Quotes about master
page 11

André Maurois photo
Annie Besant photo
David Allen photo

“When you know how, any time, to get to the place where it's all sort of funny, you've mastered GTD.”

David Allen (1945) American productivity consultant and author

8 December 2011 https://twitter.com/gtdguy/status/145022728494264321
Official Twitter profile (@gtdguy) https://twitter.com/gtdguy

Joni Madraiwiwi photo
George Granville, 1st Baron Lansdowne photo

“Whoe'er thou art, thy Lord and master see,
Thou wast my Slave, thou art, or thou shalt be.”

George Granville, 1st Baron Lansdowne (1666–1735) 1st Baron Lansdowne

Inscription for a Figure representing the God of Love. See Genuine Works. (1732) I. 129. Version of a Greek couplet from the Greek Anthology.

T.S. Eliot photo

“No verse is free for the man who wants to do a good job…. Poetry.. remains one person talking to another…. no poet can write a poem of amplitude unless he is the master of the prosaic.”

T.S. Eliot (1888–1965) 20th century English author

The Music of Poetry (24 February 1942) the third W. P. Ker memorial lecture delivered in the University of Glasgow

Euripidés photo

“Good slaves [are affected by] the adversities of their masters”

Euripidés (-480–-406 BC) ancient Athenian playwright

Bacchæ l. 1028
the original sentence does not contain any verb

Walter Scott photo
Bouck White photo
Arthur Waley photo
Thomas Aquinas photo
Ajaib Singh photo

“Of course, if you find someone who has meditated like my Master made me meditate, very happily you can take advantage of him. I am ready to help you in that case. Do not follow the false one; do not waste your life.”

Ajaib Singh (1926–1997) Sant Ajaib Singh (11 September 1926 – 6 July 1997) was born in Maina, Bhatinda district, Punjab, India. He …

Ref. http://www.ajaibbani.org/remain_firm_on_the_truth.htm.

William Burges photo

“Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

Arthur Symons photo

“Here in a little lonely room
I am master of earth and sea,
And the planets come to me.”

Arthur Symons (1865–1945) British poet

The Loom of Dreams, st. 1 (1900).

Umberto Eco photo

“Every evening after dinner, a new life began. There was no hurry. Some walked in the garden. Others smoked. About nine o’clock we made our way alone or in twos and threes to the Study House. Outdoor shoes came off and soft shoes or moccasins were put on. We sat quietly, each on his or her own cushion, round the floor in the centre. Men sat on the right, women on the left; never together.

Some went straight on to the stage and began to practice the rhythmic exercises. On our first arrival, each of us had the right to choose his own teacher for the movements. I had chosen Vasili Ferapontoff, a young Russian, tall, with a sad studious face. He wore pince-nez, and looked the picture of the perpetual student, Trofimov, in The Cherry Orchard. He was a conscientious instructor, though not a brilliant performer. I came to value his friendship, which continued until his premature death ten years later. He told me in one of our first conversations that he expected to die young.

The exercises were much the same as those I had seen in Constantinople three years before. The new pupils, such as myself, began with the series called Six Obligatory Exercises. I found them immensely exciting, and worked hard to master them quickly so that I could join in the work of the general class.”

John G. Bennett (1897–1974) British mathematician and author

Source: Witness: the Story of a Search (1962), p. 90–91 cited in: "Gurdjieff’s Temple Dances by John G. Bennett", Gurdjieff International Review, on gurdjieff.org; About Fontainebleau 1923

Muhammad photo
Theodore L. Cuyler photo
Cesare Pavese photo
Winston S. Churchill photo
Herbert Marcuse photo

“No matter how close and familiar the temple or cathedral were to the people who lived around them, they remained in terrifying or elevating contrast to the daily life of the slave, the peasant, and the artisan—and perhaps even to that of their masters. Whether ritualized or not, art contains the rationality of negation. In its advanced positions, it is the Great Refusal—the protest against that which is. The modes in which man and things are made to appear, to sing and sound and speak, are modes of refuting, breaking, and recreating their factual existence. But these modes of negation pay tribute to the antagonistic society to which they are linked. Separated from the sphere of labor where society reproduces itself and its misery, the world of art which they create remains, with all its truth, a privilege and an illusion. In this form it continues, in spite of all democratization and popularization, through the nineteenth and into the twentieth century. The “high culture” in which this alienation is celebrated has its own rites and its own style. The salon, the concert, opera. theater are designed to create and invoke another dimension of reality. Their attendance requires festive-like preparation; they cut off and transcend everyday experience. Now this essential gap between the arts and the order of the day, kept open in the artistic alienation, is progressively closed by the advancing technological society. And with its closing, the Great Refusal is in turn refused; the “other dimension” is absorbed into the prevailing state of affairs. The works of alienation are themselves incorporated into this society and circulate as part and parcel of the equipment which adorns and psychoanalyzes the prevailing state of affairs.”

Source: One-Dimensional Man (1964), pp. 63-64

Meher Baba photo
Orson Scott Card photo
Iwane Matsui photo

“Now I am master of Shanghai.”

Iwane Matsui (1878–1948) Japanese general

Quoted in "America Views China: American Images of China Then and Now" - Page 19 - by Jonathan Goldstein, Jerry Israel, Hilary Conroy - 1991.

George Washington Carver photo
Lee Kuan Yew photo
Daniel O'Connell photo
Ernst Gombrich photo
Clive Staples Lewis photo
Karl Popper photo
Damian Pettigrew photo
Neil Strauss photo
Bill Whittle photo

“You tell the big lie by carefully selecting only the small, isolated truths, linking them in such a way that that advance the bigger lie by painting a picture inside the viewer's head. The Ascended High Master of this Dark Art is Noam Chomsky.”

Bill Whittle (1959) author, director, screenwriter, editor

MAGIC https://web.archive.org/web/20030602124318/http://www.ejectejecteject.com/archives/000051.html (18 May 2003)
2000s

Matthew Stover photo
Neal Stephenson photo
John Ruysbroeck photo

“If every earthly pleasure were melted An intelligence in repose without images, an intuition in the light of God, and a spirit elevated in Purity to the Face of God, these three qualities united constitute the true contemplative life into a single experience and bestowed upon one man,
it would be as nothing when measured by the joy of which I write for here it is God who passes into the depths of us in all His purity,
and the soul is not only filled but overflowing.
This experience is that light that makes manifest to the soul the terrible desolation of such as live divorced from love;
it melts the man utterly; he is no longer master of his joy.
Such possession produces intoxication, the state of the spirit in which its bliss transcends the uttermost bounds of anticipation or desire.
Sometimes the ecstasy pours forth in song, sometimes in tears:
at one moment it finds expression in movement, at others in the intense stillness of burning, voiceless feeling.
Some men knowing this bliss wonder if others feel God as they do; some are assured that no living creature has ever had such experiences as theirs;
there are those who wonder that the world is not set aflame by this joy; and there are others who marvel at its nature, asking whence it comes, and what it is.
The body itself can know no greater pleasure upon earth than to participate in it;
and there are moments when the soul feels that it must shiver to fragments in the poignancy of this experience.”

John Ruysbroeck (1293–1381) Flemish mystic

An Anthology of Mysticism and Philosophy

Thomas Henry Huxley photo

“Since Lord Brougham assailed Dr Young, the world has seen no such specimen of the insolence of a shallow pretender to a Master in Science as this remarkable production, in which one of the most exact of observers, most cautious of reasoners, and most candid of expositors, of this or any other age, is held up to scorn as a "flighty" person, who endeavours "to prop up his utterly rotten fabric of guess and speculation," and whose "mode of dealing with nature" is reprobated as "utterly dishonourable to Natural Science."
And all this high and mighty talk, which would have been indecent in one of Mr. Darwin's equals, proceeds from a writer whose want of intelligence, or of conscience, or of both, is so great, that, by way of an objection to Mr. Darwin's views, he can ask, "Is it credible that all favourable varieties of turnips are tending to become men?"; who is so ignorant of paleontology, that he can talk of the "flowers and fruits" of the plants of the Carboniferous epoch; of comparative anatomy, that he can gravely affirm the poison apparatus of the venomous snakes to be "entirely separate from the ordinary laws of animal life, and peculiar to themselves"…
Nor does the reviewer fail to flavour this outpouring of preposterous incapacity with a little stimulation of the odium theologicum. Some inkling of the history of the conflicts between Astronomy, Geology, and Theology, leads him to keep a retreat open by the proviso that he cannot "consent to test the truth of Natural Science by the word of Revelation;" but, for all that, he devotes pages to the exposition of his conviction that Mr. Darwin's theory "contradicts the revealed relation of the creation to its Creator," and is "inconsistent with the fulness of his glory."”

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

If I confine my retrospect of the reception of the 'Origin of Species' to a twelvemonth, or thereabouts, from the time of its publication, I do not recollect anything quite so foolish and unmannerly as the Quarterly Review article...
Huxley's commentary on the Samuel Wilberforce review of the Origin of Species in the Quarterly Review.
1880s, On the Reception of the Origin of Species (1887)

Thomas Eakins photo
Jesper Kyd photo
Letitia Elizabeth Landon photo
Alexander Bain photo
Ruth Bader Ginsburg photo
Ed Bradley photo

“Ed Bradley is a member of an elite group of CBS News professionals who have mastered a variety of duties and who have been honored on many occasions for their abilities.”

Ed Bradley (1941–2006) News correspondent

[Encyclopedia of Television News, Michael D. Murray, 1998, 1573561088, Greenwood]
About

Roberto Mangabeira Unger photo
Bouck White photo
Josh Marshall photo
Arthur Waley photo

“Since the classical language has an easy grammar and limited vocabulary, a few months should suffice for the mastering of it.”

Arthur Waley (1889–1966) British academic

Japanese Poetry: The Uta (1919), Introduction, p. 8

Samuel Johnson photo

“And sure th' Eternal Master found
His single talent well employ'd.”

Samuel Johnson (1709–1784) English writer

Stanza 7
Elegy on the Death of Mr. Robert Levet, A Practiser in Physic (1783)

Henry Wadsworth Longfellow photo
Wangari Maathai photo
Arnaut Daniel photo

“First of them all was Arnaut Daniel,
Master in love; and he his native land
Honors with the strange beauty of his verse.”

Arnaut Daniel (1150–1210) Occitan troubadour

Fra tutti il primo Arnaldo Danïello
Gran maestro d'amor; ch'a la sua terra
Ancor fa onor col suo dir strano e bello.
Petrarch Il Trionfo d'Amore, capitolo IV, line 40; uncredited translation from petrarch.petersadlon.com http://petrarch.petersadlon.com/read_trionfi.html?page=I-IV.en
Criticism

Clay Shirky photo
Michel Foucault photo

“I try to carry out the most precise and discriminative analyses I can in order to show in what ways things change, are transformed, are displaced. When I study the mechanisms of power, I try to study their specificity… I admit neither the notion of a master nor the universality of his law. On the contrary, I set out to grasp the mechanisms of the effective exercise of power; and I do this because those who are inserted in these relations of power, who are implicated therein, may, through their actions, their resistance, and their rebellion, escape them, transform them—in short, no longer submit to them. And if I do not say what ought to be done, it is not because I believe there is nothing to be done. Quite on the contrary, I think there are a thousand things to be done, to be invented, to be forged, by those who, recognizing the relations of power in which they are implicated, have decided to resist or escape them. From this point of view, my entire research rests upon the postulate of an absolute optimism. I do not undertake my analyses to say: look how things are, you are all trapped. I do not say such things except insofar as I consider this to permit some transformation of things. Everything I do, I do in order that it may be of use.”

Michel Foucault (1926–1984) French philosopher

Quand j’étudie les mécanismes de pouvoir, j’essaie d’étudier leur spécificité… Je n’admets ni la notion de maîtrise ni l’universalité de la loi. Au contraire, je m’attache à saisir des mécanismes d’exercise effectif de pouvoir ; et je le fais parce que ceux qui sont insérés dans ces relations de pouvoir, qui y sont impliqués peuvent, dans leurs actions, dans leur résistance et leur rébellion, leur échapper, les transformer, bref, ne plus être soumis. Et si je ne dis pas ce qu’il faut faire, ce n’est pas parce que je crois qu’il n’y a rien à faire. Bien au contraire, je pense qu’il y a mille choses à faire, à inventer, à forger par ceux qui, reconnaissant les relations de pouvoir dans lesquelles ils sont impliqués, ont décidé de leur résister ou de leur échapper. De ce point de vue, toute ma recherche repose sur un postulat d’optimisme absolu. Je n’effectue pas mes analyses pour dire : voilà comment sont les choses, vous êtes piégés. Je ne dis ces choses que dans la mesure où je considère que cela permet de les transformer. Tout ce que je fais, je le fais pour que cela serve.
Dits et Écrits 1954–1988 (1976) Vol. II, 1976–1988 edited by Daniel Defert and François Ewald, p. 911-912

Bill Moyers photo
Thomas Jefferson photo
Orson Scott Card photo
Robert G. Ingersoll photo
Glen Cook photo
Georges Rouault photo
Will Eisner photo
Samuel Richardson photo
Wilhelm Reich photo
Harpo Marx photo

“The master mind is the mind that thinks what it wants to think, regardless of what circumstances, environment or associations may suggest.”

Christian D. Larson (1874–1962) Prolific author of metaphysical and New Thought books

Source: Your Forces and How to Use Them (1912), p. 284

Arun Shourie photo

“But here in India a simplistic recitation of the earlier phrases and categories remained enough. It is not just fidelity to the masters, therefore, which characterizes the history writing by these eminences. It is a simple-mindedness!
But there is an additional factor. Whitewashing the Islamic period is not the only feature which characterizes the work of these historians. There is in addition a positive hatred for the pre-Islamic period and the traditions of the country. Over the years entries about India in Soviet encyclopedias, for instance, became more and more ductile. They began to acknowledge ever so hesitantly that the categories and periods might need to be nuanced when they were extended to countries like China and India. They began to acknowledge that at various times there had been an overlapping and coexistence of different ‘stages’. And, perhaps for diplomatic reasons alone, they became increasingly circumspect – careful to avoid denigrating our traditions.
In the standard two-volume Soviet work, A History of India, for instance, we find more or less the same characterization of the different periods in Indian histories as we do in the volumes of our eminent historians. But the Soviet volumes have none of the scorn and animosity which we have encountered in the volumes of our eminent historians.”

Arun Shourie (1941) Indian journalist and politician

Eminent Historians: Their Technology, Their Line, Their Fraud

James Anthony Froude photo

“We start with enthusiasm — out we go each of us to our task in all the brightness of sunrise, and hope beats along our pulses; we believe the world has no blanks except to cowards, and we find, at last, that, as far as we ourselves are concerned, it has no prizes; we sicken over the endless unprofitableness of labour most when we have most succeeded, and when the time comes for us to lay down our tools we cast them from us with the bitter aching sense, that it were better for us if it had been all a dream. We seem to know either too much or too little of ourselves — too much, for we feel that we are better than we can accomplish; too little, for, if we have done any good at all, it has heen as we were servants of a system too vast for us to comprehend. We get along through life happily between clouds and sunshine, forgetting ourselves in our employments or our amusements, and so long as we can lose our consciousness in activity we can struggle on to the end. But when the end comes, when the life is lived and done, and stands there face to face with us; or if the heart is weak, and the spell breaks too soon, as if the strange master-worker has no longer any work to offer us, and turns us off to idleness and to ourselves; in the silence then our hearts lift up their voices, and cry out they can find no rest here, no home. Neither pleasure, nor rank, nor money, nor success in life, as it is called, have satisfied, or can satisfy; and either earth has nothing at all which answers to our cravings, or else it is something different from all these, which we have missed finding — this peace which passes understanding — and from which in the heyday of hope we had turned away, as lacking the meretricious charm which then seemed most alluring.
I am not sermonizing of Religion, or of God, or of Heaven, at least not directly.”

Confessions Of A Sceptic
The Nemesis of Faith (1849)

Orson Scott Card photo
Charles Bowen photo

“The director is really a watch-dog, and the watch-dog has no right without the knowledge of his master to take a sop from a possible wolf.”

Charles Bowen (1835–1894) English judge

In re North Australian Territory Co. (1891), L. J. Rep. 61 C. D. 135.

George Holyoake photo
Jayant Narlikar photo
George W. Bush photo
Lloyd Kenyon, 1st Baron Kenyon photo
Prem Rawat photo
Ba Jin photo

“Only by not forgetting the past can we be the master of the future.”

Ba Jin (1904–2005) Chinese novelist

As quoted "Literary witness to century of turmoil" in China Daily (24 November 2003)

Lyndon B. Johnson photo
Strabo photo
Frances Ridley Havergal photo

“Jesus, Master, I am Thine;
Keep me faithful, keep me near;
Let Thy presence in me shine
All my homeward way to cheer.
Jesus, at Thy feet I fall,
Oh, be Thou my All in All.”

Frances Ridley Havergal (1836–1879) British poet and hymn-writer

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 398.

Prem Rawat photo
Bartolomé de las Casas photo

“Woman throughout the ages has been mistress to the law, as man has been its master.”

Freda Adler (1934) Criminologist, educator

Source: Sisters in Crime: The Rise of the New Female Criminal (1975), P. 203.

Elizabeth I of England photo
Frederick Douglass photo
Valentine Blacker photo
Gertrude Stein photo
Hilary Duff photo
Ellen G. White photo
Logan Pearsall Smith photo
Frances Ridley Havergal photo

“Teach us, Master, how to give
All we have and are to Thee;
Grant us, Saviour, while we live,
Wholly, only Thine to be.”

Frances Ridley Havergal (1836–1879) British poet and hymn-writer

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 159.