Quotes about sand

page 5

"View with a Grain of Sand"
Poems New and Collected (1998), The People on the Bridge (1986)
Context: We call it a grain of sand
but it calls itself neither grain nor sand.
It does just fine without a name,
whether general, particular,
permanent, passing,
incorrect or apt.

Quote of Friedrich on his painting Swans in the Rushes (c. 1820), as cited in "Absent Presences in Liminal Places: Murnau's Nosferatu and the Otherworld of Stoker's Dracula" by Saviour Catania in Literature Film Quarterly (2004) http://findarticles.com/p/articles/mi_qa3768/is_200401/ai_n9377557/print
1794 - 1840

Blood at Babii Yar - Kiev's Atrocity Story (1943)
Context: At the wide shallow ravine, their valuable and part of their clothing were removed and heaped into a big pile. Then groups of these people were led into a neighboring deep ravine where they were machine-gunned. When bodies covered the ground in more or less of a layer, SS men scraped sand down from the ravine walls to cover them. Then the shooting would continue. The Nazis, we were told, worked three days doing the job. However, even more incredible was the actions taken by the Nazis between Aug. 19 and Sept. 28 last. Vilkis said that in the middle of August the SS mobilized a party of 100 Russian war prisoners, who were taken to the ravines. On Aug. 19 these men were ordered to disinter all the bodies in the ravine. The Germans meanwhile took a party to a nearby Jewish cemetery whence marble headstones were brought to Babii Yar to form the foundation of a huge funeral pyre. Atop the stones were piled a layer of wood and then a layer of bodies, and so on until the pyre was as high as a two-story house. Vilkis said that approximately 1,500 bodies were burned in each operation of the furnace and each funeral pyre took two nights and one day to burn completely. The cremation went on for 40 days, and then the prisoners, who by this time included 341 men, were ordered to build another furnace. Since this was the last furnace and there were no more bodies, the prisoners decided it was for them. They made a break but only a dozen out of more than 200 survived the bullets of the Nazi tommy guns.

"Little Things" in the Myrtle (1845). This poem came to be published uncredited as a children's rhyme and hymn in many 19th century magazines and books, sometimes becoming variously attributed to Ebenezer Cobham Brewer, Daniel Clement Colesworthy, and Frances S. Osgood, but the earliest publications of it clearly are those of Carney, according to Our Woman Workers: Biographical Sketches of Women Eminent in the Universalist Church for Literary, Philanthropic and Christian Work (1881) by E. R. Hanson, as well as Familiar Quotations 9th edition (1906) edited by John Bartlett, The Oxford Dictionary of Quotations (1999) by Elizabeth Knowles and Angela Partington, and The Yale Book of Quotations (2006), ed. Fred R. Shapiro.

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter VIII, Sec. 2
Context: Both kinds should be constructed of the smallest stones, so that the walls, being thoroughly puddled with the mortar, which is made of lime and sand, may hold together longer. If the stones used are soft and porous, they are apt to suck the moisture out of the mortar and so to dry it up. But when there is abundance of lime and sand, the wall, containing more moisture, will not soon lose its strength, for they will hold it together. But if the moisture is sucked out of the mortar by the porous rubble, and the lime and sand separate and disunite, the rubble can no longer adhere to them and the wall will in time become a ruin.

Jo Cox: Syria is not Iraq – we must take action now http://www.yorkshirepost.co.uk/news/opinion/jo-cox-syria-is-not-iraq-we-must-take-action-now-1-7453039 (10 September 2015)
Context: I don’t pretend to have all the answers. But despite all of the dangers and difficult judgements that lie ahead, burying our head in the sand is not an option. We must face up to this crisis and do all that we can to resolve it.

Poems and Ballads (1866-89), The Triumph of Time
Context: p>It is not much that a man can save
On the sands of life, in the straits of time,
Who swims in sight of the great third wave
That never a swimmer shall cross or climb.
Some waif washed up with the strays and spars
That ebb-tide shows to the shore and the stars;
Weed from the water, grass from a grave,
A broken blossom, a ruined rhyme.There will no man do for your sake, I think,
What I would have done for the least word said.
I had wrung life dry for your lips to drink,
Broken it up for your daily bread:
Body for body and blood for blood,
As the flow of the full sea risen to flood
That yearns and trembles before it sink,
I had given, and lain down for you, glad and dead.</p

Review http://www.rogerebert.com/reviews/house-of-sand-and-fog-2003 of House of Sand and Fog (26 December 2003)
Reviews, Four star reviews
Context: It's so rare to find a movie that doesn't take sides. Conflict is said to be the basis of popular fiction, and yet here is a film that seizes us with its first scene and never lets go, and we feel sympathy all the way through for everyone in it. To be sure, they sometimes do bad things, but the movie understands them and their flaws. Like great fiction, House of Sand and Fog sees into the hearts of its characters, and loves and pities them. … "House of Sand and Fog" relates not a plot with its contrived ups and downs but a story. A plot is about things that happen. A story is about people who behave.
To admire a story you must be willing to listen to the people and observe them, and at the end of House of Sand and Fog, we have seen good people with good intentions who have their lives destroyed because they had the bad luck to come across a weak person with shabby desires.

54 min 55 sec
Cosmos: A Personal Voyage (1990 Update), Journeys in Space and Time [Episode 8]
Context: Those worlds in space are as countless as all the grains of sand on all the beaches of the earth. Each of those worlds is as real as ours and every one of them is a succession of incidents, events, occurrences which influence its future. Countless worlds, numberless moments, an immensity of space and time. And our small planet at this moment, here we face a critical branch point in history, what we do with our world, right now, will propagate down through the centuries and powerfully affect the destiny of our descendants, it is well within our power to destroy our civilization and perhaps our species as well. If we capitulate to superstition or greed or stupidity we could plunge our world into a time of darkness deeper than the time between the collapse of classical civilization and the Italian Renaissance. But we are also capable of using our compassion and our intelligence, our technology and our wealth to make an abundant and meaningful life for every inhabitant of this planet.

Your Thought and Mine
Context: Your thought advocates fame and show. Mine counsels me and implores me to cast aside notoriety and treat it like a grain of sand cast upon the shore of eternity. Your thought instills in your heart arrogance and superiority. Mine plants within me love for peace and the desire for independence. Your thought begets dreams of palaces with furniture of sandalwood studded with jewels, and beds made of twisted silk threads. My thought speaks softly in my ears, "Be clean in body and spirit even if you have nowhere to lay your head." Your thought makes you aspire to titles and offices. Mine exhorts me to humble service.

Source: The Power-House (1916), Ch. 3 "Tells of a Midsummer Night"
Context: When all is said, we are ruled by the amateurs and the second-rate. The methods of our departments would bring any private firm to bankruptcy. The methods of Parliament — pardon me — would disgrace any board of directors. Our rulers pretend to buy expert knowledge, but they never pay the price for it that a business man would pay, and if they get it they have not the courage to use it. Where is the inducement for a man of genius to sell his brains to our insipid governors?
And yet knowledge is the only power — now as ever. A little mechanical device will wreck your navies. A new chemical combination will upset every rule of war. It is the same with our commerce. One or two minute changes might sink Britain to the level of Ecuador, or give China the key of the world's wealth. And yet we never dream that these things are possible. We think our castles of sand are the ramparts of the universe.

Many Long Years Ago (1945), Song To Be Sung by the Father of Infant Female Children
Context: A fig for embryo Lohengrins!
I'll open all his safety pins,
I'll pepper his powder, and salt his bottle,
And give him readings from Aristotle.
Sand for his spinach I'll gladly bring,
And Tabasco sauce for his teething ring.
Then perhaps he'll struggle through fire and water
To marry somebody else's daughter.

Heimsljós (World Light) (1940), Book One: The Revelation of the Deity
Context: He was not quite nine years old, in fact, when he began to have spiritual experiences... he felt he saw God's image open before him. He felt the deity reveal itself in Nature in an inexpressible music, the sonic revelation of the deity; and before he knew it, he himself had become a trembling voice in a celestial chorus of glory. His soul seemed to be rising out of his body like frothing milk brimming over the edge of a basin; it was as if his soul were flowing into an unfathomable ocean of higher life, beyond words, beyond all perception, his body suffused by some surging light that was beyond all light. Sighing, he became aware of his own insignificance in the midst of this infinite chorus glory and radiance; his whole consciousness dissolved into one sacred, tearful yearning to be allowed to be one with the Highest and be no longer any part of himself. He lay for a long time on the sand or on the grass, and wept tears of deep and fervent happiness, face to face with the inexpressible. "God, God, God!" he cried, trembling with love and reverence, and kissed the ground and dug his fingers into the turf.

"Ending Hunger Now" TED Talk (July 2011) http://www.ted.com/talks/josette_sheeran_ending_hunger_now.html
Context: I believe we're living at a time in human history where it's just simply unacceptable that children wake up and don't know where to find a cup of food. Not only that, transforming hunger is an opportunity, but I think we have to change our mindsets. I am so honored to be here with some of the world's top innovators and thinkers. And I would like you to join with all of humanity to draw a line in the sand and say, "No more. No more are we going to accept this." And we want to tell our grandchildren that there was a terrible time in history where up to a third of the children had brains and bodies that were stunted, but that exists no more.

As quoted in Zen to Go (1989) by Jon Winokur, p. 126
Context: Keep your hands open, and all the sands of the desert can pass through them. Close them, and all you can feel is a bit of grit.

On the reaction to his performance at the White House Correspondents' Dinner, in Entertainment Weekly (4 January 2007)
Context: I'm surprised at the reaction it got. I went down there and did exactly what I wanted. I didn't expect it to be some sort of cultural-political line in the sand. I did the style of jokes I'd been doing for six months. The fact that anybody found it surprising or alarming that I would do that was educational to me.

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book II, Chapter IV "Sand" Sec. 1
Context: In walls of masonry the first question must be with regard to the sand, in order that it may be fit to mix into mortar and have no dirt in it. The kinds of pitsand are these: black, gray, red, and carbuncular. Of these the best will be found to be that which crackles when rubbed in the hand, while that which has much dirt in it will not be sharp enough. Again: throw some sand upon a white garment and then shake it out; if the garment is not soiled and no dirt adheres to it, the sand is suitable.

Part One, One
The Dud Avocado (1958)
Context: I stumbled across the Champs Élysées. I know it seems crazy to say, but before I actually stepped onto it (at what turned out to be the Étoile ) I had not even been aware of its existence. No, I swear it. I’d heard the words "Champs Élysées," of course, but I thought it was a park or something. I mean that’s what it sounds like, doesn’t it? All at once I found myself standing there gazing down that enchanted boulevard in the blue, blue evening. Everything seemed to fall into place. Here was all the gaiety and glory and sparkle I knew was going to be life if I could just grasp it.
I began floating down those Elysian Fields three inches off the ground, as easily as a Cocteau character floats through Hell. Luxury and order seemed to be shining from every street lamp along the Avenue; shining from every window of its toyshops and dress-shops and carshops; shining from its cafés and cinemas and theaters; from its bonbonneries and parfumeries and nighteries.… Talk about seeing Eternity in a Grain of Sand and Heaven in a Wild Flower; I really think I was having some sort of mystic revelation then. The whole thing seemed like a memory from the womb. It seemed to have been waiting there for me.
For some people history is a Beach or a Tower or a Graveyard. For me it was this giant primordial Toyshop with all its windows gloriously ablaze. It contained everything I’ve ever wanted that money can buy. It was an enormous Christmas present wrapped in silver and blue tissue paper tied with satin ribbons and bells. Inside would be something to adorn, to amuse, and to dazzle me forever. It was my present for being alive.

"Church Not Made With Hands"
A Pagan Place (1984)
Context: She is everywhere and noplace
Like a breath or like a wind
she moves among men
They would seek to hold her as a prize
But she is in the shadows,
the ocean and the sand
She is everywhere and noplace,
Her church not made with handsUncontained by man.

Notes Toward a Supreme Fiction (1942), It Must Change
Context: I am the spouse. She took her necklace off
And laid it in the sand. As I am, I am
The spouse. She opened her stone-studded belt. I am the spouse, divested of bright gold,
The spouse beyond emerald or amethyst,
Beyond the burning body that I bear. I am the woman stripped more nakedly
Than nakedness, standing before an inflexible
Order, saying I am the contemplated spouse.

Mrs. Alving, Act II
Ghosts (1881)
Context: I am half inclined to think we are all ghosts, Mr. Manders. It is not only what we have inherited from our fathers and mothers that exists again in us, but all sorts of old dead ideas and all kinds of old dead beliefs and things of that kind. They are not actually alive in us; but there they are dormant, all the same, and we can never be rid of them. Whenever I take up a newspaper and read it, I fancy I see ghosts creeping between the lines. There must be ghosts all over the world. They must be as countless as the grains of the sands, it seems to me. And we are so miserably afraid of the light, all of us.

The Absolute at Large (1921)
Context: I've tried all isolating materials that might possibly prevent the Absolute from getting out of the cellar: ashes, sand, metal walls, but nothing can stop it. I've even tried lining the cellar walls with the works of Professors Krejci, Spencer, and Haeckle, all the Positivists you can think of; if you can believe it, the Absolute penetrates even things like that.

The Eye of Spirit : An Integral Vision for a World Gone Slightly Mad (1997)
Context: The Realization of the Nondual traditions is uncompromising: There is only Spirit, there is only God, there is only Emptiness in all its radiant wonder. All the good and all the evil, the very best and the very worst, the upright and the degenerate — each and all are radically perfect manifestations of Spirit precisely as they are. There is nothing but God, nothing but the Goddess, nothing but Spirit in all directions, and not a grain of sand, not a speck of dust, is more or less Spirit than any other.

"Exiles From Their Land, History Their Domicile"
The Still Centre (1939)
Context: The laurelled exiles, kneeling to kiss these sands.
Number there freedom's friends. One who
Within the element of endless summer,
Like leaf in amber, petrified by light,
Studied the root of action. One in a garret
Read books as though he broke up flints.

Book VI, chapter 3: "Conversations and Exhortations of Father Zossima; Of Prayer, of Love, and of Contact with other Worlds" (translated by Constance Garnett)
The Brothers Karamazov (1879–1880)
Context: Brothers, have no fear of men's sin. Love a man even in his sin, for that is the semblance of Divine Love and is the highest love on earth. Love all God's creation, the whole of it and every grain of sand in it. Love every leaf, every ray of God's light. Love the animals, love the plants, love everything. If you love everything, you will perceive the divine mystery in things. Once you have perceived it, you will begin to comprehend it better every day, and you will come at last to love the world with an all-embracing love. Love the animals: God has given them the rudiments of thought and untroubled joy. So do not trouble it, do not harass them, do not deprive them of their joy, do not go against God's intent. Man, do not exhale yourself above the animals: they are without sin, while you in your majesty defile the earth by your appearance on it, and you leave the traces of your defilement behind you — alas, this is true of almost every one of us! Love children especially, for like the angels they too are sinless, and they live to soften and purify our hearts, and, as it were, to guide us. Woe to him who offends a child.
My young brother asked even the birds to forgive him. It may sound absurd, but it is right none the less, for everything, like the ocean, flows and enters into contact with everything else: touch one place, and you set up a movement at the other end of the world. It may be senseless to beg forgiveness of the birds, but, then, it would be easier for the birds, and for the child, and for every animal if you were yourself more pleasant than you are now. Everything is like an ocean, I tell you. Then you would pray to the birds, too, consumed by a universal love, as though in ecstasy, and ask that they, too, should forgive your sin. Treasure this ecstasy, however absurd people may think it.

"The Desert. Sinai.", Ch. 21, p. 276
Report to Greco (1965)
Context: Inhuman solitude made of sand and God. Surely only two kinds of people can bear to live in such desert: lunatics and prophets. The mind topples here not from fright but from sacred awe; sometimes it collapses downward, losing human stability, sometimes it springs upward, enters heaven, sees God face to face, touches the hem of His blazing garment without being burned, hears what He says, and taking this, slings it into men's consciousness. Only in the desert do we see the birth of these fierce, indomitable souls who rise up in rebellion even against God himself and stand before Him fearlessly, their minds in resplendent consubstantiality with the skirts of the Lord. God sees them and is proud, because in them his breath has not vented its force; in them, God has not stooped to becoming a man.

Notes: Originally written in English. „Sinn”: In Gaelic means "We". Poem was created in response to an appeal of fellow Irishman, who ask to wrote something in kind of Arthur O'Shaughnessy's "Ode", maintaining similar styling. (footnote from page 42)

Among the things (2012), Page 42, verse I-III.

Flying Saucers Have Landed

“Buckley Heard By Tulane Unit”, John Roberts, Times-Picayune (New Orleans, Louisiana), (April 22, 1971) p. 22

https://twitter.com/coralineada/status/1029162264979546112

“Things That Ain’t So by Milton Friedman”, Newsweek (March 10, 1980) p. 79

"Rest in oblivion, Jack Chick" http://www.patheos.com/blogs/reasonadvocates/2016/10/25/rest-oblivion-jack-chick/, Patheos (October 25, 2016)
Patheos

The Universal Kinship (1906), Preface

Speech in Birmingham (28 November 1964), quoted in A Nation Not Afraid. The Thinking of Enoch Powell (B. T. Batsford Ltd, 1965), p. 100
1960s

These words from The Sound of Music bring out the elusive nature of chaos. In life, most things cannot be captured for long. It is like trying to encapsulate time itself.
Source: In Defense of Chaos: The Chaology of Politics, Economics and Human Action, (2013), p. vii

Zbigniew Herbert, Spinoza's Bed [original in Polish]
G - L

Prince Rama Varma in: "Murali And Me: A tribute by Prince Rama Varma".

from I have Nothing to Admit

It is the question of questions. All that Democracy ever meant lies there: the attainment of a truer and truer Aristocracy, or Government again by the Best.
1850s, Latter-Day Pamphlets (1850), Downing Street (April 1, 1850)

Quote in Dali's letter to his art-friend Lorca, 1927; as quoted in Surrealism and the Spanish Civil War, Robin Adèle Greeley, p. 67
Dali is striving then for a rational approach of his paintings; he is very probably referring to his painting, he made earlier in 1927: ' Little Ashes' https://upload.wikimedia.org/wikipedia/commons/b/b7/Little_Ashes.jpg
Quotes of Salvador Dali, 1920 - 1930

Speech delivered on September 6, 1990, before the Annual Judicial Conference of the Second Circuit, quoted in Supreme Justice Speeches and Writings Thurgood Marshall. Edited by J. Clay Smith, Jr. (2002).

Source: Unweaving the Rainbow (1998), Ch. 1 : The Anaesthetic of Familiarity; Dawkins is reported to have stated that this passage will be read at his funeral; it is often quoted with an extension which does not occur in any thus-far-checked editions of the book: "We privileged few, who won the lottery of birth against all odds, how dare we whine at our inevitable return to that prior state from which the vast majority have never stirred?"

Sessions of Sweet, Silent Thought: translated by Mirza Nehal Ahmad Baig, Poem no. 16, p. 26
Poetry, Familiarity

"Egypt (The Chains Are On)" on The Last in Line (1984)
Lyrics

Gaslight Sonatas (1918)

Last lines
Sophie's Choice (1979)

Speech, London (10 March 1880)

"Twenty-three Horse Poems", 5 (《马诗二十三首（其五）》), in Song of the Immortals: An Anthology of Classical Chinese Poetry, trans. Xu Yuanchong (Penguin Books, 1994), p. 91
Original: (zh-CN) 大漠沙如雪，燕山月似钩。
何当金络脑，快走踏清秋。

Sophie's Choice (1979)

Source: The Alchemist (1988), p. 131

Tonga
Source: Peeni Henare (2022) cited in: " Tonga airport runway being cleared of ash as Australian planes ready to depart https://www.theguardian.com/world/2022/jan/20/tonga-airport-runway-being-cleared-of-ash-as-australian-planes-ready-to-depart" in The Guardian, 19 January 2022.

Source: Rectorial address ("The present decline of Parliamentary government in Great Britain") to Edinburgh University (5 March 1931), quoted in The Times (6 March 1931), p. 19