Quotes about mud
page 2

Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 243
December “HOUSE TO HOUSE”
The Sheep Look Up (1972)

Quoted in "The Other Side of the Hill" - Page 184 - by Basil Henry Liddell Hart - 1948

Source: The Wine of Violence (1981), Chapter 4 (p. 48)

Quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan.
Travels in the Mogul Empire (1656-1668)

Down, But Still Russian http://takimag.com/article/down_but_still_russian/print#axzz3xNaU2RAk, Taki's Magazine, December 8, 2011.
The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)
Source: Coming from Behind (1983), Ch. 3

On attending the Glastonbury Festival of Contemporary Performing Arts, in a Glastonbury Festival site interview (22 June 2007) http://www.glastonburyfestivals.co.uk/news.aspx?id=589.

Source: 1860s, Evidence as to Man's Place in Nature (1863), Ch.2, p. 131-132

"Fragment of a Greek Tragedy". This parody was first written in 1883, but quoted here from a revised version of 1927.

1840s, Past and Present (1843)

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Vader was ook een juweel van een mannetje. Anders kun je 'm toch ook niet zo schilderen. [Jopie wijst naar het portret van zijn vader dat in de huiskamer hangt, naast dat van zijn moeder] In zeven uren gemaakt. Op een zaterdag. Toen was m'n moeder een maand of drie dood. Drie keer is ie overeind geweest: 'Ben je al 'ns een keer klaar?' Zoals ik over ze praat, zo zie je ze daar hangen. Het was een modderschippertje, later boer.
Mens & Gevoelens: Jopie Huisman', 1993

1930s, Address at Chautauqua, New York (1936)

Source: Esther: A Novel (1884), Ch. VIII

Letter to Robert Bontine Cunninghame Graham, quoted in Joseph Conrad: A Biography (1991) by Jeffrey Meyers, p. 166
The Philosophical Emperor, a Political Experiment, or, The Progress of a False Position: (1841)
“Though the sun beat all day upon the mud,
Still foul the mud remains and bright the sun.”
Fere lo sol lo fango tutto ’l giorno;
Vil riman, ne il sol perde colore.
Canzone. (Poeti del Primo Secolo, Firenze, 1816, p. 92).
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 302.

“You gave me your mud and I have turned it to gold.”
Tu m’as donné ta boue et j’en ai fait de l’or.
"Ébauche d’un épilogue pour la 2e édition," Les Fleurs du Mal (1861), Appendice II: Autres pièces http://fr.wikisource.org/wiki/Les_Fleurs_du_mal_-_Ebauche_d'un_%C3%A9pilogue_pour_la_2e_%C3%A9dition

“Life is made up of marble and mud.”
Source: The House of the Seven Gables (1851), Ch. II : The Little Shop-Window

Q&A with Ed Vedder, Uncut Magazine, September 2009 http://www.pearljamonline.it/interviste/uncut09.htm,

version in original Dutch / citaat van Willem Maris, in het Nederlands: Bij Heyser [een café in Den Haag] kwamen de eerbiedwaardige ouden [schilders]: Smit-Cranz, Coelman e.a. Dat waren de hooge oomes, zie je. Wij waren de revolutionairen. En tegenwerking dat we hebben gehad! - In heeft tijdens onze eerste tentoonstelling een pamflet gelegen tegen ons. We werden uitgescholden voor 'modderschilders'.
Quote of Willem Maris; as cited in 'Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850', Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, pp. 36-37

Youtube: Ben Stein on Glenn Beck's show about Intelligent Design, Ben Stein on Glenn Beck's show about Intelligent Design, 13 November 2007, 2008-04-18 http://www.youtube.com/watch?v=DHbdMbSLfb4,
Source: Artists talks 1969 – 1977, p. 26
"Cui Weiping (崔卫平): I Am a Grass-Mud Horse" in China Digital Times (1 March 2009) http://chinadigitaltimes.net/2009/03/cui-weiping-%E5%B4%94%E5%8D%AB%E5%B9%B3-i-am-a-grass-mud-horse/

“Heliotrope”, p. 106.
The Teachings of Don. B: Satires, Parodies, Fables, Illustrated Stories, and Plays of Donald Barthelme (1992)
Source: Civilisation (1969), Ch. 13: Heroic Materialism

on floor of House of Representatives, quoted in [Capitol Sketchbook; In a Bitter Cultural War, An Ardent Call to Arms, The New York Times, 1999-06-17, http://www.nytimes.com/1999/06/17/us/capitol-sketchbook-in-a-bitter-cultural-war-an-ardent-call-to-arms.html?pagewanted=2, 2011-10-10]
Words originally written by Addison Dawson, read into the Congressional Record http://www.gpo.gov/fdsys/pkg/CREC-1999-06-16/html/CREC-1999-06-16-pt1-PgH4364-2.htm by DeLay (June 16, 1999).
1990s

Source: Permaculture: A Designers' Manual (1988), chapter 9.4

Alicia Silverstone Interview on Her Age & Health - Redbook, Oct 2009 http://www.redbookmag.com/fun-contests/celebrity/alicia-silverstone-interview

“He who slings mud generally loses ground.”
Statement quoted in news summaries (11 January 1954); as quoted in Best Quotes of '54, '55, '56 (1957) edited by James Beasley Simpson, p. 58
Source: Countryside Alliance Magazine interview, 2006.

The Faces of Fantasy (1996)

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter I, Sec. 2
Source: 1970s, Complex organizations, 1972, p. 4
"James Taylor Marked for Death" (1971), p. 66
Psychotic Reactions and Carburetor Dung (1988)

"A World Grown Grey With Their Breath", Liberty Bell magazine (January 1988)
1970s, 1980s

Writings, The Institutes of Biblical Law (1973)

The New Day: Campaign Speeches of Herbert Hoover (1928)
Source: The Mortdecai Trilogy, After You With The Pistol (1979), Ch. 5.

from an interview with Q magazine (1995)
In interviews etc., About himself and his work
Quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 7
Jahangir’s India
Book 1, § 8.
Life of Apollonius of Tyana

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Wat de vergankelijkheid betreft.. .Je ziet het hele verhaal in die schoenen, daarom schilder ik ze zo scherp. De lichamelijke houding; kromme poten, een knobbel. Die schoenen praatten tegen me, en dan dacht ik: ik kan zien dat je zo en zo groot was, maar had je ook een vrouw? Kinderen? Wat deed je? En waar het me in wezen dan om ging is mijn plekkie daartussen. Tussen die verhalen, dat mysterie. Die pikzwarte achtergrond [in zijn schilderijen, tot c. 1979-80]; ik had het gevonden. Een schreeuw om aandacht. Die broek, dat hemd, die achtergrond, dat was: hier ben ik. Maar dan word je een maniërist. Dus ik ben realistisch doorgegaan, maar koste wat het kost die zwarte achtergrond vermijdend. Het is zoals nl:Rutger Kopland zegt: Wie het gevonden heeft, heeft niet goed gezocht. Nu wil ik de mensen zo schilderen, als zijn ze van gekleurde modder. De kleur die vergeestelijkt.
Mens & Gevoelens: Jopie Huisman', 1993

“Your thoughts move with the deft precision of worm-tracks in the mud.”
Source: The Languages of Pao (1958), Chapter 14 (p. 149)

British Crane Hire Corporation Ltd v. Ipswich Plant Hire Ltd [1970] 1 All ER 1059.
Judgments

Source: Soldiers Live (2000), Chapter 6, “An Abode of Ravens: Suvrin’s News” (p. 384)

Riyadh-as-Saliheen by Imam Al-Nawawi, volume 1, hadith number 126
Sunni Hadith

EXPELLED: No Intelligence Allowed, Assist Ministries News Story: EXPELLED: No Intelligence Allowed, 10 April 2008, 2008-04-18 http://www.assistnews.net/Stories/2008/s08040068.htm,

“Mud-pies gratify one of our first and best instincts. So long as we are dirty, we are pure.”
Preliminary.
My Summer in a Garden (1870)

p, 125
The Training of the Human Plant (1907)
Source: Cider with Rosie (1959), pp. 221-222.

Hindus and Christians http://www.ramakrishnavivekananda.info/vivekananda/volume_8/notes_of_class_talks_and_lectures/hindus_and_christians.htm (Detroit, February 21, 1894) Quoted from Goel, S. R. (1996). History of Hindu-Christian encounters, AD 304 to 1996. Ch. 13

Undated
India's Rebirth

Connections (1979), 1 - The Trigger Effect
Context: These are the great ancient temples of Karnak, on the edge of the Nile about 450 miles south of Cairo. They were the center of Egyptian religion, built in the imperial city of Thebes, when the Egyptian empire was at its height, the greatest power in the world. This was the New York of its time. The temples were built over a period of 2,000 years, each pharaoh adding his bit, leaving his name in stone, to last forever. Inside the temple domain, there were 65 towns, 433 gardens & orchards, 400,000 animals, and it took 80,000 people just to run the place. Small wonder that centuries afterwards the Greeks and Romans came here and gawked like peasants at a civilisation that made their efforts look like well-dressed mud huts. It still has that effect today. You come here from the great modern cities, full of the immense power of modern technology at your finger tips, press a button, turn a switch. And this place... stops you dead.

“Evolution ever climbing after some ideal good
And Reversion ever dragging Evolution in the mud.”
Source: Locksley Hall Sixty Years After (1886), Line 200

“As a general rule philosophy is like stirring mud or not letting a sleeping dog lie.”
Philosophy
The Note-Books of Samuel Butler (1912), Part XX - First Principles
Context: As a general rule philosophy is like stirring mud or not letting a sleeping dog lie. It is an attempt to deny, circumvent or otherwise escape from the consequences of the interlacing of the roots of things with one another.
Source: Drenai series, Quest for Lost Heroes, Ch. 1
Context: Gentlemen, you are in sorry condition. But war will render you yet more sorry. The soldier will fight in mud and hail, snow and ice, drought and flood. It is rare that a warrior gets to fight in comfort.

“Down on his knees he sinks, the stiff-necked King,
Stoops and kneels and grovels, chin to the mud.”
"Nebuchadnezzar's Fall"
Country Sentiment (1920)
Context: Down on his knees he sinks, the stiff-necked King,
Stoops and kneels and grovels, chin to the mud.
Out from his changed heart flutter on startled wing
The fancy birds of his Pride, Honour, Kinglihood.
He crawls, he grunts, he is beast-like, frogs and snails
His diet, and grass, and water with hand for cup.
He herds with brutes that have hooves and horns and tails,
He roars in his anger, he scratches, he looks not up.

Source: Claudius the God (1935), Ch. 30.
Context: The frog-pool wanted a king.
Jove sent them Old King Log.
I have been as deaf and blind and wooden as a log.
The frog-pool wanted a king.
Let Jove now send them Young King Stork.
Caligula's chief fault: his stork-reign was too brief.
My chief fault: I have been far too benevolent.
I repaired the ruin my predecessors spread.
I reconciled Rome and the world to monarchy again.
Rome is fated to bow to another Caesar.
Let him be mad, bloody, capricious, wasteful, lustful.
King Stork shall prove again the nature of kings.
By dulling the blade of tyranny I fell into great error.
By whetting the same blade I might redeem that error.
Violent disorders call for violent remedies.
Yet I am, I must remember, Old King Log.
I shall float inertly in the stagnant pool.
Let all the poisons that lurk in the mud hatch out.

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

The Weight of Glory (1949)
Context: Indeed, if we consider the unblushing promises of reward and the staggering nature of the rewards promised in the Gospels, it would seem that Our Lord finds our desires, not too strong, but too weak. We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered us, like an ignorant child who wants to go on making mud pies in a slum because he cannot imagine what is meant by the offer of a holiday at the sea. We are far too easily pleased.

A modern Vrindaban from which a thousand flutes will ring out each day. For what else is there? When my breath is gone and I can not play anymore what do I leave behind? Some dedicated students! When you leave nothing behind, you cry at the point of death, but I still dream, I dare to dream that through my students my flute will be left behind as the memory of Krishna.
In "Discography".