Quotes about river
page 4

M. Balamuralikrishna photo

“Classical music is a perennially flowing river and nothing can affect its flow. No one needs to worry about Indian music. It is forever.”

M. Balamuralikrishna (1930–2016) Carnatic vocalist, instrumentalist and playback singer

Source: Staff Reporter, "Mangalampalli can't wait to come home".

Yves Klein photo
Marie-Louise von Franz photo
Brandon Boyd photo

“Floating down a river named Emotion…will I make it back to shore, or drift into the unknown?”

Brandon Boyd (1976) American rock singer, writer and visual artist

Lyrics, Morning View (2001)

Otto Weininger photo
W. H. Auden photo
Jonathan Swift photo

“I 've often wish'd that I had clear,
For life, six hundred pounds a year;
A handsome house to lodge a friend;
A river at my garden's end;
A terrace walk, and half a rood
Of land set out to plant a wood.”

Jonathan Swift (1667–1745) Anglo-Irish satirist, essayist, and poet

Imitation of Horace, book ii. Sat. 6.; reported in Bartlett's Familiar Quotations, 10th ed. (1919)

Aldo Capitini photo
Miguel de Unamuno photo
Vālmīki photo
Baruch Spinoza photo
Muhammad photo
Edward Elgar photo

“Play it like something you hear down by the river.”

Edward Elgar (1857–1934) English composer

Diana M McVeagh Edward Elgar: His Life and Music (London: J. M. Dent, 1955) p. 163.
On the trio of the second movement of his Symphony No. 1.

Hermann Hesse photo
River Phoenix photo

“And they told me
The times have changed
Cause' our parents had Hendrix, Janis and Jim
But what about River Phoenix and Kurt Cobain.”

River Phoenix (1970–1993) American actor, musician, and activist

War on Drugs Laughing Colors

Richard Salter Storrs photo
Mahmud of Ghazni photo

“The Sultan then departed from the environs of the city, in which was a temple of the Hindus. The name of this place was Maharatu-l Hind. He saw there a building of exquisite structure, which the inhabitants said had been built, not by men, but by Genii, and there he witnessed practices contrary to the nature of man, and which could not be believed but from evidence of actual sight. The wall of the city was constructed of hard stone, and two gates opened upon the river flowing under the city, which were erected upon strong and lofty foundations to protect them against the floods of the river and rains. On both sides of the city there were a thousand houses, to which idol temples were attached, all strengthened from top to bottom by rivets of iron, and all made of masonry work; and opposite to them were other buildings, supported on broad wooden pillars, to give them strength.
In the middle of the city there was a temple larger and firmer than the rest, which can neither be described nor painted. The Sultan thus wrote respecting it: - "If any should wish to construct a building equal to this, he would not be able to do it without expending an hundred thousand, thousand red dinars, and it would occupy two hundred years even though the most experienced and able workmen were employed."…
The Sultan gave orders that all the temples should be burnt with naptha and fire, and levelled with the ground.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

About the capture of Mathura. Elliot and Dowson, Vol. II : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. pp. 44-45 Also quoted (in part) in Jain, Meenakshi (2011). The India they saw: Foreign accounts.
Quotes from Tarikh Yamini (Kitabu-l Yamini) by Al Utbi

John McPhee photo
Stanley Baldwin photo
Ray Bradbury photo
Torquato Tasso photo

“Lovely Nymphs, ye sister Nymphs of the river Po,
And ye from out the greenwood and where the sea-waves beat,
And ye who live by fountains and on hill-tops high.”

Torquato Tasso (1544–1595) Italian poet

Vaghe Ninfe del Po, Ninfe sorelle,
E voi de' boschi e voi d'onda marina
E voi de' fonti e de l'alpestri cime.
Rime d'amore ("Rhymes of Love"), 175.

Alain Daniélou photo
Voltairine de Cleyre photo
Taliesin photo
Norman Mailer photo
John D. Carmack photo
Han-shan photo
Henry Wadsworth Longfellow photo

“She floats upon the river of his thoughts.”

Henry Wadsworth Longfellow (1807–1882) American poet

The Spanish Student http://www.readbookonline.net/title/3208/, Act II, sc. iii (1843).

Agatha Christie photo
Margaret Fuller photo
Johann Wolfgang von Goethe photo

“The world is so empty if one thinks only of mountains, rivers and cities; but to know someone here and there who thinks and feels with us, and though distant, is close to us in spirit — this makes the earth for us an inhabited garden.”

Die Welt ist so leer, wenn man nur Berge, Flüsse und Städte darin denkt, aber hie und da jemand zu wissen, der mit uns übereinstimmt, mit dem wir auch stillschweigend fortleben, das macht uns dieses Erdenrund erst zu einem bewohnten Garten.
"Wilhelm Meisters Lehrjahre," in Goethes Sämmtliche Werke, vol. 7 (Stuttgart: J. G. Cotta, 1874), p. 520
Wilhelm Meister's Lehrjahre (Apprenticeship) (1786–1830)

B.K.S. Iyengar photo

“Yoga ferried me across the great river from the bank of ignorance to the shore of knowledge and wisdom.”

B.K.S. Iyengar (1918–2014) Indian yoga teacher and scholar

Source: Light on Life: The Yoga Journey to Wholeness, Inner Peace, and Ultimate Freedom, P.x

Scott Lynch photo

“Time’s a river, Locke, and we’ve always drifted farther down it than we think.”

Interlude “Up the River” section 2 (p. 392)
The Lies of Locke Lamora (2006)

David Foster Wallace photo
Francis Bacon photo
Alexander Blok photo
Willa Cather photo
John Muir photo

“I would advise sitting from morning till night under some willow bush on the river bank where there is a wide view. This will be "doing the valley" far more effectively than riding along trails in constant motion from point to point. The entire valley is made up of "points of interest."”

John Muir (1838–1914) Scottish-born American naturalist and author

"The Summer Flood of Tourists", San Francisco Daily Evening Bulletin (part 1 of the 11 part series "Summering in the Sierra") dated 14 June 1875, published 22 June 1875; reprinted in John Muir: Summering in the Sierra, edited by Robert Engberg (University of Wisconsin Press, 1984) page 71
Advice for visitors to Yosemite given by John Muir at age 37 years. Compare advice given by the 74-year-old Muir below.
1870s

Amir Khusrow photo
Aldo Leopold photo

“How like fish we are: ready, nay eager, to seize upon whatever new thing some wind of circumstance shakes down upon the river of time! … Even so, I think there is some virtue in eagerness, whether its object prove true or false.”

“June: The Alder Fork”, p. 39.
A Sand County Almanac, 1949, "May: Back from the Argentine," "June: The Alder Fork," "July: Great Possessions," and "July: Prairie Birthday"

George William Curtis photo

“A few years after the Constitution was adopted Alexander Hamilton said to Josiah Quincy that he thought the Union might endure for thirty years. He feared the centrifugal force of the system. The danger, he said, would proceed from the States, not from the national government. But Hamilton seems not to have considered that the vital necessity which had always united the colonies from the first New England league against the Indians, and which, in his own time, forced the people of the country from the sands of a confederacy to the rock of union, would become stronger every year and inevitably develop and confirm a nation. Whatever the intention of the fathers in 1787 might have been, whether a league or confederacy or treaty, the conclusion of the children in 1860 might have been predicted. Plant a homogeneous people along the coast of a virgin continent. Let them gradually overspread it to the farther sea, speaking the same language, virtually of the same religious faith, inter- marrying, and cherishing common heroic traditions. Suppose them sweeping from end to end of their vast domain without passports, the physical perils of their increasing extent constantly modified by science, steam, and the telegraph, making Maine and Oregon neighbors, their trade enormous, their prosperity a miracle, their commonwealth of unsurpassed importance in the world, and you may theorize as you will, but you have supposed an imperial nation, which may indeed be a power of evil as well as of good, but which can no more recede into its original elements and local sources than its own Mississippi, pouring broad and resistless into the Gulf, can turn backward to the petty forest springs and rills whence it flows. 'No, no', murmurs the mighty river, 'when you can take the blue out of the sky, when you can steal heat from fire, when you can strip splendor from the morning, then, and not before, may you reclaim your separate drops in me.”

George William Curtis (1824–1892) American writer

'Yes, yes, my river,' answers the Union, 'you speak for me. I am no more a child, but a man; no longer a confederacy, but a nation. I am no more Virginia, New York, Carolina, or Massachusetts, but the United States of America'.
1860s, The Good Fight (1865)

Cristina Fernández de Kirchner photo
James Russell Lowell photo

“Along A River-Side, I Know Not Where,
I walked one night in mystery of dream;
A chill creeps curdling yet beneath my hair,
To think what chanced me by the pallid gleam
Of a moon-wraith that waned through haunted air.”

James Russell Lowell (1819–1891) American poet, critic, editor, and diplomat

The Washers of the Shroud http://www.bartleby.com/102/129.html, st. 1 (October 1861)

George Hendrik Breitner photo

“.. A market, a quay, a river. a gang of soldiers.... is just as good and more history than 'The cousins of Spinoza are visiting him accompanied by their mamma'. O! if I could say some time as Munkaczy: 'I painted almost everything I dreamed when I was 12 years old'. He can tell this, the man which I love as the greatest painter, whatever they may say here [in The Hague]. I hope that you once may see a true painting of me, not one of the many I shall have to make and which are [only] something, but a truly grandiose thing. All wasted fire.”

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

translation from the original Dutch, Fons Heijnsbroek
version in original Dutch (citaat van Breitner's brief, in het Nederlands:) ..Een markt een kaai een rivier. een bende soldaten.. ..is net zoo goed en meer geschiedenis dan 'De nichtjes van Spinoza komen hem bezoeken vergezeld door hunne mamma'. O! dat ik nog eens kon zeggen als Munkaczy: ik heb bijna alles geschilderd wat ik droomde toen ik 12 jaar was. dat kan hij zeggen hem die ik voor de grootste schilder hou wat ze hier ook mogen zeggen. Ik hoop dat U nog eens een waar schilderij van me moogt zien, niet een van de velen die ik zal moeten maken en ook wel iets is, maar iets waarachtigsch grootsch. Allemaal verspild vuur.
quote of Breitner in a letter to his Maecenas A.P. van Stolk, 28 March 1882; original text in RKD-Archive, The Hague https://rkd.nl/explore/excerpts/597
before 1890

Ausonius photo

“What colour are they now, thy quiet waters?
The evening star has brought the evening light,
And filled the river with the green hillside;
The hill-tops waver in the rippling water,
Trembles the absent vine and swells the grape
In thy clear crystal.”

Quis color ille vadis, seras cum propulit umbras<br/>Hesperus et viridi perfudit monte Mosellam!<br/>tota natant crispis iuga motibus et tremit absens<br/>pampinus et vitreis vindemia turget in undis.

Quis color ille vadis, seras cum propulit umbras
Hesperus et viridi perfudit monte Mosellam!
tota natant crispis iuga motibus et tremit absens
pampinus et vitreis vindemia turget in undis.
"Mosella", line 192; translation from Helen Waddell Mediaeval Latin Lyrics ([1929] 1943) p. 31.

René Girard photo

“An examination of our terms, such as competition, rivalry, emulation, etc., reveals that the traditional perspective remains inscribed in the language. Competitors are fundamentally those who run or walk together, rivals who dwell on opposite banks of the same river, etc…The modern view of competition and conflict is the unusual and exceptional view, and our incomprehension is perhaps more problematic than the phenomenon of primitive prohibition. Primitive societies have never shared our conception of violence. For us, violence has a conceptual autonomy, a specificity that is utterly unknown to primitive societies. We tend to focus on the individual act, whereas primitive societies attach only limited importance to it and have essentially pragmatic reasons for refusing to isolate such an act from its context. This context is one of violence. What permits us to conceive abstractly of an act of violence and view it as an isolated crime is the power of a judicial institution that transcends all antagonists. If the transcendence of the judicial institution is no longer there, if the institution loses its efficacy or becomes incapable of commanding respect, the imitative and repetitious character of violence becomes manifest once more; the imitative character of violence is in fact most manifest in explicit violence, where it acquires a formal perfection it had not previously possessed. At the level of the blood feud, in fact, there is always only one act, murder, which is performed in the same way for the same reasons in vengeful imitation of the preceding murder. And this imitation propagates itself by degrees. It becomes a duty for distant relatives who had nothing to do with the original act, if in fact an original act can be identified; it surpasses limits in space and time and leaves destruction everywhere in its wake; it moves from generation to generation. In such cases, in its perfection and paroxysm mimesis becomes a chain reaction of vengeance, in which human beings are constrained to the monotonous repetition of homicide. Vengeance turns them into doubles.”

Source: Things Hidden Since the Foundation of the World (1978), p. 11-12.

Zisi photo
George William Russell photo
Robert Chambers (publisher, born 1802) photo
Charles Hamilton Aide photo

“Do you recall that night in June
Upon the Danube River;
We listened to the ländler-tune,
We watched the moonbeams quiver.”

Charles Hamilton Aide (1826–1906) French writer

The Danube River, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Paul Simon photo

“The Mississippi Delta was shining like a National guitar,
I am following the river down the highway
Through the cradle of the Civil War.”

Paul Simon (1941) American musician, songwriter and producer

Graceland
Song lyrics, Graceland (1986)

Jean-Baptiste-Camille Corot photo
Samuel Butler photo
Norbert Wiener photo
Yoshida Shoin photo
John Muir photo

“Who publishes the sheet-music of the winds, or the written music of water written in river-lines?”

John Muir (1838–1914) Scottish-born American naturalist and author

August 1875, page 220
John of the Mountains, 1938

Smokey Robinson photo
Paulo Coelho photo

“You drown not by falling into a river, but by staying submerged in it.”

Paulo Coelho (1947) Brazilian lyricist and novelist

As quoted in Publishing Tips : Weekly Strategies for the Independent Writer‎ (2008) by Linda A. Lavid, p. 57.

Russell Brand photo
Chief Seattle photo
Anton Chekhov photo
Kingoro Hashimoto photo

“Fire on anything that moves on the river.”

Kingoro Hashimoto (1890–1957) officer of Imperial Japanese Army and politician

Quoted in "Yangtze Patrol: The U.S. Navy in China" - Page 251 - by Kemp Tolley - History - 2000

Ulysses S. Grant photo
Leo Tolstoy photo
Thom Yorke photo
Garth Nix photo
George William Russell photo
Billy Joel photo
Erich Fromm photo
Michel Danino photo
John Muir photo

“When I reached the [Yosemite] valley, all the rocks seemed talkative, and more lovable than ever. They are dear friends, and have warm blood gushing through their granite flesh; and I love them with a love intensified by long and close companionship. … I … bathed in the bright river, sauntered over the meadows, conversed with the domes, and played with the pines.”

John Muir (1838–1914) Scottish-born American naturalist and author

letter to Mrs. Ezra S. Carr (December 1872); published as " A Geologist's Winter Walk http://books.google.com/books?id=OAEbAAAAYAAJ&pg=PA355", Overland Monthly, volume 10, number 4 (April 1873) pages 355-358 (at page 355); modified slightly and reprinted in Steep Trails (1918), chapter 2
1870s

Leo Tolstoy photo
William Saroyan photo
Jahangir photo
Bruce Springsteen photo
James O'Keefe photo
Bill Bryson photo
Ralph Waldo Emerson photo
Guy Gavriel Kay photo
John Banville photo
David Dixon Porter photo
Corneliu Zelea Codreanu photo
Agatha Christie photo
Honoré de Balzac photo

“Love is like some fresh spring, that leaves its cresses, its gravel bed and flowers to become first a stream and then a river, changing its aspect and its nature as it flows to plunge itself in some boundless ocean, where restricted natures only find monotony, but where great souls are engulfed in endless contemplation.”

Honoré de Balzac (1799–1850) French writer

L'amour est une source naïve, partie de son lit de cresson, de fleurs, de gravier, qui rivière, qui fleuve, change de nature et d'aspect à chaque flot, et se jette dans un incommensurable océan où les esprits incomplets voient la monotonie, où les grandes âmes s'abîment en de perpétuelles contemplations.
The Wild Ass’s Skin (1831), Part II: A Woman Without a Heart

Julio Cortázar photo

“"Hair loss and retrieval" (Translation of "Pérdida y recuperación del pelo")


To combat pragmatism and the horrible tendency to achieve useful purposes, my elder cousin proposes the procedure of pulling out a nice hair from the head, knotting it in the middle and droping it gently down the hole in the sink. If the hair gets caught in the grid that usually fills in these holes, it will just take to open the tap a little to lose sight of it.


Without wasting an instant, must start the hair recovery task. The first operation is reduced to dismantling the siphon from the sink to see if the hair has become hooked in any of the rugosities of the drain. If it is not found, it is necessary to expose the section of pipe that goes from the siphon to the main drainage pipe. It is certain that in this part will appear many hairs and we will have to count on the help of the rest of the family to examine them one by one in search of the knot. If it does not appear, the interesting problem of breaking the pipe down to the ground floor will arise, but this means a greater effort, because for eight or ten years we will have to work in a ministry or trading house to collect enough money to buy the four departments located under the one of my elder cousin, all that with the extraordinary disadvantage of what while working during those eight or ten years, the distressing feeling that the hair is no longer in the pipes anymore can not be avoided and that only by a remote chance remains hooked on some rusty spout of the drain.


The day will come when we can break the pipes of all the departments, and for months to come we will live surrounded by basins and other containers full of wet hairs, as well as of assistants and beggars whom we will generously pay to search, assort, and bring us the possible hairs in order to achieve the desired certainty. If the hair does not appear, we will enter in a much more vague and complicated stage, because the next section takes us to the city's main sewers. After buying a special outfit, we will learn to slip through the sewers at late night hours, armed with a powerful flashlight and an oxygen mask, and explore the smaller and larger galleries, assisted if possible by individuals of the underworld, with whom we will have established a relationship and to whom we will have to give much of the money that we earn in a ministry or a trading house.


Very often we will have the impression of having reached the end of the task, because we will find (or they will bring us) similar hairs of the one we seek; but since it is not known of any case where a hair has a knot in the middle without human hand intervention, we will almost always end up with the knot in question being a mere thickening of the caliber of the hair (although we do not know of any similar case) or a deposit of some silicate or any oxide produced by a long stay against a wet surface. It is probable that we will advance in this way through various sections of major and minor pipes, until we reach that place where no one will decide to penetrate: the main drain heading in the direction of the river, the torrential meeting of detritus in which no money, no boat, no bribe will allow us to continue the search.


But before that, and perhaps much earlier, for example a few centimeters from the mouth of the sink, at the height of the apartment on the second floor, or in the first underground pipe, we may happen to find the hair. It is enough to think of the joy that this would cause us, in the astonished calculation of the efforts saved by pure good luck, to choose, to demand practically a similar task, that every conscious teacher should advise to its students from the earliest childhood, instead of drying their souls with the rule of cross-multiplication or the sorrows of Cancha Rayada.”

Julio Cortázar (1914–1984) Argentinian writer

Historias de Cronopios y de Famas (1962)

Georgia O'Keeffe photo
John Milton photo
Nathanael Greene photo
William Blake photo
Roger Ebert photo
Henry Van Dyke photo

“For real company and friendship, there is nothing outside of the animal kingdom that is comparable to a river.”

Henry Van Dyke (1852–1933) American diplomat

Little Rivers
Little Rivers http://www.gutenberg.org/dirs/etext98/ltrvs10.txt (1895)