Quotes about roof
page 2

Nikolai Gogol photo
Ludovico Ariosto photo

“As on the crystal surface of a lake
The trembling shafts of sunlight mirrored are,
Leaping to roof-top, and, at random glancing,
Sparkle and gleam, in all directions dancing.”

Qual d'acqua chiara il tremolante lume,
Dal sol percossa o da' notturni rai,
Per gli ampli tetti va con lungo salto
A destra et a sinistra, e basso et alto.
Canto VIII, stanza 71 (tr. B. Reynolds)
Orlando Furioso (1532)

Zakir Hussain (politician) photo
Dejan Stojanovic photo

“Nothing is made,
Nothing disappears.

The same changes,
At the same places,
Never stopping.

The foundation and the roof
With the world between
Dreaming.”

Dejan Stojanovic (1959) poet, writer, and businessman

"Hush," p. 61
The Shape (2000), Sequence: “Big Chamber”

Lloyd Kenyon, 1st Baron Kenyon photo
Richard Henry Dana Jr. photo
Bruno Schulz photo
Charles Wheelan photo
Paul Erdős photo

“Another roof, another proof.”

Paul Erdős (1913–1996) Hungarian mathematician and freelancer

His motto, as he roamed about the world, as the guest of other mathematicians, as quoted in A Tribute to Paul Erdős (1990) edited by Alan Baker, Béla Bollobás, A. Hajnal, Preface, p. ix

James Dickey photo
Anthony Burgess photo
Mahmud of Ghazni photo

“The battle raged with great fury: victory was long doubtful, till two Indian princes, Brahman Dew and Dabishleem, with other reinforcements, joined their countrymen during the action, and inspired them with fresh courage. Mahmood at this moment perceiving his troops to waver, leaped from his horse, and, prostrating himself before God implored his assistance' At the same time he cheered his troops with such energy, that, ashamed to abandon their king, with whom they had so often fought and bled, they, with one accord, gave a loud shout and rushed forwards. In this charge the Moslems broke through the enemy's line, and laid 5,000 Hindus dead at their feet' On approaching the temple, he saw a superb edifice built of hewn stone. Its lofty roof was supported by fifty-six pillars curiously carved and set with precious stones. In the centre of the hall was Somnat, a stone idol five yards in height, two of which were sunk in the ground. The King, approaching the image, raised his mace and struck off its nose. He ordered two pieces of the idol to be broken off and sent to Ghizny, that one might be thrown at the threshold of the public mosque, and the other at the court door of his own palace. These identical fragments are to this day (now 600 years ago) to be seen at Ghizny. Two more fragments were reserved to be sent to Mecca and Medina. It is a well authenticated fact, that when Mahmood was thus employed in destroying this idol, a crowd of Brahmins petitioned his attendants and offered a quantity of gold if the King would desist from further mutilation. His officers endeavoured to persuade him to accept of the money; for they said that breaking one idol would not do away with idolatry altogether; that, therefore, it could serve no purpose to destroy the image entirely; but that such a sum of money given in charity among true believers would be a meritorious act. The King acknowledged that there might be reason in what they said, but replied, that if he should consent to such a measure, his name would be handed down to posterity as 'Mahmood the idol-seller', whereas he was desirous of being known as 'Mahmood the destroyer': he therefore directed the troops to proceed in their work'…'The Caliph of Bagdad, being informed of the expedition of the King of Ghizny, wrote him a congratulatory letter, in which he styled him 'The Guardian of the State, and of the Faith'; to his son, the Prince Ameer Musaood, he gave the title of 'The Lustre of Empire, and the Ornament of Religion'; and to his second son, the Ameer Yoosoof, the appellation of 'The Strength of the Arm of Fortune, and Establisher of Empires.”

Mahmud of Ghazni (971–1030) Sultan of Ghazni

He at the same time assured Mahmood, that to whomsoever he should bequeath the throne at his death, he himself would confirm and support the same.'
Tarikh-i-Firishta, translated into English by John Briggs under the title History of the Rise of the Mahomedan Power in India, 4 Volumes, New Delhi Reprint, 1981. p. 38-49 (Alternative translation: "but the champion of Islam replied with disdain that he did not want his name to go down to posterity as Mahmud the idol-seller (but farosh) instead of Mahmud the breaker-of-idols (but shikan)." in Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 3)
Sack of Somnath (1025 CE)

Vitruvius photo
Vitruvius photo
Jack McDevitt photo
Kim Jong-il photo
Paul Cézanne photo

“If I dared, I should say that your [ Camille Pissarro ] letter is imprinted with sadness. The picture business isn't going well; I fear that your morale may be colored a little grey, but I'm sure that it's only a passing phase… I imagine that you would be delighted with the country where I am now…. in ', who had talked to me about it. It's like a playing card. Red roofs against the blue sea. If the weather turns favorable perhaps I'll be able to finish them off.”

Paul Cézanne (1839–1906) French painter

Quote from Cezanne's letter to Camille Pissarro, from L'Estaque 2 July 1876, taken from Alex Danchev, The Letters of Paul Cézanne, 2013; as quoted in the 'Daily Beast' online, 13 Oct. 2013 https://www.thedailybeast.com/cezannes-letter-to-pissarro-picture-business-isnt-going-well
Quotes of Paul Cezanne, 1860s - 1870s

James Hudson Taylor photo

“Satan may build a hedge about us and fence us in and hinder our movements, but he cannot roof us in and prevent our looking up.”

James Hudson Taylor (1832–1905) Missionary in China

(Hudson Taylor’s Choice Sayings: A Compilation from His Writings and Addresses. London: China Inland Mission, n.d., 13).

Quentin Crisp photo
Sam Manekshaw photo

“One thing remains the same, your task and your duty. You are required to ensure the security of this country against any offence. What is that means for you? That means, that you should have to fight, a fight to win. There is no roof for losers, if you loose don't come back.”

Sam Manekshaw (1914–2008) First Field marshal of the Indian Army

During Speech at Passing Out Parade of Indian Military Academy A Soldier's Duty http://worldofdefense.blogspot.in/2011/05/soldiers-duty-field-marshal-sam.html

Joseph Conrad photo

“This stretch of the Thames from London Bridge to the Albert Docks is to other watersides of river ports what a virgin forest would be to a garden. It is a thing grown up, not made. It recalls a jungle by the confused, varied, and impenetrable aspect of the buildings that line the shore, not according to a planned purpose, but as if sprung up by accident from scattered seeds. Like the matted growth of bushes and creepers veiling the silent depths of an unexplored wilderness, they hide the depths of London’s infinitely varied, vigorous, seething life. In other river ports it is not so. They lie open to their stream, with quays like broad clearings, with streets like avenues cut through thick timber for the convenience of trade… But London, the oldest and greatest of river ports, does not possess as much as a hundred yards of open quays upon its river front. Dark and impenetrable at night, like the face of a forest, is the London waterside. It is the waterside of watersides, where only one aspect of the world’s life can be seen, and only one kind of men toils on the edge of the stream. The lightless walls seem to spring from the very mud upon which the stranded barges lie; and the narrow lanes coming down to the foreshore resemble the paths of smashed bushes and crumbled earth where big game comes to drink on the banks of tropical streams.Behind the growth of the London waterside the docks of London spread out unsuspected, smooth, and placid, lost amongst the buildings like dark lagoons hidden in a thick forest. They lie concealed in the intricate growth of houses with a few stalks of mastheads here and there overtopping the roof of some four-story warehouse.”

London Bridge to the Royal Albert Dock
The Mirror of the Sea (1906), On the River Thames, Ch. 16

Stephen King photo
Vincent Van Gogh photo
Kate Bush photo
Charlotte Brontë photo

“The theatre was full — crammed to its roof: royal and noble were there; palace and hotel had emptied their inmates into those tiers so thronged and so hushed. Deeply did I feel myself privileged in having a place before that stage; I longed to see a being of whose powers I had heard reports which made me conceive peculiar anticipations. I wondered if she would justify her renown: with strange curiosity, with feelings severe and austere, yet of riveted interest, I waited. She was a study of such nature as had not encountered my eyes yet: a great and new planet she was: but in what shape? I waited her rising.She rose at nine that December night: above the horizon I saw her come. She could shine yet with pale grandeur and steady might; but that star verged already on its judgment-day. Seen near, it was a chaos — hollow, half-consumed: an orb perished or perishing — half lava, half glow.I had heard this woman termed "plain," and I expected bony harshness and grimness — something large, angular, sallow. What I saw was the shadow of a royal Vashti: a queen, fair as the day once, turned pale now like twilight, and wasted like wax in flame.For awhile — a long while — I thought it was only a woman, though an unique woman, who moved in might and grace before this multitude. By-and-by I recognized my mistake. Behold! I found upon her something neither of woman nor of man: in each of her eyes sat a devil. These evil forces bore her through the tragedy, kept up her feeble strength — for she was but a frail creature; and as the action rose and the stir deepened, how wildly they shook her with their passions of the pit! They wrote HELL on her straight, haughty brow. They tuned her voice to the note of torment. They writhed her regal face to a demoniac mask. Hate and Murder and Madness incarnate she stood.It was a marvellous sight: a mighty revelation.It was a spectacle low, horrible, immoral.Swordsmen thrust through, and dying in their blood on the arena sand; bulls goring horses disembowelled, made a meeker vision for the public — a milder condiment for a people's palate — than Vashti torn by seven devils: devils which cried sore and rent the tenement they haunted, but still refused to be exorcised.Suffering had struck that stage empress; and she stood before her audience neither yielding to, nor enduring, nor in finite measure, resenting it: she stood locked in struggle, rigid in resistance. She stood, not dressed, but draped in pale antique folds, long and regular like sculpture. A background and entourage and flooring of deepest crimson threw her out, white like alabaster — like silver: rather, be it said, like Death.”

Source: Villette (1853), Ch. XXIII: Vashi

Karlheinz Deschner photo

“The greater the damage to the roof, the clearer the sight of the stars.”

Karlheinz Deschner (1924–2014) German writer and activist

Je größer der Dachschaden, desto schöner der Ausblick zum Himmel.
Tele-Akadamie, SWF, 20 January 2002

Ernest Flagg photo
Joan Maragall photo

“Think deeply about this: what are you going to ask of Christ when you are in his Church? You come stepping in softly, seeking quiet under her vaulted roofs (unless, of course, you come out of mere vanity) in order to forget your problems and preoccupations [-] languidly immersing yourself in the majesty of the sacred chorales and in the aromatic clouds of incense: and then to sleep[-] But this is not the peace of Christ. My peace I give you, my peace I leave you. He said My, which is not the peace of this world. But you want to establish the Church in the peace of the world, and that is why the others, when they come, cannot enter without war cries rising from their overwrought lungs. They rebel, filling the temple with blashemous roars, they eject the terrified faithful, who had been half asleep, they insult or kill the ministers at the altar, knock over the altar itself, smash the stone saints, burn the church [-] so it is that she once again becomes, for them, the church of the Christ that died on the cross. [-] This time, do not leave her rebuilding to others. Do not wish to put up sturdier walls for these will not give her a better defense [-] Nor should you ask the rich to contribute too much money for the reconstruction, lest the poor, should receive the benefice with mistrust. Let it be the poor who rebuild her, for then they will do so according to their fashion and only in this way will they love her.”

Joan Maragall (1860–1911) Spanish writer
Robert Frost photo
Nick Hornby photo
Halldór Laxness photo
Donald J. Trump photo
George Lippard photo
Alex Salmond photo
Jacob Maris photo

“When I am tired of long, straight roof lines, why should I not introduce a cupola, especially where the cloud formation requires its support?.. Why should I not build my own towns to suit myself?”

Jacob Maris (1837–1899) Dutch painter

as cited in Landscape Painting and Modern Dutch Artists, E. B. Greenshields https://ia902605.us.archive.org/6/items/landscapepaintin00greeuoft/landscapepaintin00greeuoft.pdf; The Copp, Clark, Co. Limited, Toronto, 1906, p. 150
Jacob Maris painted many 'Dutch City' paintings, in which he combined different parts of the cities Amsterdam, Dordrecht, Delft and Rotterdam

Anne Sexton photo
William Cullen Bryant photo
Statius photo

“Beyond the cloud-wrapt chambers of western gloom and Aethiopia's other realm there stands a motionless grove, impenetrable by any star; beneath it the hollow recesses of a deep and rocky cave run far into a mountain, where the slow hand of Nature has set the halls of lazy Sleep and his untroubled dwelling. The threshold is guarded by shady Quiet and dull Forgetfulness and torpid Sloth with ever drowsy countenance. Ease, and Silence with folded wings sit mute in the forecourt and drive the blustering winds from the roof-top, and forbid the branches to sway, and take away their warblings from the birds. No roar of the sea is here, though all the shores be sounding, nor yet of the sky; the very torrent that runs down the deep valley nigh the cave is silent among the rocks and boulders; by its side are sable herds, and sheep reclining one and all upon the ground; the fresh buds wither, and a breath from the earth makes the grasses sink and fail. Within, glowing Mulciber had carved a thousand likenesses of the god: here wreathed Pleasure clings to his side, here Labour drooping to repose bears him company, here he shares a couch with Bacchus, there with Love, the child of Mars. Further within, in the secret places of the palace he lies with Death also, but that dread image is seen by none. These are but pictures: he himself beneath humid caverns rests upon coverlets heaped with slumbrous flowers, his garments reek, and the cushions are warm with his sluggish body, and above the bed a dark vapour rises from his breathing mouth. One hand holds up the locks that fall from his left temple, from the other drops his neglected horn.”
Stat super occiduae nebulosa cubilia Noctis Aethiopasque alios, nulli penetrabilis astro, lucus iners, subterque cavis graue rupibus antrum it uacuum in montem, qua desidis atria Somni securumque larem segnis Natura locavit. limen opaca Quies et pigra Oblivio servant et numquam vigili torpens Ignauia vultu. Otia vestibulo pressisque Silentia pennis muta sedent abiguntque truces a culmine ventos et ramos errare vetant et murmura demunt alitibus. non hic pelagi, licet omnia clament litora, non ullus caeli fragor; ipse profundis vallibus effugiens speluncae proximus amnis saxa inter scopulosque tacet: nigrantia circum armenta omne solo recubat pecus, et nova marcent germina, terrarumque inclinat spiritus herbas. mille intus simulacra dei caelaverat ardens Mulciber: hic haeret lateri redimita Voluptas, hic comes in requiem vergens Labor, est ubi Baccho, est ubi Martigenae socium puluinar Amori obtinet. interius tecti in penetralibus altis et cum Morte jacet, nullique ea tristis imago cernitur. hae species. ipse autem umentia subter antra soporifero stipatos flore tapetas incubat; exhalant vestes et corpore pigro strata calent, supraque torum niger efflat anhelo ore vapor; manus haec fusos a tempore laevo sustentat crines, haec cornu oblita remisit.

Source: Thebaid, Book X, Line 84 (tr. J. H. Mozley)

Joseph Conrad photo

“Then, on the slight turn of the Lower Hope Reach, clusters of factory chimneys come distinctly into view, tall and slender above the squat ranges of cement works in Grays and Greenhithe. Smoking quietly at the top against the great blaze of a magnificent sunset, they give an industrial character to the scene, speak of work, manufactures, and trade, as palm-groves on the coral strands of distant islands speak of the luxuriant grace, beauty and vigour of tropical nature. The houses of Gravesend crowd upon the shore with an effect of confusion as if they had tumbled down haphazard from the top of the hill at the back. The flatness of the Kentish shore ends there. A fleet of steam-tugs lies at anchor in front of the various piers. A conspicuous church spire, the first seen distinctly coming from the sea, has a thoughtful grace, the serenity of a fine form above the chaotic disorder of men’s houses. But on the other side, on the flat Essex side, a shapeless and desolate red edifice, a vast pile of bricks with many windows and a slate roof more inaccessible than an Alpine slope, towers over the bend in monstrous ugliness, the tallest, heaviest building for miles around, a thing like an hotel, like a mansion of flats (all to let), exiled into these fields out of a street in West Kensington. Just round the corner, as it were, on a pier defined with stone blocks and wooden piles, a white mast, slender like a stalk of straw and crossed by a yard like a knitting-needle, flying the signals of flag and balloon, watches over a set of heavy dock-gates. Mast-heads and funnel-tops of ships peep above the ranges of corrugated iron roofs. This is the entrance to Tilbury Dock, the most recent of all London docks, the nearest to the sea.”

Hope Point to Tilbury / Gravesend
The Mirror of the Sea (1906), On the River Thames, Ch. 16

Michael Savage photo

“At least some Americans are still having children. Unfortunately, many of those children spend their formative years being taught how to surrender. The emasculation of American boys is one step short of suicide. […] Schoolyards used to be filled with kids at recess playing games like "kill the guy with the ball." Nobody died. Boys played with G. I. Joes and girls played with dolls. Kids played freeze tag without a single incident of sexual harassment. […] Not too many years ago, cartoons were filled with violence. Bugs Bunny tied a gun barrel in a knot and Elmer Fudd's gun went kaboom, covering his own head in black soot. Wile E. Coyote chased the Road Runner and fell off a cliff to his destruction. We as children watched Superman cartoons, but we knew not to try and jump off the roof. Teenage boys watched Rocky and Rambo and Conan films. Then they went home without trying to kill anybody. […] We did not need liberals to tell us the difference between pretend and real life. Common sense and our parents handled that. Now schools across the country are canceling gym class. Dodgeball apparently promotes aggression […]. Even rock-paper-scissors is too violent. Rocks and scissors could be used by children to harm each other. Paper requires murdering trees. It's no wonder that Islamists produce strapping young men while America produces sensitive crybabies […]. Muslim children are taught hate in madrassas. They are taught how to kill infidels and the blasphemers. American boys are suspended from school for arranging their school lunch vegetables in the shape of a gun. […] During World War II, young boys volunteered to go overseas to save the world. […] Now American kids on college campuses retreat to their safe spaces to escape from potential microagressions. Islamists cut off heads and limbs and our young boys shriek at the drop of a microaggression. And we haven't seen the worst of it.”

Michael Savage (1942) U.S. radio talk show host, Commentator, and Author

Scorched Earth: Restoring the Country after Obama (2016)

Patrick Modiano photo
William Pitt, 1st Earl of Chatham photo

“The poorest man may in his cottage bid defiance to all the forces of the Crown. It may be frail — its roof may shake — the wind may blow through it — the storm may enter — the rain may enter — but the King of England cannot enter — all his force dares not cross the threshold of the ruined tenement!”

William Pitt, 1st Earl of Chatham (1708–1778) British politician

Speech on the Excise Bill, House of Commons (March 1763), quoted in Lord Brougham, Historical Sketches of Statesmen Who Flourished in the Time of George III (1855), I, p. 42.
repeated by Brennan, J., MILLER v. UNITED STATES, 357 U.S. 301 (1958) http://caselaw.lp.findlaw.com/scripts/getcase.pl?court=US&vol=357&invol=301
repeated by Alfred Denning, Baron Denning, Southam v Smout [1964] 1 QB 308 at 320.

Li Bai photo

“Her robe is a cloud, her face a flower;
Her balcony, glimmering with the bright spring dew,
Is either the tip of earth's Jade Mountain,
Or a moon-edged roof of paradise.”

Li Bai (701–762) Chinese poet of the Tang dynasty poetry period

"A Song Of Pure Happiness I" (清平调之一)

Wassily Kandinsky photo

“Sometimes the air is awfully clear here. You can look off to sea and see the soft, warm, raggedy roof of clouds stretching on and on and on. It almost seems as if you can look right on into eternity.”

James Jones (1921–1977) American author

Letter to his brother Jeff, from Hawaii (22 March 1942); p. 17
To Reach Eternity (1989)

Alexis De Tocqueville photo
Robert E. Howard photo
P.G. Wodehouse photo
Conrad Aiken photo
The Mother photo
Wallace Stevens photo

“Yet voluble of dumb violence. You look
Across the roofs as sigil and as ward
And in your centre mark them and are cowed...”

Wallace Stevens (1879–1955) American poet

Notes Toward a Supreme Fiction (1942), It Must Be Abstract

Dennis Kucinich photo

“Almost half of the bankruptcies in the United States are connected to an illness in the family, whether people had health insurance or not. Middle-class Americans, who had the misfortune of either experiencing a medical emergency themselves or watching a family member suffer, were then forced to face the daunting task of pulling themselves out of debt. Bankruptcy law has allowed them to start over. It has given hope. Now this new law will put people on their own. Illness or emergency creates medical bills. We are telling the people that they themselves are to blame. At the same time, we are removing protections that would stay an eviction, that would keep a roof over the head of a working family. We allow the credit industry to trick consumers into using subprime cards, with exorbitant interest rate hikes and fees. Then we hand those same consumers over to an unforgiving prison of debt, to be put on a rack of insolvency and squeezed dry by the credit card industry. We are protecting the profits of the credit card industry instead of protecting the economic future of the American people. Americans are left on their own. That's what this Administration's "Ownership Society" is all about — you're on your own — and your ship is sinking.”

Dennis Kucinich (1946) Ohio politician

Speech on the floor of the House of Representatives, Congressional Record (14 April, 2005) http://frwebgate5.access.gpo.gov/cgi-bin/waisgate.cgi?WAISdocID=240761331899+3+0+0&WAISaction=retrieve.

Amit Chaudhuri photo
Edward R. Murrow photo
Chris Cornell photo
Joseph Conrad photo

“Coming in from the eastward, the bright colouring of the [Nore] lightship marking the part of the river committed to the charge of an Admiral (the Commander-in-Chief at the Nore) accentuates the dreariness and the great breadth of the Thames Estuary. But soon the course of the ship opens the entrance of the Medway, with its men-of-war moored in line, and the long wooden jetty of Port Victoria, with its few low buildings like the beginning of a hasty settlement upon a wild and unexplored shore. The famous Thames barges sit in brown clusters upon the water with an effect of birds floating upon a pond… [The inward-bound ships] all converge upon the Nore, the warm speck of red upon the tones of drab and gray, with the distant shores running together towards the west, low and flat, like the sides of an enormous canal. The sea-reach of the Thames is straight, and, once Sheerness is left behind, its banks seem very uninhabited, except for the cluster of houses which is Southend, or here and there a lonely wooden jetty where petroleum ships discharge their dangerous cargoes, and the oil-storage tanks, low and round with slightly-domed roofs, peep over the edge of the fore-shore, as it were a village of Central African huts imitated in iron. Bordered by the black and shining mud-flats, the level marsh extends for miles. Away in the far background the land rises, closing the view with a continuous wooded slope, forming in the distance an interminable rampart overgrown with bushes.”

The Nore to Hope Point
The Mirror of the Sea (1906), On the River Thames, Ch. 16

Albert Pike photo
George Eliot photo
Willa Cather photo
John Muir photo
Wendell Phillips photo
William S. Burroughs photo
Halldór Laxness photo
John Adams photo

“I pray Heaven to bestow the best of blessings on this house and all that shall hereafter inhabit it. May none but honest and wise men ever rule under this roof.”

John Adams (1735–1826) 2nd President of the United States

On the White House, in a letter to Abigail Adams (2 November 1800)
Franklin D. Roosevelt had this inscribed on the mantlepiece of the State Dining Room
1800s

Peter Greenaway photo
John Updike photo
Immortal Technique photo

“Cause it's too simple to shoot ya - I'll taser the roof of your mouth and electrocute ya.”

Immortal Technique (1978) American rapper and activist

Watch Out Freestyle
, 2011, Singles

Donald Ervin Knuth photo
Ellsworth Kelly photo
André Maurois photo
Edward Fredkin photo
John Milton photo

“Under the shady roof
Of branching elm star-proof.”

Arcades (1630-1634), line 88

Christopher Pitt photo
Margaret Fuller photo
Peter Greenaway photo

“Ceiling insulation is… preferable to roof-top insulation.”

Ken Kern American writer

The Owner Built Home: A How-to-do-it Book (1972)

Halldór Laxness photo
Vitruvius photo
Friedensreich Hundertwasser photo
Neil Gaiman photo
Lu Xun photo
James Russell Lowell photo
Vitruvius photo

“We smoked out, with no roof on it, them people passin' so we smash on it”

Money to Blow Featuring Lil Wayne and Drake
Priceless (2009)

Frederick Douglass photo

“[Pelsaert laments] “the utter subjection and poverty of the common people-poverty so great and miserable that the life of the people can be depicted or accurately described only as the home of stark want and the dwelling place of bitter woe.” He continues: “There are three classes of people who are indeed nominally free, but whose status differs very little from voluntary slavery-workmen, peons or servants and shopkeepers. For the workmen there are two scourges, the first of which is low wages. Goldsmiths, painters (of cloth or chintz), embroiderers, carpet makers, cotton or silk weavers, black-smiths, copper-smiths, tailors, masons, builders, stone-cutters, a hundred crafts in all-any of these working from morning to night can earn only 5 or 6 tackas (tankahs), that is 4 or 5 strivers in wages. The second (scourge) is (the oppression of) the Governor, the nobles, the Diwan, the Kotwal, the Bakshi, and other royal officers. If any of these wants a workman, the man is not asked if he is willing to come, but is seized in the house or in the street, well beaten if he should dare to raise any objection, and in the evening paid half his wages, or nothing at all. From these facts the nature of their food can be easily inferred… For their monotonous daily food they have nothing but a little khichri… in the day time, they munch a little parched pulse or other grain, which they say suffices for their lean stomachs… Their houses are built of mud with thatched roofs. Furniture there is little or none, except some earthenware pots to hold water and for cooking… Their bedclothes are scanty, merely a sheet or perhaps two… this is sufficient in the hot weather, but the bitter cold nights are miserable indeed, and they try to keep warm over little cowdung fires… the smoke from these fires all over the city is so great that the eyes run, and the throat seems to be choked.””

Francisco Pelsaert (1591–1630) Dutch merchant, commander of the ship Batavia

Quoted from Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 7
Jahangir’s India

Karl Schmidt-Rottluff photo

“The atelier was under the roof. Inhabiting this space was forbidden due to fire code restrictions, but staying and working there was allowed. We therefore had to avoid the impression that these were our living quarters. The most necessary furniture had to disappear into the attic during the day. And so the place was decorated purely with curtains. A curtain hung in front of the entrance door, a second one in front of the oven heating.... an adjoining room was hidden by a curtain with abstractedly patterned batik.”

Karl Schmidt-Rottluff (1884–1976) German artist

In addition to defying societal standards, die Brücke artists defied housing laws: the ateliers in Dresden that they worked and lived in were forbidden to be used as homes
Source: Brücke und Berlin: 100 Jahre Expressionismus, Anita Beloubek-Hammer, ed.; Berlin: Nicolaische Verlagsbuchhandlung, Berlin 2005, p. 312 (https://www.researchgate.net/publication/272168564 translation, Claire Louise Albiez]

James Clapper photo

“Looking at the recording of that interview, I again appeared tired. This time, I wasn't tired from working around the clock for months on end. I was tired because my journey of 76 years had led me to a place that should be home, and I'd found that the foundation of that home was beginning to crumble and the pillars that supported its roof were shaking.”

James Clapper (1941) US government official

Excerpt from Clapper's memoir Facts And Fears, in reference to a video of himself on a talk show prior to the release of the book, quoted in [In 'Facts And Fears,' Ex-Spy Boss Clapper Comes In From The Cold, Badly Chilled, https://www.npr.org/2018/05/22/613107871/in-facts-and-fears-ex-spy-boss-clapper-comes-in-from-the-cold-badly-chilled, 27 July 2018, National Public Radio, May 22, 2018]