Quotes about scene

A collection of quotes on the topic of scene, likeness, doing, time.

Quotes about scene

William Shakespeare photo
George Orwell photo
Bill Skarsgård photo
Martin Brundle photo
Kent Hovind photo
J.M.W. Turner photo
Joan Baez photo
Krist Novoselic photo

“We weren't really interested in those bands; we were—because we came out of this subterranean scene. And then Nirvana breaks big, and it's just diametrically opposite: we have, like, facial hair, and just, kind of, logger shirts, but we're all, like, "sensitive" and "feminine"—you know what I mean?”

Krist Novoselic (1965) Croatian-American rock musician

36:00–36:19, about mainstream rockers of the 1980s
"Nirvana's Krist Novoselic on Punk, Politics, & Why He Dumped the Dems" https://www.youtube.com/watch?v=k4TPRH2uK9w

Kurt Cobain photo

“I just can’t believe anyone would start a band just to make the scene and be cool and have chicks. I just can’t believe it.”

Kurt Cobain (1967–1994) American musician and artist

As quoted in Option (1992-01-02).
Interviews (1989-1994), Print

Benjamin Disraeli photo

“There is no doubt a difference in the right hon. gentleman's demeanour as leader of the Opposition and as Minister of the Crown. But that's the old story; you must not contrast too strongly the hours of courtship with the years of possession. 'Tis very true that the right hon. gentleman's conduct is different. I remember him making his protection speeches. They were the best speeches I ever heard. It was a great thing to hear the right hon. gentleman say: "I would rather be the leader of the gentlemen of England than possess the confidence of Sovereigns". That was a grand thing. We don't hear much of "the gentlemen of England" now. But what of that? They have the pleasures of memory—the charms of reminiscence. They were his first love, and, though he may not kneel to them now as in the hour of passion, still they can recall the past; and nothing is more useless or unwise than these scenes of crimination and reproach, for we know that in all these cases, when the beloved object has ceased to charm, it is in vain to appeal to the feelings. You know that this is true. Every man almost has gone through it. My hon. gentleman does what he can to keep them quiet; he sometimes takes refuge in arrogant silence, and sometimes he treats them with haughty frigidity; and if they knew anything of human nature they would take the hint and shut their mouths. But they won't. And what then happens? What happens under all such circumstances? The right hon. gentleman, being compelled to interfere, sends down his valet, who says in the genteelest manner: "We can have no whining here". And that, sir, is exactly the case of the great agricultural interest—that beauty which everybody wooed and one deluded. There is a fatality in such charms, and we now seem to approach the catastrophe of her career. Protection appears to be in about the same condition that Protestantism was in 1828. The country will draw its moral. For my part, if we are to have free trade, I, who honour genius, prefer that such measures should be proposed by the hon. member for Stockport than by one who through skilful Parliamentary manoeuvres has tampered with the generous confidence of a great people and a great party. For myself, I care not what may be the result. Dissolve, if you please, the Parliament you have betrayed. For me there remains this at least—the opportunity of expressing thus publicly my belief that a Conservative Government is an organised hypocrisy.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Speech http://hansard.millbanksystems.com/commons/1845/mar/17/agricultural-interest in the House of Commons (17 March 1845).
1840s

Ted Bundy photo
Michael Jackson photo
Paul McCartney photo
Daniel Radcliffe photo
Henry Dunant photo
Etty Hillesum photo
Jimi Hendrix photo

“Pretty soon I believe people will have to rely on music to get some kind of peace of mind, or satisfaction, or direction, actually. More so than politics, the big ego scene. You know it's an art of words… Meaning nothing.”

Jimi Hendrix (1942–1970) American musician, singer and songwriter

When asked if music has a meaning
Dick Cavett interview (1969)
Context: Definitely, and it's getting more spiritual. Pretty soon I believe people will have to rely on music to get some kind of peace of mind, or satisfaction, or direction, actually. More so than politics, the big ego scene. You know it's an art of words... Meaning nothing. Therefore you will have to get an earthier substance, like music or the arts.

Benjamin Disraeli photo
William Shakespeare photo
William Shakespeare photo
Alyson Nöel photo
William Shakespeare photo
Mark Twain photo

“Let us draw the curtain of charity over the rest of this scene”

Source: The Adventures of Tom Sawyer

William Shakespeare photo

“If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge?". - (Act III, scene I).”

Shylock, Act III, scene i.
Source: The Merchant of Venice (1596–7)
Context: I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, heal'd by the same means, warm'd and cool'd by the same winter and summer, as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?

William Shakespeare photo
Tennessee Williams photo

“The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.”

Variant: Memory takes a lot of poetic licence. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart. The interior is therefore rather dim and poetic.
Source: The Glass Menagerie

William Shakespeare photo
William Shakespeare photo
Tennessee Williams photo
Terry Pratchett photo
Nelson Algren photo
Lee Child photo
Leonardo DiCaprio photo
Henri Barbusse photo
Sukirti Kandpal photo

“I’d like to believe that in the two weeks that I was inside, I conducted myself with dignity. And I wouldn’t be remembered as a contestant who created a scene for TRPs.”

Sukirti Kandpal (1987) Indian actress

On her Bigg Boss-8 stint http://gulfnews.com/life-style/celebrity/desi-news/bollywood/after-bigg-boss-8-sukirti-kandpal-looks-for-work-1.1395192/

Hunter S. Thompson photo
Fernando Pessoa photo

“If I had written King Lear, I would regret it all my life afterwards. Because that work is so big, that its defects show as huge, its monstrous defects, things even minimal in between some scenes and their possible perfection. It's not the sun with spots; it's a broken greek statue.”

Ibid., p. 250
The Book of Disquiet
Original: Se eu tivesse escrito o Rei Lear, levaria com remorsos toda a minha vida de depois. Porque essa obra é tão grande, que enormes avultam os seus defeitos, os seus monstruosos defeitos, as coisas até mínimas que estão entre certas cenas e a perfeição possível delas. Não é o sol com manchas; é uma estátua grega partida.

Benjamin Disraeli photo
William Wordsworth photo
Benjamin Disraeli photo

“So you see, my dear Coningsby, that the world is governed by very different personages from what is imagined by those who are not behind the scenes.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Sidonia speaking
Book 4, Chap. 15.
Books, Coningsby (1844)

H.P. Lovecraft photo

“I do differ from you radically in respect to familiar things & scenes; for I always demand close correlation with the landscape & historic stream to which I belong, & would feel completely lost in infinity without a system of reference-points based on known & accustomed objects. I take complete relativity so much for granted, that I cannot conceive of anything as existing in itself in any recognisable form. What gives things an aspect & quasi-significance to us is the fact that we view things consistently from a certain artificial & fortuitous angle. Without the preservation of that angle, coherent consciousness & entity itself becomes inconceivable. Thus my wish for freedom is not so much a wish to put all terrestrial things behind me & plunge forever into abysses beyond light, matter, & energy. That, indeed, would mean annihilation as a personality rather than liberation. My wish is perhaps best defined as a wish for infinite visioning & voyaging power, yet without loss of the familiar background which gives all things significance. I want to know what stretches Outside, & be able to visit all the gulfs & dimensions beyond Space & Time. I want, too, to juggle the calendar at will; bringing things from the immemorial past down into the present, & making long journeys into the forgotten years. But I want the familiar Old Providence of my childhood as a perpetual base for these necromancies & excursions—& in a good part of these necromancies & excursions I want certain transmuted features of Old Providence to form part of the alien voids I visit or conjure up. I am as geographic-minded as a cat—places are everything to me. Long observation has shewn me that no other objective experience can give me even a quarter of the kick I can extract from the sight of a fresh landscape or urban vista whose antiquity & historic linkages are such as to correspond with certain fixed childhood dream-patterns of mine. Of course my twilight cosmos of half-familiar, fleetingly remembered marvels is just as unattainable as your Ultimate Abysses—this being the real secret of its fascination. Nothing really known can continue to be acutely fascinating—the charm of many familiar things being mainly resident in their power to symbolise or suggest unknown extensions & overtones.”

H.P. Lovecraft (1890–1937) American author

Letter to Clark Ashton Smith (7 November 1930), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 214
Non-Fiction, Letters

Malcolm Muggeridge photo

“I can say with truth that I have never, even in times of greatest preoccupation with carnal, worldly and egotistic pursuits, seriously doubted that our existence here is related in some mysterious way to a more comprehensive and lasting existence elsewhere; that somehow or other we belong to a larger scene than our earthly life provides, and to a wider reach of time than our earthly allotment of three score years and ten…It has never been possible for me to persuade myself that the universe could have been created, and we, homo sapiens, so-called, have, generation after generation, somehow made our appearance to sojourn briefly on our tiny earth, solely in order to mount the interminable soap opera, with the same characters and situations endlessly recurring, that we call history. It would be like building a great stadium for a display of tiddly-winks, or a vast opera house for a mouth-organ recital. There must, in other words, be another reason for our existence and that of the universe than just getting through the days of our life as best we may; some other destiny than merely using up such physical, intellectual and spiritual creativity as has been vouchsafed us. This, anyway, has been the strongly held conviction of the greatest artists, saints, philosophers and, until quite recent times, scientists, through the Christian centuries, who have all assumed that the New Testament promise of eternal life is valid, and that the great drama of the Incarnation which embodies it, is indeed the master drama of our existence. To suppose that these distinguished believers were all credulous fools whose folly and credulity in holding such beliefs has now been finally exposed, would seem to me to be untenable; and anyway I'd rather be wrong with Dante and Shakespeare and Milton, with Augustine of Hippo and Francis of Assisi, with Dr. Johnson, Blake and Dostoevsky, than right with Voltaire, Rousseau, Darwin, the Huxleys, Herbert Spencer, H. G. Wells and Bernard Shaw.”

Malcolm Muggeridge (1903–1990) English journalist, author, media personality, and satirist

Confessions of a Twentieth-Century Pilgrim (1988)

Abraham Lincoln photo

“I mean the powerful influence which the interesting scenes of the Revolution had upon the passions of the people as distinguished from their judgment. By this influence, the jealousy, envy, and avarice incident to our nature and so common to a state of peace, prosperity, and conscious strength, were for the time in a great measure smothered and rendered inactive, while the deep-rooted principles of hate, and the powerful motive of revenge, instead of being turned against each other, were directed exclusively against the British nation. And thus, from the force of circumstances, the basest principles of our nature, were either made to lie dormant, or to become the active agents in the advancement of the noblest cause — that of establishing and maintaining civil and religious liberty. But this state of feeling must fade, is fading, has faded, with the circumstances that produced it. I do not mean to say that the scenes of the Revolution are now or ever will be entirely forgotten, but that, like everything else, they must fade upon the memory of the world, and grow more and more dim by the lapse of time. In history, we hope, they will be read of, and recounted, so long as the Bible shall be read; but even granting that they will, their influence cannot be what it heretofore has been. Even then they cannot be so universally known nor so vividly felt as they were by the generation just gone to rest. At the close of that struggle, nearly every adult male had been a participator in some of its scenes. The consequence was that of those scenes, in the form of a husband, a father, a son, or a brother, a living history was to be found in every family — a history bearing the indubitable testimonies of its own authenticity, in the limbs mangled, in the scars of wounds received, in the midst of the very scenes related — a history, too, that could be read and understood alike by all, the wise and the ignorant, the learned and the unlearned. But those histories are gone. They can be read no more forever. They were a fortress of strength; but what invading foeman could never do, the silent artillery of time has done — the leveling of its walls. They are gone. They were a forest of giant oaks; but the all-restless hurricane has swept over them, and left only here and there a lonely trunk, despoiled of its verdure, shorn of its foliage, unshading and unshaded, to murmur in a few more gentle breezes, and to combat with its mutilated limbs a few more ruder storms, then to sink and be no more. They were pillars of the temple of liberty; and now that they have crumbled away that temple must fall unless we, their descendants, supply their places with other pillars, hewn from the solid quarry of sober reason.”

Abraham Lincoln (1809–1865) 16th President of the United States

1830s, The Lyceum Address (1838)

Ron Paul photo
Ludwig von Mises photo
H.P. Lovecraft photo
John Lennon photo

“If people take any notice of what we say, we say we've been through the drug scene, man, and there's nothing like being straight.”

John Lennon (1940–1980) English singer and songwriter

The Dick Cavett Show (24 September 1971)

Samuel Goldwyn photo

“We have that Indian scene. We can get the Indians from the reservoir.”

Samuel Goldwyn (1879–1974) American film producer (1879-1974).

Alternately reported as "We can get all the Indians we need at the reservoir", in Paul F. Boller, John George, They Never Said It (1990), p. 40.
Misattributed

H.P. Lovecraft photo
John Henry Newman photo
Thomas Mann photo

“O scenes of the beautiful world! Never have you presented yourself to more appreciative eyes.”

Bk. 2, Ch. 4
Confessions of Felix Krull, Confidence Man (1954)

Saul Bellow photo
Louise Bourgeois photo
H.P. Lovecraft photo

“Everything I loved had been dead for two centuries—or, as in the case of Graeco-Roman classicism, for two milenniums. I am never a part of anything around me—in everything I am an outsider. Should I find it possible to crawl backward through the Halls of Time to that age which is nearest my own fancy, I should doubtless be bawled out of the coffee-houses for heresy in religion, or else lampooned by John Dennis till I found refuge in the deep, silent Thames, that covers many another unfortunate. Yes, I seem to be a decided pessimist!—But pray do not think, gentlemen, that I am utterly forlorn and misanthropick creature. … Despite my solitary life, I have found infinite joy in books and writing, and am by far too much interested in the affairs of the world to quit the scene before Nature shall claim me. Though not a participant in the Business of life; I am, like the character of Addison and Steele, an impartial (or more or less impartial) Spectator, who finds not a little recreation in watching the antics of those strange and puny puppets called men. A sense of humour has helped me to endure existence; in fact, when all else fails, I never fail to extract a sarcastic smile from the contemplation of my own empty and egotistical career!”

H.P. Lovecraft (1890–1937) American author

Letter to "The Keicomolo"—Kleiner, Cole, and Moe (October 1916), in Selected Letters I, 1911-1924 edited by August Derleth and Donald Wandrei, p. 27
Non-Fiction, Letters

Milla Jovovich photo
Erving Goffman photo

“The self… is not an organic thing that has a specific location, whose fundamental fate is to be born, to mature, to die; it is a dramatic effect arising diffusely from a scene that is presented.”

p 252; Cited in: Javier Trevino, Goffman's Legacy. Rowman & Littlefield Publishers, 2003, p. 55.
1950s-1960s, The Presentation of Self in Everyday Life, 1959

H.P. Lovecraft photo

“I am essentially a recluse who will have very little to do with people wherever he may be. I think that most people only make me nervous—that only by accident, and in extremely small quantities, would I ever be likely to come across people who wouldn't. It makes no difference how well they mean or how cordial they are—they simply get on my nerves unless they chance to represent a peculiarly similar combination of tastes, experiences, and heritages; as, for instance, Belknap chances to do... Therefore it may be taken as axiomatic that the people of a place matter absolutely nothing to me except as components of the general landscape and scenery. Let me have normal American faces in the streets to give the aspect of home and a white man's country, and I ask no more of featherless bipeds. My life lies not among people but among scenes—my local affections are not personal, but topographical and architectural. No one in Providence—family aside—has any especial bond of interest with me, but for that matter no one in Cambridge or anywhere else has, either. The question is that of which roofs and chimneys and doorways and trees and street vistas I love the best; which hills and woods, which roads and meadows, which farmhouses and views of distant white steeples in green valleys. I am always an outsider—to all scenes and all people—but outsiders have their sentimental preferences in visual environment. I will be dogmatic only to the extent of saying that it is New England I must have—in some form or other. Providence is part of me—I am Providence—but as I review the new impressions which have impinged upon me since birth, I think the greatest single emotion—and the most permanent one as concerns consequences to my inner life and imagination—I have ever experienced was my first sight of Marblehead in the golden glamour of late afternoon under the snow on December 17, 1922. That thrill has lasted as nothing else has—a visible climax and symbol of the lifelong mysterious tie which binds my soul to ancient things and ancient places.”

H.P. Lovecraft (1890–1937) American author

Letter to Lillian D. Clark (29 March 1926), quoted in Lord of a Visible World: An Autobiography in Letters edited by S. T. Joshi, p. 186
Non-Fiction, Letters

Jennifer Beals photo
Cate Blanchett photo
Robert Mitchum photo

“For a while it looked like I was going to be stuck in westerns. I figured out I could make 6 a year for 60 years and then retire. I decided I didn't want it. So I started blinking my eyes every time a gun went off in the scenes. That got me out of westerns.”

Robert Mitchum (1917–1997) American film actor, author, composer and singer

As quoted in "In Hollywood" https://www.google.com/search?client=safari&rls=en&q=%22For+a+while,+he+said,+it+looked+like+I+was+going+to+be+stuck+in+westerns.+I+figured+out+I+could+make+six+a+year+for+GO+years+und+then+retire.+I+decided+I+didn't+want+it.%22&ie=UTF-8&oe=UTF-8 by Erskine Johnson (NEA), in The Blytheville Courier News (May 2, 1946)

H.P. Lovecraft photo

“Now the trickiest catch in the negro problem is the fact that it is really twofold. The black is vastly inferior. There can be no question of this among contemporary and unsentimental biologists—eminent Europeans for whom the prejudice-problem does not exist. But, it is also a fact that there would be a very grave and very legitimate problem even if the negro were the white man's equal. For the simple fact is, that two widely dissimilar races, whether equal or not, cannot peaceably coexist in the same territory until they are either uniformly mongrelised or cast in folkways of permanent and traditional personal aloofness. No normal being feels at ease amidst a population having vast elements radically different from himself in physical aspect and emotional responses. A normal Yankee feels like a fish out of water in a crowd of cultivated Japanese, even though they may be his mental and aesthetic superiors; and the normal Jap feels the same way in a crowd of Yankees. This, of course, implies permanent association. We can all visit exotic scenes and like it—and when we are young and unsophisticated we usually think we might continue to like it as a regular thing. But as years pass, the need of old things and usual influences—home faces and home voices—grows stronger and stronger; and we come to see that mongrelism won't work. We require the environing influence of a set of ways and physical types like our own, and will sacrifice anything to get them. Nothing means anything, in the end, except with reference to that continuous immediate fabric of appearances and experiences of which one was originally part; and if we find ourselves ingulphed by alien and clashing influences, we instinctively fight against them in pursuit of the dominant freeman's average quota of legitimate contentment.... All that any living man normally wants—and all that any man worth calling such will stand for—is as stable and pure a perpetuation as possible of the set of forms and appearances to which his value-perceptions are, from the circumstances of moulding, instinctively attuned. That is all there is to life—the preservation of a framework which will render the experience of the individual apparently relevant and significant, and therefore reasonably satisfying. Here we have the normal phenomenon of race-prejudice in a nutshell—the legitimate fight of every virile personality to live in a world where life shall seem to mean something.... Just how the black and his tan penumbra can ultimately be adjusted to the American fabric, yet remains to be seen. It is possible that the economic dictatorship of the future can work out a diplomatic plan of separate allocation whereby the blacks may follow a self-contained life of their own, avoiding the keenest hardships of inferiority through a reduced number of points of contact with the whites... No one wishes them any intrinsic harm, and all would rejoice if a way were found to ameliorate such difficulties as they have without imperilling the structure of the dominant fabric. It is a fact, however, that sentimentalists exaggerate the woes of the average negro. Millions of them would be perfectly content with servile status if good physical treatment and amusement could be assured them, and they may yet form a well-managed agricultural peasantry. The real problem is the quadroon and octoroon—and still lighter shades. Theirs is a sorry tragedy, but they will have to find a special place. What we can do is to discourage the increase of their numbers by placing the highest possible penalties on miscegenation, and arousing as much public sentiment as possible against lax customs and attitudes—especially in the inland South—at present favouring the melancholy and disgusting phenomenon. All told, I think the modern American is pretty well on his guard, at last, against racial and cultural mongrelism. There will be much deterioration, but the Nordic has a fighting chance of coming out on top in the end.”

H.P. Lovecraft (1890–1937) American author

Letter to James F. Morton (January 1931), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 253
Non-Fiction, Letters, to James Ferdinand Morton, Jr.

C.G. Jung photo

“This whole creation is essentially subjective, and the dream is the theater where the dreamer is at once scene, actor, prompter, stage manager, author, audience, and critic.”

C.G. Jung (1875–1961) Swiss psychiatrist and psychotherapist who founded analytical psychology

General Aspects of Dream Psychology (1928)

Francis Quarles photo
Abraham Lincoln photo
Amitabh Bachchan photo
George Washington photo

“A solemn scene it was indeed… He seemed to enjoy a triumph over me. Methought I heard him think, "Ay! I am fairly out and you are fairly in! See which of us will be the happiest!"”

George Washington (1732–1799) first President of the United States

John Adams, in a letter to his wife Abigail was here expressing his impression of what Washington seemed to be thinking after Adams was inaugurated as President. These impressions have sometimes been quoted as if they were something Washington had actually said to Adams. Quoted in A History of the United States and Its People: From Their Earliest Records to the Present Time (1904) by William Abbatt and Elroy McKendree Avery, p. 177; John Adams (2002) by David G. McCullough, p. 469; and The Portable John Adams (2004) edited by John Patrick Diggins, p. xi

Unsourced variants: Well, I am fairly out and you are fairly in. Now we shall see who enjoys it the most!
Ah! I am fairly out and you are fairly in! See which of us will be the happiest!
Misattributed

H.P. Lovecraft photo
John Locke photo

“The scene should be gently open'd”

Sec. 94
Some Thoughts Concerning Education (1693)
Context: The scene should be gently open'd, and his entrance made step by step, and the dangers pointed out that attend him from several degrees, tempers, designs, and clubs of men. He should be prepared to be shocked by some, and caress'd by others; warned who are like to oppose, who to mislead, who to undermine him, and who to serve him. He should be instructed how to know and distinguish them; where he should let them see, and when dissemble the knowledge of them and their aims and workings.

Lewis Carroll photo

“I believe this thought, of the possibility of death — if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong.”

Preface
Sylvie and Bruno (1889)
Context: I believe this thought, of the possibility of death — if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong. If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going. Be sure the safest rule is that we should not dare to live in any scene in which we dare not die.
But, once realise what the true object is in life — that it is not pleasure, not knowledge, not even fame itself, 'that last infirmity of noble minds' — but that it is the development of character, the rising to a higher, nobler, purer standard, the building-up of the perfect Man — and then, so long as we feel that this is going on, and will (we trust) go on for evermore, death has for us no terror; it is not a shadow, but a light; not an end, but a beginning!

Lewis Carroll photo

“Be sure the safest rule is that we should not dare to live in any scene in which we dare not die.”

Preface
Sylvie and Bruno (1889)
Context: I believe this thought, of the possibility of death — if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong. If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going. Be sure the safest rule is that we should not dare to live in any scene in which we dare not die.
But, once realise what the true object is in life — that it is not pleasure, not knowledge, not even fame itself, 'that last infirmity of noble minds' — but that it is the development of character, the rising to a higher, nobler, purer standard, the building-up of the perfect Man — and then, so long as we feel that this is going on, and will (we trust) go on for evermore, death has for us no terror; it is not a shadow, but a light; not an end, but a beginning!

Rollo May photo

“The human imagination leaps to form the whole, to complete the scene in order to make sense of it.”

Rollo May (1909–1994) US psychiatrist

Source: The Courage to Create (1975), Ch. 7 : Passion for Form, p. 131
Context: The human imagination leaps to form the whole, to complete the scene in order to make sense of it. The instantaneous way this is done shows how we are driven to construct the remainder of the scene. To fill the gaps is essential if the scene is to have meaning. That we may do this in misleading ways — at times in neurotic or paranoid ways — does not gainsay the central point. Our passion for form expresses our yearning to make the world adequate to our needs and desires, and, more important, to experience ourselves as having significance.

George Washington photo

“I have the consolation to believe, that, while choice and prudence invite me to quit the political scene, patriotism does not forbid it.”

George Washington (1732–1799) first President of the United States

1790s, Farewell Address (1796)
Context: Every day the increasing weight of years admonishes me more and more, that the shade of retirement is as necessary to me as it will be welcome. Satisfied, that, if any circumstances have given peculiar value to my services, they were temporary, I have the consolation to believe, that, while choice and prudence invite me to quit the political scene, patriotism does not forbid it.

Leon Trotsky photo
Thomas Paine photo

“It was the cause of America that made me an author. The force with which it struck my mind and the dangerous condition the country appeared to me in, by courting an impossible and an unnatural reconciliation with those who were determined to reduce her, instead of striking out into the only line that could cement and save her, A Declaration Of Independence, made it impossible for me, feeling as I did, to be silent: and if, in the course of more than seven years, I have rendered her any service, I have likewise added something to the reputation of literature, by freely and disinterestedly employing it in the great cause of mankind, and showing that there may be genius without prostitution. Independence always appeared to me practicable and probable, provided the sentiment of the country could be formed and held to the object: and there is no instance in the world, where a people so extended, and wedded to former habits of thinking, and under such a variety of circumstances, were so instantly and effectually pervaded, by a turn in politics, as in the case of independence; and who supported their opinion, undiminished, through such a succession of good and ill fortune, till they crowned it with success. But as the scenes of war are closed, and every man preparing for home and happier times, I therefore take my leave of the subject. I have most sincerely followed it from beginning to end, and through all its turns and windings: and whatever country I may hereafter be in, I shall always feel an honest pride at the part I have taken and acted, and a gratitude to nature and providence for putting it in my power to be of some use to mankind.”

Thomas Paine (1737–1809) English and American political activist

The Crisis No. XIII
1770s, The American Crisis (1776–1783)

Maria Montessori photo
Lila Downs photo

“I think that I have influenced several generations of performers in Mexico. I’m proud of that because it isn’t easy in these scenes. But then it is easy because it’s what you love to do, and it’s your passion. Even in your down times, you are always accompanied by your music.”

Lila Downs (1968) Mexican American singer-songwriter

On being a folk musician in “Lila Downs Explores Mexican Heritage Through the Pepper in New LP, ‘Al Chile’” https://www.rollingstone.com/music/music-latin/lila-downs-new-lp-al-chile-interview-841209/ in Rolling Stone (29 May 2019)
Music and culture

Simone Biles photo

“We're not just athletes or entertainment -- we're human, too, and we have real emotions. Sometimes they don't realize that we have things going on behind the scenes that affects us whenever we go out and compete.”

Simone Biles (1997) American gymnast

"What's Next for Simone Biles? Gymnast Answers Questions on Future After Tokyo Games" in NBC Chicago (3 August 2021) https://www.nbcchicago.com/news/sports/tokyo-summer-olympics/simone-biles-whats-next-gymnast-answers-questions-on-future-after-tokyo-games/2578051/

Park So-dam photo

“People want to see it because although it’s not a pretty scene that the movie is reflecting; it still is the reality that we live in, and it just portrays and exemplifies the life that we live in as it is. Nothing more, nothing less.”

Park So-dam (1991) South Korean actress

On why Parasite has been a tremendous success in South Korea in "PARASITE Interview: Park So-dam on Failure, Family, and "Appa" Song Kang-ho" in Screen Anarchy (21 October 2019) https://screenanarchy.com/2019/10/parasite-interview-park-so-dam-on-bong-joon-ho-and-song-kang-ho.html

Timothée Chalamet photo

“I almost think the chemistry, as opposed to the physical mechanics of the actual kissing or a sex scene, is more palpable in the lack of contact.”

Timothée Chalamet (1995) French-American Actor (1995)

Source: "Timothée Chalamet and Armie Hammer on friendship, the Oscars and that peach scene" in GQ Magazine https://www.gq-magazine.co.uk/article/armie-hammer-timothee-chalamet-interview (17 September 2017)

Dan Brown photo
Hunter S. Thompson photo
Kim Harrison photo

“You're taking classes? That's great. Crime scene etiquette, perhaps?”

Kim Harrison (1966) Pseudonym

White Witch, Black Curse

Milan Kundera photo

“I think that this scene is upsetting because it calls us beyond fact into the vast world of imagination, and imagination is a word of many dimensions.”

Madeleine L'Engle (1918–2007) American writer

Acceptance Speech for the Margaret Edwards Award (1998)
Source: A Circle of Quiet
Context: In Kenneth Grahame's beautiful book, The Wind In The Willows, Mole and Rat go to the holy island of the great god, Pan. It is a superb piece of religious writing, but because it has gone beyond fact, it is deeply upsetting and untruthful to some people. If a story is not specified as being Christian, it is not Christian. But that is not so.
I think that this scene is upsetting because it calls us beyond fact into the vast world of imagination, and imagination is a word of many dimensions.

Nicholas Sparks photo
Barbara Kingsolver photo
David Mamet photo

“Every scene should be able to answer three questions: "Who wants what from whom? What happens if they don't get it? Why now?”

David Mamet (1947) American playwright, essayist, screenwriter, and film director

Source: Bambi vs. Godzilla: On the Nature, Purpose, and Practice of the Movie Business

Joel Osteen photo
Alexander Pope photo
Alfred Hitchcock photo
Anaïs Nin photo
Mary Wollstonecraft Shelley photo
Allen Ginsberg photo

“The hero surviving his own murder, his own suicide, his own addiction, surviving his own disappearance from the scene”

Allen Ginsberg (1926–1997) American poet

Source: The Fall of America: Poems of These States 1965-1971

Ralph Waldo Emerson photo