Chaucer, who in his usage seemed to be aware of its pathological nuances. “Melancholia” would still appear to be a far more apt and evocative word for the blacker forms of the disorder, but it was usurped by a noun with a bland tonality and lacking any magisterial presence, used indifferently to describe an economic decline or a rut in the ground, a true wimp of a word for such a major illness. It may be that the scientist generally held responsible for its currency in modern times, a Johns Hopkins Medical School faculty member justly venerated — the Swiss-born psychiatrist Adolf Meyer — had a tin ear for the finer rhythms of English and therefore was unaware of the semantic damage he had inflicted by offering “depression” as a descriptive noun for such a dreadful and raging disease. Nonetheless, for over seventy-five years the word has slithered innocuously through the language like a slug, leaving little trace of its intrinsic malevolence and preventing, by its very insipidity, a general awareness of the horrible intensity of the disease when out of control.
As one who has suffered from the malady in extremis yet returned to tell the tale, I would lobby for a truly arresting designation. “Brainstorm,” for instance, has unfortunately been preempted to describe, somewhat jocularly, intellectual inspiration. But something along these lines is needed. Told that someone’s mood disorder has evolved into a storm — a veritable howling tempest in the brain, which is indeed what a clinical depression resembles like nothing else — even the uninformed layman might display sympathy rather than the standard reaction that “depression” evokes, something akin to “So what?” or “You’ll pull out of it” or “We all have bad days.””

The phrase “nervous breakdown” seems to be on its way out, certainly deservedly so, owing to its insinuation of a vague spinelessness, but we still seem destined to be saddled with “depression” until a better, sturdier name is created.
Source: Darkness Visible (1990), IV

Martin Amis photo
S. H. Raza photo
John Ruskin photo
William Morley Punshon photo
Aleister Crowley photo
Kate Havnevik photo

“I love the way
You live so intensely

enjoying every minute of life”

Kate Havnevik (1975) Norwegian singer-songwriter

Song lyrics

Mukesh Ambani photo
Swami Vivekananda photo
Mahadev Govind Ranade photo
Camille Pissarro photo
Sergei Prokofiev photo

“The first was the classical line, which could be traced back to my early childhood and the Beethoven sonatas I heard my mother play. This line takes sometimes a neo-classical form (sonatas, concertos), sometimes imitates the 18th century classics (gavottes, the Classical symphony, partly the Sinfonietta). The second line, the modern trend, begins with that meeting with Taneyev when he reproached me for the “crudeness” of my harmonies. At first this took the form of a search for my own harmonic language, developing later into a search for a language in which to express powerful emotions (The Phantom, Despair, Diabolical Suggestion, Sarcasms, Scythian Suite, a few of the songs, op. 23, The Gambler, Seven, They Were Seven, the Quintet and the Second Symphony). Although this line covers harmonic language mainly, it also includes new departures in melody, orchestration and drama. The third line is toccata or the “motor” line traceable perhaps to Schumann’s Toccata which made such a powerful impression on me when I first heard it (Etudes, op. 2, Toccata, op. 11, Scherzo, op. 12, the Scherzo of the Second Concerto, the Toccata in the Fifth Concerto, and also the repetitive intensity of the melodic figures in the Scythian Suite, Pas d’acier[The Age of Steel], or passages in the Third Concerto). This line is perhaps the least important. The fourth line is lyrical; it appears first as a thoughtful and meditative mood, not always associated with the melody, or, at any rate, with the long melody (The Fairy-tale, op. 3, Dreams, Autumnal Sketch[Osenneye], Songs, op. 9, The Legend, op. 12), sometimes partly contained in the long melody (choruses on Balmont texts, beginning of the First Violin Concerto, songs to Akhmatova’s poems, Old Granny’s Tales[Tales of an Old Grandmother]). This line was not noticed until much later. For a long time I was given no credit for any lyrical gift whatsoever, and for want of encouragement it developed slowly. But as time went on I gave more and more attention to this aspect of my work. I should like to limit myself to these four “lines,” and to regard the fifth, “grotesque” line which some wish to ascribe to me, as simply a deviation from the other lines. In any case I strenuously object to the very word “grotesque” which has become hackneyed to the point of nausea. As a matter of fact the use of the French word “grotesque” in this sense is a distortion of the meaning. I would prefer my music to be described as “Scherzo-ish” in quality, or else by three words describing the various degrees of the Scherzo—whimsicality, laughter, mockery.”

Sergei Prokofiev (1891–1953) Ukrainian & Russian Soviet pianist and composer

Page 36-37; from his fragmentary Autobiography.
Sergei Prokofiev: Autobiography, Articles, Reminiscences (1960)

Géza Vermès photo
Roberto Mangabeira Unger photo
Roy Lichtenstein photo
John Ruysbroeck photo
Frederick Buechner photo
Bruce Palmer Jr. photo

“In the late 1950s, when Taylor was the Army chief under the Eisenhower administration, I served in his office as the deputy secretary of the General Staff and made several official trips overseas with him. (The secretary of the General Staff at the time, then Major General William Westmoreland, coordinated the activities of the Army staff and in effect was chief of staff to the Army Chief.) General Taylor was an impressive figure, known as an intellectual, a soldier statesman, and a talented linguist. But it was an unhappy period for Taylor, who did not see eye-to-eye with the commander-in-chief or the other military chiefs as to the proper role of the Army. After he left the Army, Taylor laid out his deep misgivings about the national military establishment in a highly critical book, The Uncertain Trumpet, which caught the attention of many prominent people, including John F. Kennedy. Particularly intense and somewhat aloof during this period, Taylor appeared to those who did not know him as cold, humorless, and unbending. But he had another side- he could be friendly, a genial host, and a witty conversationalist with a well developed sense of humor. For many people, however, these more endearing qualities were not revealed until after he had retired from public life at the end of Johnson's presidency.”

Bruce Palmer Jr. (1913–2000) United States Army Chief of Staff

Source: The 25-Year War: America's Military Role in Vietnam (1984), p. 20

Roger Fry photo

“I fancy all distinctively poetical language ought to be banned and the poetry come out of the quality of the idea and the intensity or passion with which it is expressed.”

Roger Fry (1866–1934) English artist and art critic

Letter to R. C. Trevelyan , September 7, 1932
Other Quotes

Colin Wilson photo
Osama bin Laden photo

“The events that affected my soul in a direct way started in 1982 when America permitted the Israelis to invade Lebanon and the American Sixth Fleet helped them in that. This bombardment began and many were killed and injured and others were terrorised and displaced.
I couldn't forget those moving scenes, blood and severed limbs, women and children sprawled everywhere. Houses destroyed along with their occupants and high rises demolished over their residents, rockets raining down on our home without mercy. The situation was like a crocodile meeting a helpless child, powerless except for his screams. Does the crocodile understand a conversation that doesn't include a weapon? And the whole world saw and heard but it didn't respond. In those difficult moments many hard-to-describe ideas bubbled in my soul, but in the end they produced an intense feeling of rejection of tyranny, and gave birth to a strong resolve to punish the oppressors. And as I looked at those demolished towers in Lebanon, it entered my mind that we should punish the oppressor in kind and that we should destroy towers in America in order that they taste some of what we tasted and so that they be deterred from killing our women and children.
And that day, it was confirmed to me that oppression and the intentional killing of innocent women and children is a deliberate American policy. Destruction is freedom and democracy, while resistance is terrorism and intolerance.
This means the oppressing and embargoing to death of millions as Bush Sr did in Iraq in the greatest mass slaughter of children mankind has ever known, and it means the throwing of millions of pounds of bombs and explosives at millions of children - also in Iraq - as Bush Jr did, in order to remove an old agent and replace him with a new puppet to assist in the pilfering of Iraq's oil and other outrages.
So with these images and their like as their background, the events of September 11th came as a reply to those great wrongs, should a man be blamed for defending his sanctuary?”

Osama bin Laden (1957–2011) founder of al-Qaeda

Full transcript of bin Ladin's speech http://www.aljazeera.com/archive/2004/11/200849163336457223.html Aljazeera, (01 Nov 2004)
2000s, 2004

Otto Weininger photo

“In men of genius, sterile years precede productive years, these again to be followed by sterility, the barren periods being marked by psychological self-depreciation, by the feeling that they are less than other men; times in which the remembrance of the creative periods is a torment, and when they envy those who go about undisturbed by such penalties. Just as his moments of ecstasy are more poignant, so are the periods of depression of a man of genius more intense than those of other men.”

Denn gerade die starke Periodizität des Genies bringt es mit sich, daß bei ihm immer erst auf sterile Jahre die fruchtbaren und auf sehr produktive Zeiten immer wieder sehr unfruchtbare folgen—Zeiten, in denen er von sich nichts hält, ja von sich psychologisch (nicht logisch) weniger hält als von jedem anderen Menschen: quält ihn doch die Erinnerung an die Schaffensperiode, und vor allem—wie frei sieht er sie, die von solchen Erinnerungen nicht Belästigten, herumgehen! Wie seine Ekstasen gewaltiger sind als die der anderen, so sind auch seine Depressionen fürchterlicher.
Source: Sex and Character (1903), p. 107.

Perry Anderson photo
Johannes Tauler photo
Hilaire Belloc photo
Mary Parker Follett photo
Warren Buffett photo
Tim Storey photo

“Just because you are following God's plan and purpose, your life will not be perfect. In fact, that's when the battle gets more intense.”

Tim Storey (1960) motivational speaker

Comeback & Beyond: How to Turn Your Setback into Your Comeback (2010)

Andrew Sega photo
Jordan Peterson photo

“You plunge into that underworld space, and that's also where you begin to nurse feelings of resentment and aggrievement and murder and homicide, and even worse. If people are betrayed enough, they become obsessed with the futility of being itself, and they go to places where perhaps no one would ever want to go if they were in their right mind. And they begin to nurse fantasies of the ultimate revenge, and that's a horrible place to be. And that's hell. That's why hell has always been a suburb of the underworld, because if you get plunged into a situation that you don't understand, and things are not good for you anymore, it's only one step from being completely confused, to being completely outraged and resentful, and then it's only one step from there to really looking for revenge. And that can take you places – well, that merely to imagine properly can be traumatic. And I've seen that with people many times. And I think that anybody who uses their imagination on themselves can see how that happens, because I can't imagine that there isn't a single person in the room who hasn't nursed fairly intense fantasies of revenge, at least at one point in their life – and usually for what appear to be good reasons. It can shake your faith in being to be betrayed, but if it shakes it so badly that you turn against being itself, that's certainly no solution. All it does is make everything that's bad, even worse.”

Jordan Peterson (1962) Canadian clinical psychologist, cultural critic, and professor of psychology

Other

Ervin László photo
Paul Johnson photo
Thomas Carlyle photo
Lucian Freud photo
Henry Moore photo
Joanna MacGregor photo
Gideon Mantell photo
Benito Mussolini photo

“My labor had not been easy nor light; our Masonry had spun a most intricate net of anti-religious activity; it dominated the currents of thought; it exercised its influence over publishing houses, over teaching, over the administration of justice and even over certain dominant sections of the armed forces. To give an idea of how far things had gone, this significant example is sufficient. When, in parliament, I delivered my first speech of November 16, 1922, after the Fascist revolution, I concluded by invoking the assistance of God in my difficult task. Well, this sentence of mine seemed to be out of place! In the Italian parliament, a field of action for Italian Masonry, the name of God had been banned for a long time. Not even the Popular party — the so-called Catholic party — had ever thought of speaking of God. In Italy, a political man did not even turn his thoughts to the Divinity. And, even if he had ever thought of doing so, political opportunism and cowardice would have deterred him, particularly in a legislative assembly. It remained for me to make this bold innovation! And in an intense period of revolution! What is the truth! It is that a faith openly professed is a sign of strength. I have seen the religious spirit bloom again; churches once more are crowded, the ministers of God are themselves invested with new respect. Fascism has done and is doing its duty.”

1920s
Source: My Autobiography (1928)

John A. Eddy photo

“When we have observed the Sun most intensively, its behavior may have been unusually regular and benign.”

John A. Eddy (1931–2009) American astronomer

Source: The Sun: A Biography by David Whitehouse, page 225.

Jon Courtenay Grimwood photo
Paula Modersohn-Becker photo
Amrita Sher-Gil photo

“Towards the end of 1933 I began to be haunted by an intense longing to return to India, feeling in some strange inexplicable way that there lay my destiny as a painter.”

Amrita Sher-Gil (1913–1941) Hungarian Indian artist

In 1933, when she wanted to return to India.
Sikh Heritage,Amrita Shergil

Henry Moore photo

“Self-astonishment is achieved when, by some process I can't fathom, common words are moved, or move themselves, into clusters of meaning so intense that they seem to stand up from the page, three-dimensional almost.”

Geoffrey Hill (1932–2016) English poet and professor

A matter of timing: The Guardian, Saturday 21 September 2002 http://www.guardian.co.uk/books/2002/sep/21/featuresreviews.guardianreview28/print

Donald J. Trump photo
Henry Adams photo
Eric Holder photo

“A ladder is the instrument of ascent; it symbolises intensity rising to a climax. this, too, is the meaning of prayer.”

Elie Munk (1900–1981) French rabbi

page 11
The World of Prayer, vol. 1

Paula Modersohn-Becker photo

“Last year I wrote: 'the intensity with which a subject is grasped, that is what makes for beauty in art'. Isn't it also true for love?”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede 1899; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991
1899

Henry Moore photo
Jimmy Carter photo
Max Beckmann photo
Ragnar Frisch photo

“In the last decade's intensive study of all sorts of social and economic time series, it has become clear, it seems to me, that the usual time series technique is not quite adequate for the purpose which the social investigator is pursuing… We want to find out on more or less empirical grounds what is actually present in the series at hand, that is to say, what sort of components the series contains.”

Ragnar Frisch (1895–1973) Norwegian economist

Ragnar Frisch, " A method of decomposing an empirical series into its cyclical and progressive components http://www.sv.uio.no/econ/om/tall-og-fakta/nobelprisvinnere/ragnar-frisch/published-scientific-work/rf-published-scientific-works/rf1931e.pdf." Journal of the American Statistical Association 26.173A (1931): 73-78.
1930s

Vincent Gallo photo
Dara Shukoh photo
Paul Klee photo

“In my productive activity, every time a type grows beyond the stage of its genesis, and I have about reached the goal, the intensity gets lost very quickly, and I have to look for new ways. It is precisely the way which is productive - this is the essential thing: becoming is more important than being.”

Paul Klee (1879–1940) German Swiss painter

Quote (1912), # 928, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Ron Paul photo

“Racism is simply an ugly form of collectivism, the mindset that views humans only as members of groups and never as individuals. Racists believe that all individuals who share superficial physical characteristics are alike; as collectivists, racists think only in terms of groups. By encouraging Americans to adopt a group mentality, the advocates of so-called 'diversity' actually perpetuate racism. Their intense focus on race is inherently racist, because it views individuals only as members of racial groups. Conservatives and libertarians should fight back and challenge the myth that collectivist liberals care more about racism. Modern liberalism, however, well-intentioned, is a byproduct of the same collectivist thinking that characterizes racism. The continued insistence on group thinking only inflames racial tensions. The true antidote to racism is liberty. Liberty means having a limited, constitutional government devoted to the protection of individual rights rather than group claims. Liberty means free-market capitalism, which rewards individual achievement and competence, not skin color, gender, or ethnicity. In a free market, businesses that discriminate lose customers, goodwill, and valuable employees- while rational businesses flourish by choosing the most qualified employees and selling to all willing buyers. More importantly, in a free society every citizen gains a sense of himself as an individual, rather than developing a group or victim mentality. This leads to a sense of individual responsibility and personal pride, making skin color irrelevant. Rather than looking to government to correct what is essentially a sin of the heart, we should understand that reducing racism requires a shift from group thinking to an emphasis on individualism.”

Ron Paul (1935) American politician and physician

What Really Divides Us https://web.archive.org/web/20120127094927/http://www.ronpaularchive.com/2002/12/what-really-divides-us/ (23 December 2002).
2000s, 2001-2005

Thomas Henry Huxley photo

“We know, that, in the individual man, consciousness grows from a dim glimmer to its full light, whether we consider the infant advancing in years, or the adult emerging from slumber and swoon. We know, further, that the lower animals possess, though less developed, that part of the brain which we have every reason to believe to be the organ of consciousness in man; and as, in other cases, function and organ are proportional, so we have a right to conclude it is with the brain; and that the brutes, though they may not possess our intensity of consciousness, and though, from the absence of language, they can have no trains of thoughts, but only trains of feelings, yet have a consciousness which, more or less distinctly, foreshadows our own. I confess that, in view of the struggle for existence which goes on in the animal world, and of the frightful quantity of pain with which it must be accompanied, I should be glad if the probabilities were in favour of Descartes' hypothesis; but, on the other hand, considering the terrible practical consequences to domestic animals which might ensue from any error on our part, it is as well to err on the right side, if we err at all, and deal with them as weaker brethren, who are bound, like the rest of us, to pay their toll for living, and suffer what is needful for the general good.”

Thomas Henry Huxley (1825–1895) English biologist and comparative anatomist

1870s, On the Hypothesis that Animals are Automata, and Its History (1874)

Alec Baldwin photo
William Dalrymple photo

“In the course of my travels I often came across the assumption that intense spirituality was somehow the preserve of what many call 'the mystic east'… it's a misconception that has always irritated me as I've always regarded our own indigenous British traditions of spirituality as especially rich.”

William Dalrymple (1965) author and historian

In The Long Search http://www.bbc.co.uk/pressoffice/pressreleases/stories/2002/05_may/27/long_search.shtml, BBC, 27 May 2002
On his search to discover the roots of spirituality in the British Isles covering the "divine supermarket" of Roman Britain with a plethora of gods - Celtic, Roman, Persian and a new god from Palestine called Jesus.

Vilhelm Ekelund photo
John Stuart Mill photo
Vittorio Alfieri photo

“I wanted, I always wanted, I wanted so intensely.”

Vittorio Alfieri (1749–1803) Italian dramatist and poet

Volli, sempre volli, fortissimamente volli.
Risposta dell'autore alla lettera di Ranieri de' Calzabigi, 1783

Kenny Dalglish photo

“Management is a seven-days-a-week job. The Intensity of it takes it toll on your health. Some people want to go on for ever, and I obviously don't.”

Kenny Dalglish (1951) Scottish association football player and manager

On leaving the manager job of Liverpool FC in 1991 ( Source http://imdb.com/name/nm0197910/bio)

Albert Gleizes photo
Arundhati Roy photo
Théodore Rousseau photo
Rollo May photo
Jane Roberts photo
John F. Kennedy photo
John Lilly photo
Max Scheler photo

“"Another situation generally exposed to ressentiment danger is the older generation's relation with the younger. The process of aging can only be fruitful and satisfactory if the important transitions are accompanied by free resignation, by the renunciation of the values proper to the preceding stage of life. Those spiritual and intellectual values which remain untouched by the process of aging, together with the values of the next stage of life, must compensate for what has been lost. Only if this happens can we cheerfully relive the values of our past in memory, without envy for the young to whom they are still accessible. If we cannot compensate, we avoid and flee the “tormenting” recollection of youth, thus blocking our possibilities of understanding younger people. At the same time we tend to negate the specific values of earlier stages. No wonder that youth always has a hard fight to sustain against the ressentiment of the older generation. Yet this source of ressentiment is also subject to an important historical variation. In the earliest stages of civilization, old age as such is so highly honored and respected for its experience that ressentiment has hardly any chance to develop. But education spreads through printing and other modern media and increasingly replaces the advantage of experience. Younger people displace the old from their positions and professions and push them into the defensive. As the pace of “progress” increases in all fields, and as the changes of fashion tend to affect even the higher domains (such as art and science), the old can no longer keep up with their juniors. “Novelty‟ becomes an ever greater value. This is doubly true when the generation as such is seized by an intense lust for life, and when the generations compete with each other instead of cooperating for the creation of works which outlast them. “Every cathedral,” Werner Sombart writes, “every monastery, every town hall, every castle of the Middle Ages bears testimony to the transcendence of the individual's span of life: its completion spans generations which thought that they lived for ever. Only when the individual cut himself loose from the community which outlasted him, did the duration of his personal life become his standard of happiness.” Therefore buildings are constructed ever more hastily—Sombart cites a number of examples. A corresponding phenomenon is the ever more rapid alternation of political regimes which goes hand in hand with the progression of the democratic movement. But every change of government, every parliamentary change of party domination leaves a remnant of absolute opposition against the values of the new ruling group. This opposition is spent in ressentiment the more the losing group feels unable to return to power. The “retired official” with his followers is a typical ressentiment figure. Even a man like Bismarck did not entirely escape from this danger."”

Max Scheler (1874–1928) German philosopher

Das Ressentiment im Aufbau der Moralen (1912)

Bill Bryson photo
Albert Einstein photo
Vincent Van Gogh photo
Paula Modersohn-Becker photo
Demi Moore photo

“I’m intensely private, and I’ve openly shown annoyance at the paparazzi. That’s served in the past to create an image of me where I’m always frowning or looking angry.”

Demi Moore (1962) American actress

Interview, Glamour Magazine, Aug 2011 http://www.glamour.com/health-fitness/2011/09/glamour-interview-jennifer-aniston-demi-moore-and-alicia-keys-talk?currentPage=4

Vladimir Lenin photo