Quotes about lamp

A collection of quotes on the topic of lamp, light, lighting, likeness.

Quotes about lamp

Rabindranath Tagore photo
Henri Barbusse photo
Abraham Lincoln photo

“I leave you, hoping that the lamp of liberty will burn in your bosoms until there shall no longer be a doubt that all men are created free and equal.”

Abraham Lincoln (1809–1865) 16th President of the United States

Speech in reply to Senator Stephen Douglas in the Lincoln-Douglas debates http://www.bartleby.com/251/1003.html of the 1858 campaign for the U.S. Senate, at Chicago, Illinois (10 July 1858)
1850s, Lincoln–Douglas debates (1858)
Context: My friend has said to me that I am a poor hand to quote Scripture. I will try it again, however. It is said in one of the admonitions of our Lord, "As your Father in Heaven is perfect, be ye also perfect." The Saviour, I suppose, did not expect that any human creature could be perfect as the Father in Heaven; but He said, "As your Father in Heaven is perfect, be ye also perfect." He set that up as a standard; and he who did most toward reaching that standard, attained the highest degree of moral perfection. So I say in relation to the principle that all men are created equal, let it be as nearly reached as we can. If we cannot give freedom to every creature, let us do nothing that will impose slavery upon any other creature. Let us then turn this Government back into the channel in which the framers of the Constitution originally placed it. Let us stand firmly by each other. If we do not do so we are turning in the contrary direction, that our friend Judge Douglas proposes — not intentionally — as working in the traces tend to make this one universal slave nation. He is one that runs in that direction, and as such I resist him. My friends, I have detained you about as long as I desired to do, and I have only to say, let us discard all this quibbling about this man and the other man; this race and that race and the other race being inferior, and therefore they must be placed in an inferior position; discarding our standard that we have left us. Let us discard all these things, and unite as one people throughout this land, until we shall once more stand up declaring that all men are created equal. My friends, I could not, without launching off upon some new topic, which would detain you too long, continue to-night. I thank you for this most extensive audience that you have furnished me to-night. I leave you, hoping that the lamp of liberty will burn in your bosoms until there shall no longer be a doubt that all men are created free and equal.

Nur Jahan photo

“On the grave of this poor stranger, let there be neither lamp nor rose,
Let neither butterfly's wing burn nor nightingale sing.”

Nur Jahan (1577–1645) Padshah Begum of the Mughal Empire

epitaph on Nur Jahan's tomb, translated by Wheeler Thackston, quoted in "Nur Jahan", p. 275

Dilgo Khyentse photo
Vincent Van Gogh photo

“The lamps are burning and the starry sky is over it all.”

Source: The Letters of Vincent van Gogh

Virginia Woolf photo

“Life is not a series of gig-lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end.”

"Modern Fiction"
The Common Reader (1925)
Context: Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions — trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday, the accent falls differently from of old; the moment of importance came not here but there; so that, if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life is not a series of gig-lamps symmetrically arranged; life is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end. Is it not the task of the novelist to convey this varying, this unknown and uncircumscribed spirit, whatever aberration or complexity it may display, with as little mixture of the alien and external as possible? We are not pleading merely for courage and sincerity; we are suggesting that the proper stuff of fiction is a little other than custom would have us believe it.

Andrew Lang photo

“Politicians use statistics in the same way that a drunk uses lamp-posts—for support rather than illumination.”

Andrew Lang (1844–1912) Scots poet, novelist and literary critic

1910 Speech, quoted in Alan L. Mackay The Harvest of a Quiet Eye (1977), as reported in Chambers Dictionary of Quotations (2005), p. 488.
Widely attributed to Lang (e.g. in Elizabeth M. Knowles, The Oxford Dictionary of Quotations, Oxford University Press; and in Robert Andrews, The Columbia Dictionary of Quotations, Columbia University Press).
Variant: He uses statistics as a drunken man uses lamp posts—for support rather than illumination.

Tamora Pierce photo
Rabindranath Tagore photo
Aleksandr Pushkin photo

“Pimen [writing in front of a sacred lamp]:
One more, the final record, and my annals
Are ended, and fulfilled the duty laid
By God on me a sinner. Not in vain
Hath God appointed me for many years
A witness, teaching me the art of letters;
A day will come when some laborious monk
Will bring to light my zealous, nameless toil,
Kindle, as I, his lamp, and from the parchment
Shaking the dust of ages will transcribe
My true narrations.”

(Variant translation):
One more story, just one more,
And then my history's completed,
All my chronicles written down
And my sinner's debt repaid to God.
Not for nothing.
The Lord appointed me to bear witness
For many many years and it was he
Taught me the art of creating books.
One day, in the far future,
some hard-working monk
Will find my painstaking,
anonymous writings.
He'll light his lamp,
as I light mine,
He'lll shake the dust of centuries from these scrolls.
Then he'll copy out, carefully, these true accounts,
So the descendants of today's Christians
May know the past of their native land
Remember their mighty Tsars warmly
For their glory and their knidness
And our Lord's mercy on their sins and crimes.
In my old age I live my life anew.
Pushkin, Alexander (2012). Pushkin's Boris Gudunov. Oberon Books.
Boris Godunov (1825)

José Saramago photo

“In between these four whitewashed walls, on this tiled floor, notice the broken corners, how some tiles have been worn smooth, how many feet have passed this way, and look how interesting this trail of ants is, travelling along the joins as if they were valleys, while up above, projected against the white sky of the ceiling and the sun of the lamp, tall towers are moving, they are men, as the ants well know, having, for generations, experienced the weight of their feet and the long, hot spout of water that falls from a kind of pendulous external intestine, ants all over the world have been drowned or crushed by these, but it seems they will escape this fate now, for the men are occupied with other things. […]
Let's take this ant, or, rather, let's not, because that would involve picking it up, let us merely consider it, because it is one of the larger ones and because it raises its head like a dog, it's walking along very close to the wall, together with its fellow ants it will have time to complete its long journey ten times over between the ants' nest and whatever it is that it finds so interesting, curious or perhaps merely nourishing in this secret room […]. One of the men has fallen to the ground, he's on the same level as the ants now, we don't know if he can see them, but they see him, and he will fall so often that, in the end, they will know by heart his face, the color of his hair and eyes, the shape of his ear, the dark arc of his eyebrow, the faint shadow at the corner of his mouth, and later, back in the ants' nest, they will weave long stories for the enlightenment of future generations, because it is useful for the young to know what happens out there in the world. The man fell and the others dragged him to his feet again, shouting at him, asking two different questions at the same time, how could he possibly answer them even if he wanted to, which is not the case, because the man who fell and was dragged to his feet will die without saying a word. Only moans will issue from his mouth, and in the silence of his soul only deep sighs, and even when his teeth are broken and he has to spit them out, which will prompt the other two men to hit him again for soiling state property, even then the sound will be of spitting and nothing more, that unconscious reflex of the lips, and then the dribble of saliva thickened with blood that falls to the floor, thus stimulating the taste buds of the ants, who telegraph from one to the other news of this singularly red manna fallen from such a white heaven.
The man fell again. It's the same one, said the ants, the same ear shape, the same arc of eyebrow, the same shadow at the corner of the mouth, there's no mistaking him, why is it that it is always the same man who falls, why doesn't he defend himself, fight back. […] The ants are surprised, but only fleetingly. After all, they have their own duties, their own timetables to keep, it is quite enough that they raise their heads like dogs and fix their feeble vision on the fallen man to check that he is the same one and not some new variant in the story. The larger ant walked along the remaining stretch of wall, slipped under the door, and some time will pass before it reappears to find everything changed, well, that's just a manner of speaking, there are still three men there, but the two who do not fall never stop moving, it must be some kind of game, there's no other explanation […]. [T]hey grab him by the shoulders and propel him willy-nilly in the direction of the wall, so that sometimes he hits his back, sometimes his head, or else his poor bruised face smashes into the whitewash and leaves on it a trace of blood, not a lot, just whatever spurts forth from his mouth and right eyebrow. And if they leave him there, he, not his blood, slides down the wall and he ends up kneeling on the ground, beside the little trail of ants, who are startled by the sudden fall from on high of that great mass, which doesn't, in the end, even graze them. And when he stays there for some time, one ant attaches itself to his clothing, wanting to take a closer look, the fool, it will be the first ant to die, because the next blow falls on precisely that spot, the ant doesn't feel the second blow, but the man does.”

Source: Raised from the Ground (1980), pp. 172–174

Ennius photo

“Who kindly sets a wand'rer on his way
Does e'en as if he lit another's lamp by his:
No less shines his, when he his friend's hath lit.”

Homo qui erranti comiter monstrat viam, Quasi lumen de suo lumine accendat facit; Nihilo minus ipsi lucet, cum illi accenderit.

Ennius (-239–-169 BC) Roman writer

As quoted by Cicero in De Officiis, Book I, Chapter XVI - translation by Walter Miller

Aleksandr Pushkin photo
Nanak photo
Reginald Heber photo

“Before, beside us, and above
The firefly lights his lamp of love.”

Reginald Heber (1783–1826) English clergyman

Tour Through Ceylon; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 273.
Hymns

Isaac Newton photo
Diogenes of Sinope photo

“He lit a lamp in broad daylight and said, as he went about, "I am looking for a human."”

Diogenes of Sinope (-404–-322 BC) ancient Greek philosopher, one of the founders of the Cynic philosophy

Diogenes Laërtius, vi. 41. This line is frequently translated as "I am looking for an honest man."
Quoted by Diogenes Laërtius

Leon Trotsky photo
Fernando Pessoa photo

“By the painful light of the factory’s huge electric lamps
I write in a fever.
I write gnashing my teeth, rabid for the beauty of all this,
For this beauty completely unknown to the ancients.

O wheels, O gears, eternal r-r-r-r-r-r-r!
Bridled convulsiveness of raging mechanisms!
Raging in me and outside me,
Through all my dissected nerves,
Through all the papillae of everything I feel with!
My lips are parched, O great modern noises,
From hearing you at too close a range,
And my head burns with the desire to proclaim you
In an explosive song telling my every sensation,
An explosiveness contemporaneous with you, O machines!”

Fernando Pessoa (1888–1935) Portuguese poet, writer, literary critic, translator, publisher and philosopher

<p>À dolorosa luz das grandes lâmpadas eléctricas da fábrica
Tenho febre e escrevo.
Escrevo rangendo os dentes, fera para a beleza disto,
Para a beleza disto totalmente desconhecida dos antigos.</p><p>Ó rodas, ó engrenagens, r-r-r-r-r-r-r eterno!
Forte espasmo retido dos maquinismos em fúria!
Em fúria fora e dentro de mim,
Por todos os meus nervos dissecados fora,
Por todas as papilas fora de tudo com que eu sinto!
Tenho os lábios secos, ó grandes ruídos modernos,
De vos ouvir demasiadamente de perto,
E arde-me a cabeça de vos querer cantar com um excesso
De expressão de todas as minhas sensações,
Com um excesso contemporâneo de vós, ó máquinas!</p>
Álvaro de Campos (heteronym), Ode Triunfal ["Triumphal Ode"] (1914), in A Little Larger Than the Entire Universe, trans. Richard Zenith (Penguin, 2006)

Li Qingzhao photo

“Who sits alone by the bright window?
My shadow and I, only we two.
But the lamp burns out, there is darkness.
Even my shadow forsakes me.
Alas, alas!
I am forlorn!”

Li Qingzhao (1084–1155) Chinese writer

"To the Tune of ‘Like a Dream’", in The White Pony: An Anthology Of Chinese Poetry (G. Allen & Unwin, 1949), ed. Robert Payne, p. 300

Robert Browning photo

“The sin I impute to each frustrute ghost
Is—the unlit lamp and the ungirt loin,
Though the end in sight was a vice, I say.”

Robert Browning (1812–1889) English poet and playwright of the Victorian Era

The Statue and the Bust.
Bartlett's Familiar Quotations, 10th ed. (1919)

Samuel Rutherford photo

“If you should see a man shut up in a closed room, idoizing a set of lamps and rejoicing in their light, and you wished to make him truly happy, you would begin by blowing out all his lamps; and then throw open the shutters to let in the light of heaven.”

Samuel Rutherford (1600–1661) Scottish Reformed theologian

Was falsely attributed to Rutherford by Joni Eareckson-Tada in Heaven: Your Real Home http://books.google.com.mx/books?id=cQrPd8R0o0kC&printsec=frontcover#v=onepage&q&f=false (2010), p. 259 From Edward Payson in " Momentos of Rev. Edward Payson D.D., ed. Edwin L. Janes (New York: Nelson & Phillips, 1873), p. 87 https://archive.org/details/mementosofrevedw00pays/mode/2up.

The Original version reads: "... for if you should see a man shut up in a close room, idolizing a set of lamps, and rejoicing in their light, and you wished to make him truly happy, you would begin by blowing out all his lamps, and then throw open the shutters, to let in the light of heaven."

Ref: en.wikiquote.org - Samuel Rutherford / Misattributed

Kurt Vonnegut photo
Leon Trotsky photo
Mark Twain photo
F. Scott Fitzgerald photo
Sherrilyn Kenyon photo
Charles Bukowski photo
Emma Lazarus photo
Edna St. Vincent Millay photo
Cassandra Clare photo
Cassandra Clare photo
Cormac McCarthy photo

“An active mind didn't need distractions in its physical environment. It needed a collection of outstanding books and a good lamp. Maybe some cheese and crackers.”

Variant: See, this was his kind of decorating. An active mind don't need distractions in its physical environment. It needed a collection of outstanding books and a good lamp. Maybe some cheese and crackers
Source: Lover Unbound

Anna Quindlen photo
Alberto Manguel photo
Paulo Coelho photo
Seth Grahame-Smith photo
Juliet Marillier photo

“As a lamp, a cataract, a star in space
an illusion, a dewdrop, a bubble
a dream, a cloud, a flash of lightning
view all created things like this.”

Red Pine (1943) American author, poet, and translator of poetry

Source: The Diamond Sutra

Max Lucado photo

“He promises a lamp unto our feet, not a crystal ball into the future.”

Max Lucado (1955) American clergyman and writer

Source: Traveling Light: Releasing the Burdens You Were Never Intended to Bear

John Milton photo
Wallace Stevens photo

“Let the lamp affix its beam.
The only emperor is the emperor of ice-cream.”

"The Emperor of Ice Cream"
Harmonium (1923)
Source: The Collected Poems
Context: Take from the dresser of deal,
Lacking the three glass knobs, that sheet
On which she embroidered fantails once
And spread it so as to cover her face.
If her horny feet protrude, they come
To show how cold she is, and dumb.
Let the lamp affix its beam.
The only emperor is the emperor of ice-cream.

Herman Melville photo

“For God's sake, be economical with your lamps and candles! not a gallon you burn, but at least one drop of man's blood was spilled for it.”

Herman Melville (1818–1891) American novelist, short story writer, essayist, and poet

Source: Moby-Dick or, The Whale

Pearl S.  Buck photo
Mike Scott photo
Ella Wheeler Wilcox photo
James Thomson (B.V.) photo

“The street-lamps burn amidst the baleful glooms,
Amidst the soundless solitudes immense
Of ranged mansions dark and still as tombs.”

James Thomson (B.V.) (1834–1882) Scottish writer (1834-1882)

Part I
The City of Dreadful Night (1870&ndash;74)

Stephen Fry photo
Evelyn Underhill photo
Henry Wadsworth Longfellow photo

“What seem to us but sad, funereal tapers
May be heaven's distant lamps.”

Bartlett's Familiar Quotations, 10th ed. (1919), Resignation

Sri Aurobindo photo

“There are moments when the Spirit moves among men and the breath of the Lord is abroad upon the waters of our being; there are others when it retires and men are left to act in the strength or the weakness of their own egoism. The first are periods when even a little effort produces great results and changes destiny; the second are spaces of time when much labour goes to the making of a little result. It is true that the latter may prepare the former, may be the little smoke of sacrifice going up to heaven which calls down the rain of God's bounty…. Unhappy is the man or the nation which, when the divine moment arrives, is found sleeping or unprepared to use it, because the lamp has not been kept trimmed for the welcome and the ears are sealed to the call. But thrice woe to them who are strong and ready, yet waste the force or misuse the moment; for them is irreparable loss or a great destruction…. In the hour of God cleanse thy soul of all self-deceit and hypocrisy and vain self-flattering that thou mayst look straight into thy spirit and hear that which summons it. All insincerity of nature, once thy defence against the eye of the Master and the light of the ideal, becomes now a gap in thy armour and invites the blow. Even if thou conquer for the moment, it is the worse for thee, for the blow shall come afterwards and cast thee down in the midst of thy triumph. But being pure cast aside all fear; for the hour is often terrible, a fire and a whirlwind and a tempest, a treading of the winepress of the wrath of God; but he who can stand up in it on the truth of his purpose is he who shall stand; even though he fall, he shall rise again; even though he seem to pass on the wings of the wind, he shall return. Nor let worldly prudence whisper too closely in thy ear; for it is the hour of the unexpected, the incalculable, the immeasurable. Mete not the power of the Breath by thy petty instruments, but trust and go forward…. But most keep thy soul clear, even if for a while, of the clamour of the ego. Then shall a fire march before thee in the night and the storm be thy helper and thy flag shall wave on the highest height of the greatness that was to be conquered.”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

1918 (The Hour of God)
India's Rebirth

Yoshida Kenkō photo
Plutarch photo

“Pythias once, scoffing at Demosthenes, said that his arguments smelt of the lamp.”

Plutarch (46–127) ancient Greek historian and philosopher

Life of Demosthenes
Bartlett's Familiar Quotations, 10th ed. (1919)

Sara Teasdale photo

“With the man I love who loves me not
I walked in the street-lamps' flare —
But oh, the girls who can ask for love
In the lights of Union Square.”

Sara Teasdale (1884–1933) American writer and poet

"Union Square"
Helen of Troy and Other Poems (1911)

Juhani Aho photo
Maggie Stiefvater photo

“She wore a dress Ronan thought looked like a lampshade. Whatever sort of lamp it belonged on, Gansey clearly wished he had one. Ronan wasn't a fan of lamps.”

Maggie Stiefvater (1981) American writer

Ronan, about Blue
The Raven Cycle Series, The Dream Thieves (2013)

Roger Bacon photo

“I use the example of the rainbow and of the phenomena connected with it, of which sort are the circle around the sun and the stars, likewise the rod lying at the side of the sun or of a star which appears to the eye in a straight line… called the rod by Seneca, and the circle is called the corona, which often has the colors of the rainbow. But neither Aristotle nor Avicenna, in their Natural Histories, has given us knowledge of things of this sort, nor has Seneca, who composed a special book on them. But Experimental Science makes certain of them. [The experimenter] considers rowers and he finds the same colors in the falling drops dripping from the raised oars when the solar rays penetrate drops of this sort. It is the same with waters falling from the wheels of a mill; and when a man sees the drops of dew in summer of a morning lying on the grass in the meadow or the field, he will see the colors. And in the same way when it rains, if he stands in a shady place and if the rays beyond it pass through dripping moisture, then the colors will appear in the shadow nearby; and very frequently of a night colors appear around the wax candle. Moreover, if a man in summer, when he rises from sleep and while his eyes are yet only partly opened, looks suddenly toward an aperture through which a ray of the sun enters, he will see colors. And if, while seated beyond the sun, he extend his hat before his eyes, he will see colors; and in the same way if he closes his eye, the same thing happens under the shade of the eyebrow; and again, the same phenomenon occurs through a glass vessel filled with water, placed in the rays of the sun. Or similarly if any one holding water in his mouth sprinkles it vigorously into the rays and stands to the side of the rays; and if rays in the proper position pass through an oil lamp hanging in the air, so that the light falls on the surface of the oil, colors will be produced. And so in an infinite number of ways, as well natural as artificial, colors of this sort appear, as the careful experimenter is able to discover.”

6th part Experimental Science, Ch.2 Tr. Richard McKeon, Selections from Medieval Philosophers Vol.2 Roger Bacon to William of Ockham
Opus Majus, c. 1267

Anthony Trollope photo

“The next monument visited was the great Jain temple built only a few years before by Shantidas Jhaveri, one of the wealthiest men of Gujarat in his day and high in favour both with Shah Jahan and after him with Aurangzeb. …In 1638, however, when Mandelslo visited the place, this temple which he calls ‘ the principal mosque of the Banyas ’ was in all its pristine splendour and ‘ without dispute one of the noblest structures that could be seen’. ‘It was then new,’ he adds, ‘ for the Founder, who was a rich Banya merchant, named Shantidas, was living in my time.
As Mandelslo’s description is the earliest account we have of this famous monument, which was desecrated only seven years after visit by the Orders of Aurangzeb, then viceroy of Gujarat (1645), we shall reproduce it at some length. It stood in the middle of a great court which was enclosed by a high wall of freestone. All about this wall on the inner side was a gallery, similar to the cloisters of the monasteries in Europe, with a large number of cells, in each of which was placed a statue in white or black marble. These figures no doubt represented the Jain Tirthankars, but Mandelslo may be forgiven when he speaks of each of them as ‘ representing a woman naked, sitting, and having her legs lying cross under her, according to the mode of the country. Some of the cells had three statues in them, namely, a large one between two smaller ones.’ At the entrance to the temple stood two elephants of black marble in life- size and on one of them was seated an effigy of the builder. The walls of the temple were adorned with figures of men and animals. At the further end of the building were the shrines consisting of three chapels divided from each other by wooden rails. In these were placed marble statues of the Tirthankars with a lighted lamp before that which stood in the central shrine. One of the priests attending the temple was busy receiving from the votaries flowers which were placed round the images, as also oil for the lamps that hung before the rails, and wheat and salt as a sacrifice. The priest had covered his mouth and nose with a piece of linen cloth so that the impurity of his breath should not profane the images.”

Shantidas Jhaveri (1580–1659) Indian jewellery and bullion trader during Mughal era

Description of the temple built by Shantidas Jhaveri. Mandelslo’s Travels In Western India (a.d.1638-9) https://archive.org/details/in.ernet.dli.2015.531053 p. 23-25

William Cowper photo

“Our wasted oil unprofitably burns,
Like hidden lamps in old sepulchral urns.”

William Cowper (1731–1800) (1731–1800) English poet and hymnodist

Source: Conversation (1782), Line 357.

Ibn Battuta photo
Thomas Moore photo
Percy Bysshe Shelley photo
Christopher Moore photo
Edward Bulwer-Lytton photo

“It was a dark and stormy night; the rain fell in torrents — except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.”

Probably the most parodied and ridiculed opening line in literature. It is the inspiration for a satirical prize, the Bulwer-Lytton Fiction Contest. Used by Charles M. Schultz in the Peanuts cartoons.
Paul Clifford (1830)

Vikram Seth photo
Isaac Leib Peretz photo

“"For the commandment is a lamp" [Prov. 6.23]. And the spark which kindles the commandment is devotion.”

Isaac Leib Peretz (1852–1915) Yiddish language author and playwright

Torah. Alle Verk, vi. 74.

Benjamin N. Cardozo photo
Tommy Franks photo
William Cowper photo
Sri Aurobindo photo
Peter Greenaway photo
James Hamilton photo
David Brewster photo

“Man, made after God's image, was a nobler creation than twinkling sparks in the sky, or than the larger and more useful lamp of the moon.”

David Brewster (1781–1868) British astronomer and mathematician

More Worlds Than One: The Creed of the Philosopher and the Hope of the Christian (1856), p. 207

Dante Gabriel Rossetti photo

“We two will stand beside that shrine,
Occult, withheld, untrod,
Whose lamps are stirr'd continually
With prayer sent up to God;
And see our old prayers, granted, melt
Each like a little cloud.”

Dante Gabriel Rossetti (1828–1882) English poet, illustrator, painter and translator

The Blessed Damozel http://www.cs.rice.edu/~ssiyer/minstrels/poems/715.html (1850)

Gavin Douglas photo

“And al smail fowlys syngis on the spray:
Welcum the lord of lycht, and lamp of day.”

Gavin Douglas (1474–1522) Scottish Churchman, Scholar, Poet

Bk. 12, prologue, line 251.
Eneados

Guillaume de Salluste Du Bartas photo

“These lovely lamps, these windows of the soul.”

Guillaume de Salluste Du Bartas (1544–1590) French writer

First Week, Sixth Day. Compare: "Ere I let fall the windows of mine eyes", William Shakespeare, Richard III, act v. sc. 3.
La Semaine; ou, Création du monde (1578)

Edward Herbert, 1st Baron Herbert of Cherbury photo
Georges Seurat photo
Thomas Young (scientist) photo
Loreena McKennitt photo
Eliza Acton photo
Theodore L. Cuyler photo
Russell Brand photo
Maharishi Mahesh Yogi photo

“Wherever there is greater joy, there is the direction of everyone’s activity, because the innermost of everyone is really the lighted lamp of Total Knowledge, total organising power of knowledge, it’s all bliss, it’s not necessary for the people to suffer.”

Maharishi Mahesh Yogi (1917–2008) Inventor of Transcendental Meditation, musician

Quoted from: Maharishi Mahesh Yogi's Main Message - from Victory Day, October 21, 2007 Maharishi Channel http://www.bienfaits-meditation.com/en/maharishi/videos/maharishi_main_message_2007

James Dickey photo

“Muslim historians credit all their heroes with many expeditions each of which “laid waste” this or that province or region or city or countryside. The foremost heroes of the imperial line at Delhi and Agra such as Qutbu’d-Dîn Aibak (1192-1210 A. D.), Shamsu’d-Dîn Iltutmish (1210-36 A. D.), Ghiyãsu’d-Dîn Balban (1246-66 A D.), Alãu’d-Dîn Khaljî (1296-1316 A. D.), Muhammad bin Tughlaq (1325-51 A. D.), Fîruz Shãh Tughlaq (135188 A. D.) Sikandar Lodî (1489-1519 A. D.), Bãbar (1519-26 A. D.) and Aurangzeb (1658-1707 A. D.) have been specially hailed for “hunting the peasantry like wild beasts”, or for seeing to it that “no lamp is lighted for hundreds of miles”, or for “destroying the dens of idolatry and God-pluralism” wherever their writ ran. The sultans of the provincial Muslim dynasties-Malwa, Gujarat, Sindh, Deccan, Jaunpur, Bengal-were not far behind, if not ahead, of what the imperial pioneers had done or were doing; quite often their performance put the imperial pioneers to shame. No study has yet been made of how much the human population declined due to repeated genocides committed by the swordsmen of Islam. But the count of cities and towns and villages which simply disappeared during the Muslim rule leaves little doubt that the loss of life suffered by the cradle of Hindu culture was colossal.”

Sita Ram Goel (1921–2003) Indian activist

Hindu Temples – What Happened to Them, Volume I (1990)

John Keats photo
Tommy Franks photo

“Another hallway led to a green steel door. "This is the execution chamber," the officer said. "The day of the execution, we take the man through this door." He opened the green door, and we blinked at the bright lights inside. A big chair filled the room. I could smell leather. "All right, boys," he said. "Line up." The kids made a straight line that led out the green door, then moved ahead, one at a time, to sit in the big wooden chair. "This is the electric chair, Tommy Ray," my dad explained. "It's where murderers are executed." The boys inched forward. Some sat longer in the chair than others. Executed meant killed, that much I knew. "This is the ultimate consequence for the ultimate act of evil," my father told the troop. When all the boys had sat in the chair, it was my turn. I reached up and felt the smooth wood, the leather straps with cold metal buckles. There was a black steel cap dangling up there like a lamp without a bulb. "Up you go, Tommy Ray," Dad said, hoisting me into the chair. The boys were staring at me. But I wasn't even a little bit afraid. My father stood right beside me. I could feel his warm hand next to the cool metal buckle. As the school bus rumbled out of the prison parking lot that afternoon, I stared back at the high walls. I had learned another important lesson. A consequence was what followed what you did. If you did good things, you'd be rewarded with further good things. If you broke the law, you'd have to pay the price. I have never forgotten that lesson.”

Tommy Franks (1945) United States Army general

Source: American Soldier (2004), p. 8

Letitia Elizabeth Landon photo
Fortunato Depero photo

“The Futurists were the first painters, poets, and architects who exalted modern work with their art—
they painted speeding automobiles—
they painted lamps bursting with light—
they painted steaming locomotives and swift bicyclists—
the Futurists stylized their compositions, adopting a violently colored look; with synoptic and geometric shapes they multiplied and decomposed the rhythms of objects and landscapes in order to increase their dynamic qualities and to give an effective rendering of their swift ideas, the states of mind, their conceptions.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

Depero (1931) "Futurism and Adverticing Art"; Republished in: Futurism : an anthology http://modernistarchitecture.files.wordpress.com/2011/09/ebooksclub-org__futurism__an_anthology__henry_mcbride_series_in_modernism_.pdf. edited by Lawrence Rainey, Christine Poggi, and Laura Wittman, (2011), p. 290