Quotes about lining
page 24

Carl Sagan 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

Sergei Biriuzov photo
Dorothy Parker photo

“To quote the only line of Gertrude Stein’s which I have ever been able to understand, “It is wonderful how I am not interested.””

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

Source: Dorothy Parker: Complete Broadway, 1918–1923 (2014) https://openlibrary.org/books/OL25758762M/Dorothy_Parker_Complete_Broadway_1918-1923, Chapter 2: 1919, p. 64

John C. Wright photo

“Warlocks are something like doctors, I guess. No matter how much you like them personally, there is quite a bit of nasty mess involved in their line of work.”

John C. Wright (1961) American novelist and technical writer

Source: Titans of Chaos (2007), Chapter 8, “Pallid Hounds A-Hunting” Section 1 (p. 100)

Leigh Hunt photo

“There are two worlds: the world that we can measure with line and rule, and the world we feel with our hearts and imagination.”

Leigh Hunt (1784–1859) English critic, essayist, poet and writer

As quoted in The Farmer's Wife, Vol. 36 (1933), p. 72

John Ruskin photo
Thomas Hughes photo
George William Curtis photo
Sinclair Lewis photo
Sheldon L. Glashow photo

“ Every individual word in a passage or poetry can no more be said to denote some specific referent than does every brush mark, every line in a painting have its counterpart in reality. The writer or speaker does not communicate his thoughts to us; he communicates a representation for carrying out, this function under the severe discipline of using the only materials he has, sound and gesture. Speech is like painting, a representation made out of given materials -- sound or paint. The function of speech is to stimulate and set up thoughts in us having correspondence with the speaker's desires; he has then communicated with us. But he has not transmitted a copy of his thoughts, a photograph, but only a stream of speech -- a substitute made from the unpromising material of sound. The artist, the sculptor, the caricaturist, the composer are akin in this [fact that they have not transmitted a copy of their thoughts], that they express (make representations of) their thoughts using chosen, limited materials. They make the "best" representations, within these self-imposed constraints. A child who builds models of a house, or a train, using only a few colored bricks, is essentially engaged in the same creative task.* Metaphors can play a most forceful role, by importing ideas through a vehicle language, setting up what are purely linguistic associations (we speak of "heavy burden of taxation," "being in a rut"). The imported concepts are, to some extent, artificial in their contexts, and they are by no means universal among different cultures. For instance, the concepts of cleanliness and washing are used within Christendom to imply "freedom from sin." We Westerners speak of the mind's eye, but this idea is unknown amongst the Chinese. that is, we are looking at it with the eyes of our English-speaking culture. A grammar book may help us to decipher the text more thoroughly, and help us comprehend something of the language structure, but we may never fully understand if we are not bred in the culture and society that has modeled and shaped the language. (p. 74)”

Colin Cherry (1914–1979) British scientist

See Gombrich in reference 348
On Human Communication (1957), Language: Science and Aesthetics

“Yes it was 1949. How I came to that. That's like how one gets to know a human being. It so happens that I've always had a preference – as everyone has prejudices and preferences – for the square as a shape in preference to the circle as a shape. And I have known for a long time that a circle always fools me by not telling me whether it's standing still or not. And if a circle circulates you don't see it. The outer curve looks the same whether it moves or does not move. So the square is much more honest and tells me that it is sitting on one line of the four, usually a horizontal one, as a basis. And I have also come to the conclusion that the square is a human invention, which makes it sympathetic to me. Because you don't see it in nature. As we do not see squares in nature, I thought that it is man-made. But I have corrected myself. Because squares exist in salt crystals, our daily salt. We know this because we can see it in the microscope. On the other hand, we believe we see circles in nature. But rarely precise ones. Mature, it seems, is not a mathematician. Probably there are no straight lines either. Particularly not since Einstein says in his theory of relativity that there is no straight line, rod knows whether there are or not, I don't. I still like to believe that the square is a human invention. And that tickles me. So when I have a preference for it then I can only say excuse me.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Thomas Jefferson photo
Michael Cunningham photo
René Descartes photo
Lyndon B. Johnson photo
Karl Barth photo
George William Foote photo

“It will yet be the proud boast of woman that she never contributed a line to the Bible.”

George William Foote (1850–1915) British secularist and journal editor

As quoted in The Bible (1901) by John Remsburg, p. 409

Heather Brooke photo
Glenn Beck photo

“You can try to put the lid on this group of people, but you will never silence us. You will never — you can shoot me in the head, you can shoot the next guy in the head, but there will be 10 others that line up. And it may not happen today, it may not happen next week, but freedom will be restored in this land. Period. And no matter what you want to call it, it is a totalitarian state that you're headed towards.”

Glenn Beck (1964) U.S. talk radio and television host

The Glenn Beck Program
Premiere Radio Networks
2009-09-08
Beck repeats call for prayers, claims, "You can shoot me in the head … but there will be 10 others that line up"
Media Matters for America
2009-09-08
http://mediamatters.org/mmtv/200909080013
2000s, 2009

James Beattie photo
Jim Webb photo

“Most poetry involves rhythmically structured or patterned language, avoiding what might be called 'a singing line.”

Jan Zwicky (1955) Canadian philosopher

The Details interview with Jay Ruzesky (Winter 2008)

Thomas Babington Macaulay, 1st Baron Macaulay photo

“There is not, and there never was on this earth, a work of human policy so well deserving of examination as the Roman Catholic Church. The history of that Church joins together the two great ages of human civilisation. No other institution is left standing which carries the mind back to the times when the smoke of sacrifice rose from the Pantheon, and when camelopards and tigers bounded in the Flavian amphitheatre. The proudest royal houses are but of yesterday, when compared with the line of the Supreme Pontiffs. That line we trace back in an unbroken series, from the Pope who crowned Napoleon in the nineteenth century to the Pope who crowned Pepin in the eighth; and far beyond the time of Pepin the august dynasty extends, till it is lost in the twilight of fable. The republic of Venice came next in antiquity. But the republic of Venice was modern when compared with the Papacy; and the republic of Venice is gone, and the Papacy remains. The Papacy remains, not in decay, not a mere antique, but full of life and youthful vigour. The Catholic Church is still sending forth to the farthest ends of the world missionaries as zealous as those who landed in Kent with Augustin, and still confronting hostile kings with the same spirit with which she confronted Attila. The number of her children is greater than in any former age. Her acquisitions in the New World have more than compensated for what she has lost in the Old. Her spiritual ascendency extends over the vast countries which lie between the plains of the Missouri and Cape Horn, countries which a century hence, may not improbably contain a population as large as that which now inhabits Europe. The members of her communion are certainly not fewer than a hundred and fifty millions; and it will be difficult to show that all other Christian sects united amount to a hundred and twenty millions. Nor do we see any sign which indicates that the term of her long dominion is approaching. She saw the commencement of all the governments and of all the ecclesiastical establishments that now exist in the world; and we feel no assurance that she is not destined to see the end of them all. She was great and respected before the Saxon had set foot on Britain, before the Frank had passed the Rhine, when Grecian eloquence still flourished at Antioch, when idols were still worshipped in the temple of Mecca. And she may still exist in undiminished vigour when some traveller from New Zealand shall, in the midst of a vast solitude, take his stand on a broken arch of London Bridge to sketch the ruins of St. Paul's.”

"Essay on Ludwig von Ranke's 'History of the Popes', in "Critical and Historical Essays", iii, (London; Longman, 7th Edn. 1952), 100-1.
Attributed

Henry Miller photo
Gary Johnson photo

“Politics is momentum. And we have right now straight line momentum.”

Gary Johnson (1953) American politician, businessman, and 29th Governor of New Mexico

2016, Interview with CNBC's John Harwood (August 22, 2016)

Anthony Burgess photo

“Defiling their shadows, infidels, accursed of Allah, with fingernails that are foot-long daggers, with mouths agape like cauldrons full of teeth on the boil, with eyes all fire, shaitans possessed of Iblis, clanking into their wars all linked, like slaves, with iron chains. Murad Bey, the huge, the single-blowed ox-beheader, saw without too much surprise mild-looking pale men dressed in blue, holding guns, drawn up in squares six deep as though in some massed dance depictive of orchard walls. At the corners of the squares were heavy giins and gunners. There did not seem to be many horsemen. Murad said a prayer within, raised his scimitar to heaven and yelled a fierce and holy word. The word was taken up, many thousandfold, and in a kind of gloved thunder the Mamelukes threw themselves on to the infidel right and nearly broke it. But the squares healed themselves at once, and the cavalry of the faithful crashed in three avenging prongs along the fire-spitting avenues between the walls. A great gun uttered earthquake language at them from within a square, and, rearing and cursing the curses of the archangels of Islam on to the uncircumcized, they wheeled and swung towards their protective village of Embabeh. There they encountered certain of the blue-clad infidel horde on the flat roofs of the houses, coughing musket-fire at them. But then disaster sang along their lines from the rear as shell after shell crunched and the Mamelukes roared in panic and burden to the screams of their terrified mounts, to whose ears these noises were new. Their rear dissolving, their retreat cut off, most sought the only way, that of the river. They plunged in, horseless, seeking to swim across to join the inactive horde of Ibrahim, waiting for. action that could now never come. Murad Bey, with such of his horsemen as were left, yelped off inland to Gizeh.”

Anthony Burgess (1917–1993) English writer

Fiction, Napoleon Symphony (1974)

Enver Hoxha photo

“In Cambodia, the Cambodian people, communists and patriots, have risen against the barbarous government of Pol Pot, which was nothing but a group of provocateurs in the service of the imperialist bourgeoisie and of the Chinese revisionists, in particular, which had as its aim to discredit the idea of socialism in the international arena… The anti-popular line of that regime is confirmed, also, by the fact that the Albanian embassy in the Cambodian capital, the embassy of a country which has given the people of Cambodia every possible aid, was kept isolated, indeed, encircled with barbed wire, as if it were in a concentration camp. The other embassies, too, were in a similar situation. The Albanian diplomats have seen with their own eyes that the Cambodian people were treated inhumanly by the clique of Pol Pot and Yeng Sari. Pnom Pen was turned into a deserted city, empty of people, where food was difficult to secure even for the diplomats, where no doctors or even aspirins could be found. We think that the people and patriots of Cambodia waited too long before overthrowing this clique which was completely linked with Beijing and in its service.”

Enver Hoxha (1908–1985) the Communist leader of Albania from 1944 until his death in 1985, as the First Secretary of the Party of L…

In regard to Cambodia, our Party and state have condemned the bloodthirsty activities of the Pol Pot clique, a tool of the Chinese social-imperialists. We hope that the Cambodian people will surmount the difficulties they are encountering as soon as possible and decide their own fate and future in complete freedom without any 'guardian'. (Selected Works Vol. VI, p. 419.)
Writings, Other

Frederick II of Prussia photo
Lily Tomlin photo
Douglas MacArthur photo
Henri Matisse photo
Thomas Little Heath photo
Brigham Young photo
Michael Moore photo

“He is probably choking on a pretzel or something. I hope nobody tells him that I have won this award while he is eating a pretzel. … He has the funniest lines in the film. I am eternally grateful to him.”

Michael Moore (1954) American filmmaker, author, social critic, and liberal activist

Statement about US President George W. Bush, at press conference after winning the top prize at the Cannes film festival for Fahrenheit 9/11; quoted in Reuters reports (22 May 2004) http://guardianangels-mn.org/Minnesota/Too-funny-to-keep-in-mn.politics.html and in [Moore scoops Palme d'Or with attack on US president, Patrick, Barkham, The Guardian, 24 May 2004, http://film.guardian.co.uk/cannes2004/story/0,,1223156,00.html]
2004

Patrick Swift photo
John Denham photo
Mary Eberstadt photo

“The sheer decibel level of unreason surrounding the issue of abortion in academic writing about animal rights tells us something interesting. It suggests that, contrary to what the utilitarians and feminists working this terrain wish, the dots between sympathy for animals and sympathy for unborn humans are in fact quite easy to connect—so easy, you might say, that a child could do it. … Since ethical vegetarianism as a practice appears commonly rooted in an a priori aversion to violence against living creatures, so does it often appear to begin in the young. … A sudden insight, igniting empathy on a scale that did not exist before and perhaps even a life-transforming realization—this reaction should indeed be thought through with care. It is not only the most commonly cited feature of the decision to become a vegetarian. It is also the most commonly cited denominator of what brings people to their convictions about the desperate need to protect unborn, innocent human life. … Despite those who act and write in their name, actual vegetarians and vegans are far more likely to be motivated by positive feelings for animals than by negative feelings for human beings. As a matter of theory, the line connecting the dots between “we should respect animal life” and “we should respect human life” is far straighter than the line connecting vegetarianism to antilife feminism or antihumanist utilitarianism.”

Mary Eberstadt American writer

"Pro-Animal, Pro-Life" https://www.firstthings.com/article/2009/06/pro-animal-pro-life, in First Things (June 2009).

Pierre Louis Maupertuis 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)

Henri Matisse photo

“The vertical is in my spirit. It helps me to define precisely the direction of lines, and in quick sketches I never indicate a curve, that of a branch in landscape for example, without being aware of its relationship to the vertical.
My curves are not mad.”

Henri Matisse (1869–1954) French artist

La verticale est dans mon esprit. Elle m'aide à préciser la direction des lignes, et dans mes dessins rapides je n'indique pas une courbe, par exemple, celle d'une branche dans un paysage, sans avoir conscience de son rapport avec la verticale.
Mes courbes ne sont pas folles.
1940s, Jazz (1947)

Georgia O'Keeffe photo
Oscar Levant photo

“There is a thin line between genius and insanity. I have erased this line.”

Oscar Levant (1906–1972) American comedian, composer, pianist and actor

As quoted in Celebrity Register: An Irreverent Compendium of American Quotable Notables (1959) by Cleveland Amory.

Berthe Morisot photo

“The love of art…. reconciles us to our lined faces and white hear. [Berthe Morisot was 40 years then]”

Berthe Morisot (1841–1895) painter from France

quote in a letter to a friend, c. 1881; as cited in The Correspondence of Berthe Morisot, with her family and friends, Denish Rouart - newly introduced by Kathleen Adler and Tamer Garb; Camden Press London 1986, p. 117
1881 - 1895

“.. [from Pollock Helen took over] the concern with line, fluid line, calligraphy, and.... experiments with line not as line but as shape.”

Helen Frankenthaler (1928–2011) American artist

Quote from MoMA Highlights, New York, The Museum of Modern Art, revised 2004, originally published in 1999, p. 219 http://www.moma.org/collection/object.php?object_id=78722
1990s - 2000s

“By the way, the = notation was invented by Robert Recorde (1510-1558). He choose two parallel lines as a symbol of equality " because noe 2 thynges can be moare equalle."”

Brian Hayes (scientist) (1900) American scientist, columnist and author

Source: Group Theory in the Bedroom (2008), Chapter 11, Identity Crisis, p. 203

Robert Gascoyne-Cecil, 3rd Marquess of Salisbury photo

“Mr Mayor and gentlemen - I have great pleasure in associating myself in how ever humble and transitory manner with this great and splendid undertaking. I am glad to be associated with an enterprise which I hope will carry still further the prosperity and power of Liverpool, and which will carry down the name of Liverpool to posterity as the place where a great mechanical undertaking first found its home. Sir William Forwood has alluded to the share which this city took in the original establishment of railways. My memory does not quite carry me back to the melancholy event by which that opening was signalised, but I can remember that which presents to my mind a strange contrast with the present state of things. Almost the earliest thing I can recollect is being brought down here to my mother's house which is close in the neighbourhood, and we took two days on the road, and had to sleep half way. Comparing that with my journey yesterday I feel what an enormous distance has been traversed in the interval, and perhaps a still larger distance and a still more magnificent rate of progress will be achieved before a similar distance of time has elapsed from the present day. I will not detain you in a room where it is perhaps difficult to hear. Of all my oratorical efforts, the one which I find most difficult to achieve is that of competing with a steam engine. Occasionally you are invited to do it at railway stations, and I know distinguished statesmen who do it with effect, but I think I have never ventured to compete in that line. I will therefore, though with some fear and trembling, fulfil the injunctions of Sir William Forwood, and proceed to handle the electric machinery which is to set this line in motion. I only hope the result will be no different from what he anticipates.”

Robert Gascoyne-Cecil, 3rd Marquess of Salisbury (1830–1903) British politician

At the opening of the Liverpool Overhead Railway, 4 February 1893. Quoted in the Liverpool Echo of the same day, p. 3
1890s

Alex Salmond photo
Marvin Gaye photo

“Picket lines and picket signs
Don't punish me with brutality
Talk to me, so you can see
Oh, what's going on
What's going on.”

Marvin Gaye (1939–1984) American singer-songwriter and musician

What's Going On.
Song lyrics, What's Going On (1971)

Phillip Abbott Luce photo

“In televisionland we are all sophisticated enough now to realize that every statistic has an equal and opposite statistic somewhere in the universe. It is not a candidate's favorite statistic per se that engages us, but the assurance with which he can use it.
We are testing the candidates for self-confidence, for "Presidentiality" in statistical bombardment. It doesn't really matter if their statistics be homemade. What settles the business is the cool with which they are dropped.
And so, as the second half hour treads the decimaled path toward the third hour, we become aware of being locked in a tacit conspiracy with the candidates. We know their statistics go to nothing of importance, and they know we know, and we know they know we know.
There is total but unspoken agreement that the "debate," the arguments which are being mustered here, are of only the slightest importance.
As in some primitive ritual, we all agree — candidates and onlookers — to pretend we are involved in a debate, although the real exercise is a test of style and manners. Which of the competitors can better execute the intricate maneuvers prescribed by a largely irrelevant ritual?
This accounts for the curious lack of passion in both performers. Even when Ford accuses Carter of inconsistency, it is done in a flat, emotionless, game-playing style. The delivery has the tuneless ring of an old press release from the Republican National Committee. Just so, when Carter has an opportunity to set pulses pounding by denouncing the Nixon pardon, he dances delicately around the invitation like a maiden skirting a bog.
We judge that both men judge us to be drained of desire for passion in public life, to be looking for Presidents who are cool and noninflammable. They present themselves as passionless technocrats using an English singularly devoid of poetry, metaphor and even coherent forthright declaration.
Caught up in the conspiracy, we watch their coolness with fine technical understanding and, in the final half hour, begin asking each other for technical judgments. How well is Carter exploiting the event to improve our image of him? Is Ford's television manner sufficiently self-confident to make us sense him as "Presidential"?
It is quite extraordinary. Here we are, fully aware that we are being manipulated by image projectionists, yet happily asking ourselves how obligingly we are submitting to the manipulation. It is as though a rat running a maze were more interested in the psychologist's charts on his behavior than in getting the cheese at the goal line.”

Russell Baker (1925–2019) writer and satirst from the United States

"And All of Us So Cool" (p.340)
There's a Country in My Cellar (1990)

Patrick Modiano photo
Friedensreich Hundertwasser photo

“This sentence also occurs in Hundertwasser's manifesto "On the Paradise Destroyed by the Straight Line" (1985).”

Friedensreich Hundertwasser (1928–2000) Austrian artist

:
Mould Manifesto against Rationalism in Architecture (1958)

Martin Rushent photo
Alexander McCall Smith photo
Rob Enderle photo

“We're creatures of habit. We lined up for the old Batman and Star Wars films long after they stopped being great, and we'll pay Apple the same courtesy if it loses its mojo.”

Rob Enderle (1954) American financial analyst

How many times can Apple bottle lightning? The challenges of staying on top http://digitaltrends.com/apple/rob-enderle-apple in Digital Trends (8 September 2012)

James Joyce photo
Clarence Darrow photo

“I had grown tired of standing in the lean and lonely front line facing the greatest enemy that ever confronted man — public opinion.”

Clarence Darrow (1857–1938) American lawyer and leading member of the American Civil Liberties Union

Source: The Story of My Life (1932), Ch. 27 "The Loeb-Leopold Tragedy", p. 232

Casey Stengel photo
Paul A. Samuelson photo
Allan Kaprow photo

“The line between art and life should be kept as fluid, and perhaps indistinct, as possible.”

Allan Kaprow (1927–2006) American artist

'Transfiguration of the Commonplace' by Anna Dezeuze in Variant 22 (Spring 2005) http://www.variant.randomstate.org/22texts/Dezeuze.html.

Susan Faludi photo
Michael Badnarik photo
Charles James Fox photo

“Although Fox's private character was deformed by indulgence in vicious pleasures, it was in the eyes of his contemporaries largely redeemed by the sweetness of his disposition, the buoyancy of his spirits, and the unselfishness of his conduct. As a politician he had liberal sentiments, and hated oppression and religious intolerance. He constantly opposed the influence of the crown, and, although he committed many mistakes, and had in George III an opponent of considerable knowledge of kingcraft and immense resources, the struggle between him and the king, as far as the two men were concerned, was after all a drawn game…the coalition of 1783 shows that he failed to appreciate the importance of political principles and was ignorant of political science…Although his speeches are full of common sense, he made serious mistakes on some critical occasions, such as were the struggle of 1783–4, and the dispute about the regency in 1788. The line that he took with reference to the war with France, his idea that the Treason and Sedition bills were destructive of the constitution, and his opinion in 1801 that the House of Commons would soon cease to be of any weight, are instances of his want of political insight. The violence of his language constantly stood in his way; in the earlier period of his career it gave him a character for levity; later on it made his coalition with North appear especially reprehensible, and in his latter years afforded fair cause for the bitterness of his opponents. The circumstances of his private life helped to weaken his position in public estimation. He twice brought his followers to the brink of ruin and utterly broke up the whig party. He constantly shocked the feelings of his countrymen, and ‘failed signally during a long public life in winning the confidence of the nation’ (LECKY, Hist. iii. 465 sq). With the exception of the Libel Bill of 1792, the credit of which must be shared with others, he left comparatively little mark on the history of national progress. Great as his talents were in debate, he was deficient in statesmanship and in some of the qualities most essential to a good party leader.”

Charles James Fox (1749–1806) British Whig statesman

William Hunt, 'Fox, Charles James (1749–1806)', Dictionary of National Biography (1889).
About

Robert M. Pirsig photo
Vladimir Lenin photo
Warren Farrell photo

“Men give the same lines to different women for the same reason women wear the same perfume for different men; we all try the things that work.”

Warren Farrell (1943) author, spokesperson, expert witness, political candidate

Source: Why Men Are the Way They Are (1988), p. 246.

Lata Mangeshkar photo
John Dalberg-Acton, 1st Baron Acton photo

“The government of the Israelites was a Federation, held together by no political authority, but by the unity of… faith and founded not on physical force but on a voluntary covenant. The principle of self-government was carried out not only in each tribe, but in every group of at least 120 families; and there was neither privilege of rank nor inequality before the law. Monarchy was so alien to the primitive spirit of the community that it was resisted by Samuel… The throne was erected on a compact; and the king was deprived of the right of legislation among a people that recognised no lawgiver but God, whose highest aim in politics was to… make its government conform to the ideal type that was hallowed by the sanctions of heaven. The inspired men who rose in unfailing succession to prophesy against the usurper and the tyrant, constantly proclaimed that the laws, which were divine, were paramount over sinful rulers, and appealed… to the healing forces that slept in the uncorrupted consciences of the masses. Thus the… Hebrew nation laid down the parallel lines on which all freedom has been won—the doctrine of national tradition and the doctrine of the higher law; the principle that a constitution grows from a root, by process of development… and the principle that all political authorities must be tested and reformed according to a code which was not made by man. The operation of these principles… occupies the whole of the space we are going over together.”

John Dalberg-Acton, 1st Baron Acton (1834–1902) British politician and historian

Source: The History of Freedom in Antiquity (1877)

Rollo May photo
James Bradley photo
Peter Greenaway photo
Derren Brown photo
Jean Metzinger photo
Bill Engvall photo
Benjamin N. Cardozo photo

“But some years after, a letter, which he received from Dr. Hooke, put him on inquiring what was the real figure, in which a body let fall from any high place descends, taking the motion of the earth round its axis into consideration. Such a body, having the same motion, which by the revolution of the earth the place has whence it falls, is to be considered as projected forward and at the same time drawn down to the centre of the earth. This gave occasion to his resuming his former thoughts concerning the moon, and Picard in France having lately measured the earth, by using his measures the moon appeared to be kept in her orbit purely by the power of gravity; and consequently, that this power decreases, as you recede from the centre of the earth, in the manner our author had formerly conjectured. Upon this principle he found the line described by a falling body to be an ellipsis, the centie of the earth being one focus. And the primary planets moving in such orbits round the sun, he had the satisfaction to see, that this inquiry, which he had undertaken merely out of curiosity, could be applied to the greatest purposes. Hereupon he composed near a dozen propositions, relating to the motion of the primary planets about the sun. Several years after this, some discourse he had with Dr. Halley, who at Cambridge made him a visit, engaged Sir Isaac Newton to resume again the consideration of this subject; and gave occasion to his writing the treatise, which he published under the title of Mathematical Principles of Natural Philosophy. This treatise, full of such a variety of profound inventions, was composed by him, from scarce any other materials than the few propositions before mentioned, in the space of a year and a half.”

Henry Pemberton (1694–1771) British doctor

Republished in: Stephen Peter Rigaud (1838) Historical Essay on the First Publication of Sir Newton's Principia http://books.google.com/books?id=uvMGAAAAcAAJ&pg=RA1-PA49. p. 519
Preface to View of Newton's Philosophy, (1728)

Jack Buck photo

“Smith corks one into right, down the line! It may go!! … Go crazy, folks! Go crazy! It's a home run, and the Cardinals have won the game, by the score of 3 to 2, on a home run by the Wizard! Go crazy!”

Jack Buck (1924–2002) American sportscaster

Calling Ozzie Smith's 9th inning home run off Niedenfuer in Game 5 of the 1985 National League Championship Series.
1980s

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Spencer Tracy photo

“Know your lines and don't bump into the furniture.”

Spencer Tracy (1900–1967) American actor

Quoted in Ashton Applewhite; Tripp Evans, Andrew Frothingham (2003). And I Quote: The Definitive Collection of Quotes, Sayings, and Jokes for the Contemporary Speechmaker. Macmillan, p. 283. ISBN 0312307446.

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