Quotes about progression
page 7

Mark Hopkins (educator) photo

“Christianity alone inspires and guides progress; for the progress of man is movement toward God. and movement toward God wili ensure a gradual unfolding of all that exalts and adorns man.”

Mark Hopkins (educator) (1802–1887) American educationalist and theologian

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 140.

William Ellery Channing photo

“We found that technological optimism is the common and the most dangerous reaction to our findings… Technology can relieve the symptoms of the problem without affecting the underlying causes. Faith in technology as the ultimate solution to all problems can thus divert our attention from the most fundamental problem— the problem of growth in a finite system- and prevent us from taking effective action to solve it… We would deplore an unreasoned rejection of the benefits of technology as strongly as we argue here against an unreasoned acceptance of them. Perhaps the best summary of our position is the motto of the Sierra Club; not blind opposition to progress but opposition to blind progress.
Taking no action to solve these problems is equivalent of taking strong action. Every day of continued exponential growth brings the world system closer to the ultimate limits of that growth. A decision to do nothing is a decision to increase the risk of collapse.
The way to proceed is clear… [we posses] all that is necessary to create a totally new form of human society… the two missing ingredients are the realistic long-term goal… and the human will to achieve that goal.”

Mihajlo D. Mesarovic (1928) Serbian academic

Source: Mankind at the Turning Point, (1974), p. 88, quoted in: Martin Bridgstock, David Burch, John Forge, John Laurent, Ian Lowe (1998) Science, Technology and Society: An Introduction. Cambridge University Press. pp. 245-246

Edward Heath photo

“Progress in these policies can only be brought about if a considerable degree of consensus exists within our country. I have heard some doubt expressed as to what consensus means…Consensus means deliberately setting out to achieve the widest possible measure of agreement about our national policies, in this particular case about our economic activities, in the pursuit of a better standard of living for our people and a happier and more prosperous country. If there be any doubt about the desirability of working towards such a consensus let us recognize that every successful industrialized country in the modern world has been working on such a basis.”

Edward Heath (1916–2005) Prime Minister of the United Kingdom (1970–1974)

Speech to the Federation of Conservative Students in Manchester (6 October 1981), quoted in The Times (7 October 1981), p. 6. Margaret Thatcher had read Heath's advance text and responded http://www.margaretthatcher.org/document/104712 by saying that "To me consensus seems to be—the process of abandoning all beliefs, principles, values and policies in search of something in which no-one believes, but to which no-one objects".
Post-Prime Ministerial

Whittaker Chambers photo
José Ortega Y Gasset photo
Charles Lyell photo
Gerhard Richter photo
Julian Simon photo
Alfred von Waldersee photo
Ervin László photo
Lyndall Urwick photo
E.E. Cummings photo
J. B. Bury photo
John Banville photo
Robert A. Heinlein photo
Ragnar Frisch photo
Friedrich Engels photo
Charles Darwin photo
Leo Igwe photo
Burkard Schliessmann photo

“The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Patrick Matthew photo
Jeremy Rifkin photo
George Hendrik Breitner photo

“In the works I paint [now] I can't see any guarantee that I shall make progress.... while better skilled people [artists] - even though their work does not seem so good at the moment - can move forward much more easily.”

George Hendrik Breitner (1857–1923) Dutch painter and photographer

translation from the original Dutch, Fons Heijnsbroek
Er is in wat ik maak geen waarborg, dat ik vooruit zal gaan.. ..terwijl beter geschoolde lui, ook al lijkt hun werk op het ogenblik niet zoo goed, veel eer, verder kunnen komen.
Breitner, quoted by Jan Veth, in Portretstudies en silhouetten, J. Veth; Amsterdam 1908, p. 204
Jan Veth is remembering Breitner's remark from an earlier walk they made together
1900 - 1923

“The most notable difference (of the American character) lies in the psychology of work. In the Orient one works to live; in Europe one works to consume; in America one works to work. These are the three stages of a progressive evolution.”

Corrado Gini (1884–1965) Italian statistician

As quoted in The Work of the Catholic Church in the United States of America (Nardini "Artistic" Publishing Company, 1956), p. 10.

Charles Kettering photo

“Prophet of progress: selections from the speeches of Charles F. Kettering, editor Thomas Alvin Boyd, 1961”

Charles Kettering (1876–1958) American inventor, engineer, businessman, and the holder of 140 patents

References

G. K. Chesterton photo
John Napier photo
Gregory Scott Paul photo

“The dinosaur world I grew up in was classical. They were universally seen as scaley herps that inhabited the immobile continents. There was no hint that birds were their direct descendents. Being reptiles, dinosaurs were cold-blooded and rather sluggish except perhaps for the smaller more bird-like examples. They all dragged their tails. Forelimbs were often sprawling. Leg muscles were slender in the reptilian manner. Intellectual capacity was minimal, as were social activity and parenting; the Knight painting of a Triceratops pair watching over a baby threatened by the Tyrant King was a notable exception. Hadrosaurs and especially sauropods were dinosaurian hippos, the latter perhaps too titanic to even emerge on land, and if they did so were limited by their bulk to lifting one foot of the ground at a time. Suitable only for the lush, warm and sunny tropical climate that enveloped the world from pole to pole before the Cenozoic, a cooling climate and new mountain chains did the obsolete archosaurs in, leaving only the crocodilians. Dinosaurs and the bat-winged pterosaurs were merely an evolutionary interlude, a period of geo-biological stasis before things got really interesting with the rise of the energetic and quick witted birds and especially mammals, leading with inexorable progress to the apex of natural selection: Man. It was pretty much all wrong. Deep down I sensed something was not quite right. Illustrating dinosaurs I found them to be much more reminiscent of birds and mammals than of the reptiles they were supposed to be. I was primed for a new view.”

Gregory Scott Paul (1954) U.S. researcher, author, paleontologist, and illustrator

Autobiography, part I http://gspauldino.com/part1.html, gspauldino.com

Sri Chinmoy photo
James Frazer photo

“The advance of knowledge is an infinite progression towards a goal that ever recedes.”

Source: The Golden Bough (1890), Chapter 69, Farewell to Nemi.

Henry Ford photo

“We have only started on our development of our country — we have not as yet, with all our talk of wonderful progress, done more than scratch the surface. The progress has been wonderful enough — but when we compare what we have done with what there is to do, then our past accomplishments are as nothing. When we consider that more power is used merely in ploughing the soil than is used in all the industrial establishments of the country put together, an inkling comes of how much opportunity there b ahead. And now, with so many countries of the world in ferment and with so much unrest everywhere, is an excellent time to suggest something of the things that may be done — in the light of what has been done.
When one speaks of increasing power, machinery, and industry there comes up a picture of a cold, metallic sort of world in which great factories will drive away the trees, the flowers, the birds, and the green fields. And that then we shall have a world composed of metal machines and human machines. With all of that I do not agree. I think that unless we know more about machines and their use, unless we better understand the mechanical portion of life, we cannot have the time to enjoy the trees, and the birds, and the flowers, and the green fields.”

Source: My Life and Work (1922), p. 1; as cited in: William A. Levinson, Henry Ford, Samuel Crowther. The Expanded and Annotated My Life and Work: Henry Ford's Universal Code for World-Class Success. CRC Press, 2013. p. xxvii

Mayim Bialik photo
Letitia Elizabeth Landon photo
Matthew Good photo

“Only killers call killing progress”

Matthew Good (1971) Canadian singer-songwriter

Musical Works, Hospital Music, Black Helicopter

Marcos Pontes photo
Ervin László photo

“The description of the evolutionary trajectory of dynamical systems as irreversible, periodically chaotic, and strongly nonlinear fits certain features of the historical development of human societies. But the description of evolutionary processes, whether in nature or in history, has additional elements. These elements include such factors as the convergence of existing systems on progressively higher organizational levels, the increasingly efficient exploitation by systems of the sources of free energy in their environment, and the complexification of systems structure in states progressively further removed from thermodynamic equilibrium.
General evolution theory, based on the integration of the relevant tenets of general system theory, cybernetics, information and communication theory, chaos theory, dynamical systems theory, and nonequilibrium thermodynamics, can convey a sound understanding of the laws and dynamics that govern the evolution of complex systems in the various realms of investigation…. The basic notions of this new discipline can be developed to give an adequate account of the dynamical evolution of human societies as well. Such an account could furnish the basis of a system of knowledge better able to orient human beings and societies in their rapidly changing milieu.”

Ervin László (1932) Hungarian musician and philosopher

E. Laszlo et al. (1993) pp. xvii- xix; as cited in: Alexander Laszlo and Stanley Krippner (1992) " Systems Theories: Their Origins, Foundations, and Development http://archive.syntonyquest.org/elcTree/resourcesPDFs/SystemsTheory.pdf" In: J.S. Jordan (Ed.), Systems Theories and A Priori Aspects of Perception. Amsterdam: Elsevier Science, 1998. Ch. 3, pp. 47-74.

Gustave de Molinari photo
Leonid Kantorovich photo
Allen C. Guelzo photo
Barry Goldwater photo
Miguna Miguna photo
Buckminster Fuller photo
Cargill Gilston Knott photo

“We are perhaps too near the age of transition to see clearly the interplay of all that made for progress. Each of us has had his own peculiar training, his own personal contact with the mighty ones of the immediate past; and this forms as it were a telescopic tube determining limits to our field of vision. No doubt we may range the whole horizon; but after all we look from our own point of vantage.”

Cargill Gilston Knott (1856–1922) British mathematician and physicist

On the scientific revolution of the second half of the 19th century, in [Life and Scientific Work of Peter Guthrie Tait: supplementing the two volumes of Scientific papers published in 1898 and 1900, Cambridge University Press, 1911, 1]

Ted Nugent photo
Angela of Foligno photo
Alfred de Zayas photo

“Direct, participatory and responsive democracy has been shown to be conducive to achieving a more just world order. Only such an approach will allow progressing from predator societies to human rights oriented societies.”

Alfred de Zayas (1947) American United Nations official

“Much more than periodic voting” – UN Independent Expert calls for more direct democracy worldwide http://www.ohchr.org/en/NewsEvents/Pages/DisplayNews.aspx?NewsID=20482&LangID=E.
2016, “Much more than periodic voting” – UN Independent Expert calls for more direct democracy worldwide

Clive Hamilton photo
Janeane Garofalo photo
Robert F. Kennedy photo

“There is much that is lacking in the political education of American troops, for which army policy cannot be criticized in view of the similar apathy on the home front. Late in the struggle the army became aware of this weakness among our soldiers. The Information and Education Division was then organized to repair this gap in the psychological preparation for combat. Some progress in the face of considerable resistance has been made by this service, but at the time of writing the men still have only a dim comprehension of the meaning of the fascist political state and its menace to our liberal democratic government. The war is generally regarded as a struggle between national states for economic empires. The men are not fully convinced that our country was actually threatened, or, if so, only remotely, or because of the machinations of large financial interests. In such passive attitudes lie the seeds of disillusion, which could prove very dangerous in the postwar period. Certainly they stand in startling contrast with the strong political and national convictions of our Axis enemies, which can inspire their troops, when the occasion demands, with a fanatical and religious fervor. Fortunately, strong intellectual motivation has not proved to be of the first importance to good morale in combat. The danger of this lack seems to be less to the prospect of military success than to success in the peace and to stability in the postwar period.”

Roy R. Grinker, Sr. (1900–1993) American psychiatrist and neurologist

Source: Men Under Stress, 1945, p. 38-39 cited in: The Clare Spark Blog (2009) Strategic Regression in “the greatest generation” http://clarespark.com/2009/12/09/strategic-regression-in-the-greatest-generation/ December 9, 2009

Dawn Butler photo

“This is modern, progressive politics reflecting our society.”

Dawn Butler (1969) British politician

Maiden speech on 24 May 2005

Steve Jobs photo
Daniel J. Boorstin photo

“The history of Western science confirms the aphorism that the great menace to progress is not ignorance but the illusion of knowledge.”

Daniel J. Boorstin (1914–2004) American historian

This "aphorism" was expressed in different forms by Josh Billings and Socrates. note: Often misquoted as, "The greatest enemy of knowledge is not ignorance, it is the illusion of knowledge," and often misattributed to Stephen Hawking.
Source: Cleopatra's Nose: Essays on the Unexpected (1995).

Emma Goldman photo
Alfred P. Sloan photo
Mark Manson photo

“Uncertainty is he root of all progress and all growth. As the old adage goes, the man who believes he knows everything learns nothing. We cannot learn anything without first not knowing something.”

Mark Manson (1984) American writer and blogger

Source: The Subtle Art of Not Giving a F*ck (2016), Chapter 6, “You’re Wrong About Everything (But So Am I)” (p. 135)

Bill McKibben photo
Randolph Bourne photo

“Every little school boy is trained to recite the weaknesses and inefficiencies of the Articles of Confederation. It is taken as axiomatic that under them the new nation was falling into anarchy and was only saved by the wisdom and energy of the Convention. … The nation had to be strong to repel invasion, strong to pay to the last loved copper penny the debts of the propertied and the provident ones, strong to keep the unpropertied and improvident from ever using the government to secure their own prosperity at the expense of moneyed capital. … No one suggests that the anxiety of the leaders of the heretofore unquestioned ruling classes desired the revision of the Articles and labored so weightily over a new instrument not because the nation was failing under the Articles, but because it was succeeding only too well. Without intervention from the leaders, reconstruction threatened in time to turn the new nation into an agrarian and proletarian democracy. … All we know is that at a time when the current of political progress was in the direction of agrarian and proletarian democracy, a force hostile to it gripped the nation and imposed upon it a powerful form against which it was never to succeed in doing more than blindly struggle. The liberating virus of the Revolution was definitely expunged, and henceforth if it worked at all it had to work against the State, in opposition to the armed and respectable power of the nation.”

Randolph Bourne (1886–1918) American writer

¶13. Published under "The Development of the American State," The State https://mises.org/library/state (Tucson, Arizona: See Sharp Press, 1998), pp. 33–34.
"The State" (1918), II

Leo Tolstoy photo
Jack Layton photo

“I've always favoured proposition over opposition. But we will oppose the government when it's off track. We'll support positive suggestions that we'll bring forward and support the government when it's making progress.”

Jack Layton (1950–2011) Leader of the New Democratic Party of Canada

" 2011 Election Night Victory Speech http://www.citytv.com/toronto/citynews/topic/cityvote2011/article/128732--layton-s-challenge-to-form-constructive-opposition-in-polarized-parliament." May 2, 2011

Immanuel Wallerstein photo
Alfred North Whitehead photo
Eric Garcetti photo
Daniel De Leon photo

“Capitalism attacks and destroys all the finer sentiments of the human heart; it ruthlessly sweeps away old traditions and ideas opposed to its progress, and it exploits and corrupts those things once held sacred.”

Daniel De Leon (1852–1914) American newspaper editor

"The Daily People" editorial, "Patriotism and Poverty" (July 26, 1900)
Complete online text of "Patriotism and Poverty" http://www.marxists.org/archive/deleon/works/1900/000726.htm

Taslima Nasrin photo
Alex Salmond photo
Narendra Modi photo
Calvin Coolidge photo
Arthur F. Burns photo
Samuel Johnson photo
Jonah Goldberg photo
Louis-ferdinand Céline photo

“And the music came back with the carnival, the music you've heard as far back as you can remember, ever since you were little, that's always playing somewhere, in some corner of the city, in little country towns, wherever poor people go and sit at the end of the week to figure out what's become of them, sometimes here, sometimes there, from season to season, it tinkles and grinds out the tunes that rich people danced to the year before. It's the mechanical music that floats down from the wooden horses, from the cars that aren't cars anymore, from the railways that aren't at all scenic, from the platform under the wrestler who hasn't any muscles and doesn't come from Marseille, from the beardless lady, the magician who's a butter-fingered jerk, the organ that's not made of gold, the shooting gallery with the empty eggs. It's the carnival made to delude the weekend crowd. We go in and drink the beer with no head on it. But under the cardboard trees the stink of the waiter's breath is real. And the change he gives you has several peculiar coins in it, so peculiar that you go on examining them for weeks and weeks and finally, with considerable difficulty, palm them off on some beggar. What do you expect at the carnival? Gotta have what fun you can between hunger and jail, and take things as they come. No sense complaining, we're sitting down aren't we? Which ain't to be sneezed at. I saw the same old Gallery of the Nations, the one Lola caught sight of years and years ago on that avenue in the park of Saint-Cloud. You always see things again at carnivals, they revive the joy of past carnivals. Over the years the crowds must have come back time and again to stroll on the main avenue of the park of Saint-Cloud…taking it easy. The war had been over long ago. And say I wonder if that shooting gallery still belonged to the same owner? Had he come back alive from the war? I take an interest in everything. Those are the same targets, but in addition, they're shooting at airplanes now. Novelty. Progress. Fashion. The wedding was still there, the soldier too, and the town hall with its flag. Plus a few more things to shoot at than before.”

27
Journey to the End of the Night (1932)

Shunryu Suzuki photo
Monte Melkonian photo
Bal Gangadhar Tilak photo

“Progress is implied in independence. Without self-government neither industrial progress is possible, nor the educational scheme will be useful to the nation…To make efforts for India’s freedom is more important than social reforms.”

Bal Gangadhar Tilak (1856–1920) Indian independence activist

[Hunt, Frazier, Great Personalities, http://books.google.com/books?id=EgEZRS4xer0C&pg=PT153, 1931, New York Life Insurance Company, 153–]

“As an analogy one can imagine an intelligent amoeba with a good memory. As time progresses the amoeba is constantly splitting, each time the resulting amoebas having the same memories as the parent. Our amoeba hence does not have a life line, but a life tree.”

Hugh Everett (1930–1982) American physicist, author of the many-worlds interpretation of quantum mechanics

illustrating the branching of individuals in many worlds each time an observation is performed, in an early draft of his doctoral dissertation (1950s). Accessible at Read original documents http://www.pbs.org/wgbh/nova/manyworlds/original.html of Nova's Parallel worlds documentary of Hugh Everett's work.

Robert Chambers (publisher, born 1802) photo
Ralph Bunche photo
Arun Shourie photo
Paul Klee photo

“We [at the Bauhaus, in Dessau - where Klee was art teacher with Kandinsky ] construct and construct, and yet intuition still has its uses. Without it we can do a lot, but not everything... When intuition is joined to exact research it speeds the progress of exact research..”

Paul Klee (1879–1940) German Swiss painter

1921 - 1930
Source: 'Bauhaus prospectus 1929'; as quoted in Artists on Art, from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 444

Jim Morrison photo
Thomas Gray photo

“From Helicon's harmonious springs
A thousand rills their mazy progress take.”

Thomas Gray (1716–1771) English poet, historian

I. 1, Line 3
The Progress of Poesy http://www.thomasgray.org/cgi-bin/display.cgi?text=pppo (1754)

Arshile Gorky photo
Johannes Bosboom photo

“To show this later progress in my own work I refer to my [paintings] 'Organ-playing monk', in 1850, my 'Lord's Supper in the Geestes-kerk (church) in Utrecht' in 1852, and my 'Bakenesse-kerk (church) in Haarlem', painted a dozen years later. All three can be found in the museum Fodor and can thus be compared to each other. The preference will undoubtedly be given to the latter, which for its strength and unity is counted among the masterpieces of this [Fodor] collection.”

Johannes Bosboom (1817–1891) Dutch painter

version in original Dutch (citaat van Johannes Bosboom, in Nederlands): Om dien lateren vooruitgang in mijn eigen werk te toonen, verwijs ik naar mijn [werken] 'Orgelspelende monnik' in 1850, mijn 'Avondmaalsviering in de Geesteskerk te Utrecht' in 1852 en mijn 'Bakenessekerk te Haarlem', een tiental jaren later geschilderd - alle drie in het museum Fodor te vinden en dus onderling te vergelijken. De voorkeur zal ongetwijfeld aan het laatste worden toegekend, dat om zijn kracht en éénheid tot de meesterstukjes dezer verzameling gerekend wordt.
Quote of Bosboom, in his autobiography, c. 1890; as cited in De Hollandsche Schilderkunst in de Negentiende Eeuw, G. H. Marius; https://ia800204.us.archive.org/31/items/dehollandschesch00mariuoft/dehollandschesch00mariuoft.pdf Martinus Nijhoff, s-’Gravenhage / The Hague, tweede druk, 1920, pp. 108-09 (translation from the original Dutch: Fons Heijnsbroek)
1890's

Max Scheler photo

“These two characteristics make revenge the most suitable source for the formation of ressentiment. The nuances of language are precise. There is a progression of feeling which starts with revenge and runs via rancor, envy, and impulse to detract all the way to spite, coming close to ressentiment. Usually, revenge and envy still have specific objects. They do not arise without special reasons and are directed against definite objects, so that they do not outlast their motives. The desire for revenge disappears when vengeance has been taken, when the person against whom it was directed has been punished or has punished himself, or when one truly forgives him. In the same way, envy vanishes when the envied possession becomes ours. The impulse to detract, however, is not in the same sense tied to definite objects—it does not arise through specific causes with which it disappears. On the contrary, this affect seeks those objects, those aspects of men and things, from which it can draw gratification. It likes to disparage and to smash pedestals, to dwell on the negative aspects of excellent men and things, exulting in the fact that such faults are more perceptible through their contrast with the strongly positive qualities. Thus there is set a fixed pattern of experience which can accommodate the most diverse contents. This form or structure fashions each concrete experience of life and selects it from possible experiences. The impulse to detract, therefore, is no mere result of such an experience, and the experience will arise regardless of considerations whether its object could in any way, directly or indirectly, further or hamper the individual concerned. In “spite,” this impulse has become even more profound and deep-seated—it is, as it were, always ready to burst forth and to betray itself in an unbridled gesture, a way of smiling, etc. An analogous road leads from simple *Schadenfreude* to “malice.””

Max Scheler (1874–1928) German philosopher

The latter, more detached than the former from definite objects, tries to bring about ever new opportunities for *Schadenfreude*.
Das Ressentiment im Aufbau der Moralen (1912)

John McCain photo

“I think if you look at the overall record and millions of jobs have been created, et cetera, et cetera, you could make an argument that there's been great progress economically over that period of time. But that's no comfort. That's no comfort to families now that are facing these tremendous economic challenges. But let me just add, Peter, the fundamentals of America's economy are strong.”

John McCain (1936–2018) politician from the United States

Interview with Peter Cook on Bloomberg TV http://www.realclearpolitics.com/articles/2008/04/john_mccain_on_bloomberg_tv.html regarding economic progress during the Bush administration, 17 April 2008
2000s, 2008

Seneca the Younger photo

“That is why we give to children a proverb, or that which the Greeks call Chreia, to be learned by heart; that sort of thing can be comprehended by the young mind, which cannot as yet hold more. For a man, however, whose progress is definite, to chase after choice extracts and to prop his weakness by the best known and the briefest sayings and to depend upon his memory, is disgraceful; it is time for him to lean on himself. He should make such maxims and not memorize them. For it is disgraceful even for an old man, or one who has sighted old age, to have a note-book knowledge. "This is what Zeno said." But what have you yourself said? "This is the opinion of Cleanthes." But what is your own opinion? How long shall you march under another man's orders? Take command, and utter some word which posterity will remember. Put forth something from your own stock.”
Ideo pueris et sententias ediscendas damus et has quas Graeci chrias vocant, quia complecti illas puerilis animus potest, qui plus adhuc non capit. Certi profectus viro captare flosculos turpe est et fulcire se notissimis ac paucissimis vocibus et memoria stare: sibi iam innitatur. Dicat ista, non teneat; turpe est enim seni aut prospicienti senectutem ex commentario sapere. 'Hoc Zenon dixit': tu quid? 'Hoc Cleanthes': tu quid? Quousque sub alio moveris? impera et dic quod memoriae tradatur, aliquid et de tuo profer.

Seneca the Younger (-4–65 BC) Roman Stoic philosopher, statesman, and dramatist

Epistulae Morales ad Lucilium (Moral Letters to Lucilius), Letter XXXIII

Jalal Talabani photo
Bernhard Riemann photo
André Maurois photo

“Old age is far more than white hair, wrinkles, the feeling that it is too late and the game finished, that the stage belongs to the rising generations. The true evil is not the weakening of the body, but the indifference of the soul. Upon crossing the shadow line, it is more the desire to act than the power to do so that is lost. Is it possible, after fifty years of experiences and disappointments, to retain the ardent curiosity of youth, the desire to know and understand, the power to love wholeheartedly, the certainty that beauty, intelligence, and kindness unite naturally, and to preserve faith in the efficacy of reason? Beyond the shadow line lies the realm of even, tempered light where the eyes, not being dazzled any more by the blinding sun of desire, can see things and people as they are. How is it possible to believe in the moral perfection of pretty women if you have loved one of them? How is it possible to believe in progress when you have discovered throughout a long and difficult life that no violent change can triumph over human nature and that it is only the most ancient customs and ceremonies that can provide people with the flimsy shelter of civilization? "What's the use?" says the old man to himself. This is perhaps the most dangerous phrase he can utter, for after having said: "What's the use of struggling?" he will say one day: "What's the use of going out?" then: "What's the use of leaving my room?" then: "What's the use of leaving my bed?" and at last comes "What's the use of living?"”

André Maurois (1885–1967) French writer

which opens the portals of death.
Un Art de Vivre (The Art of Living) (1939), The Art of Growing Old

Vladimir Lenin photo