Quotes about scene
page 4

“Heim ignored the mob scene on the 3V, rested his eyes on the cold serenity of the Milky Way and thought that this, at least, would endure.”

Poul Anderson book The Star Fox

Section 1 “Marque and Reprisal”, Chapter IX (p. 69)
The Star Fox (1965)

Way

“It was an important moment. The old partners of the spectacle of punishment, the body and the blood, gave way. A new character came of the scene, masked. It was the end of a certain kind of tragedy; comedy began, with shadow play, faceless voices, impalpable entities. The apparatus of punitive justice must now bite into this bodiless reality.”

Michel Foucault book Discipline and Punish

Source: Discipline and Punish (1977), pp. 17

Justice, Way, Reality

“Who that hath ever been
Could bear to be no more?
Yet who would tread again the scene
He trod through life before?”

James Montgomery (1771–1854) British editor, hymn writer, and poet

The Falling Leaf.
Bartlett's Familiar Quotations, 10th ed. (1919).

Life

“Since the scenes where they're together are so much less convincing than the ones where they fall apart, watching the movie is like being on a double-date from hell.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/the-break-up-2006 of The Break-Up (2 June 2006) Reviews, Two star reviews

Hell

“How do things stand, now, if the subject contains a large element of pathos?... Consider such an interesting subject as the scene taking place around the bed of a dying woman, for example; seize and render that ensemble by photography, if that is possible [photography was a very recent invention in Paris ca. 1853, a. o. by the photographer Nadar ]: it will be falsified in a thousand ways. The reason is that, according to the degree of your imagination, the subject will appear to you more or less beautiful, you will be more or less the poet in that scene in which you are an actor; you see only what is interesting, whereas the instrument puts in everything.”

Eugène Delacroix (1798–1863) French painter

In Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 233
quote circa 1853, in which Delacroix relates painting to theater from the view of the visitor / spectator
1831 - 1863

Beauty, Way, Imagination, Appearance

“The contemporary scene of labor and production, we will explain, is being transformed under the hegemony of immaterial labor, that is, labor that produces immaterial products, suchs as information, knoledges, ideas, images, relationships, and affects. This does not mean that there is no more industrial working class whose calloused hands toil with machines or that there ae no more agricultural workers who till the soil. It does not even mean that the numbers of such workers have decreased globally. In fact, workers involved primarily in immaterial production are a small minority of the gloval whole. What it means, rather, is that the qualities and characteristics of immaterial production are tending to transform the other forms of labor and indeed society as a whole. Some of these new characteristics are decidedly unwelcome. When our ideas and affects, or emotions, are put to work, for insance, and when they thus become subject in a way to the command of the boss, we often experience new and intense forms of violation or alienation. Furthermore, the contractual and material conditions of immaterial labor that tend to spread to the entire labor market are making the position of labor in general more precarious. The is one tendency, for example, in various forms of immaterial labor to blur the distinction between work time and nonwork time, extending the working day indefinietly to fill all of life, and another tendency for immaterial labor to function without stable long-term contracts, and thus to adopt the precarious position of becoming flexible (to accomplish several tasks) and mobile (to move continually among locations). […] The production of ideas, knowledges, and affects, for example, does not merely create means by which society is formed and maintained; such immaterial labor also directly produces social relationships. […] immaterial labor tends to take the social form of network based on communication.”

Antonio Negri book Multitude: War and Democracy in the Age of Empire

65-66
Multitude: War and Democracy in the Age of Empire

Life, Way, Communication, Idea

“When Keynes’s General Theory was published in February 1936, it obliterated all else on the scene in academic economics. Hayek was known to be working on a treatise on capital as Keynes’s work was published (the work that became The Pure Theory of Capital). While there was some anticipation in academia for this forthcoming major work, interest even by economists in Hayek’s work waned.”

Alan O. Ebenstein (1959) American political scientist, educator and author

Hayek's Journey: The Mind of Friedrich Hayek (2003)

“This is the place. Stand still, my steed,—
Let me review the scene,
And summon from the shadowy past
The forms that once have been.”

Henry Wadsworth Longfellow (1807–1882) American poet

A Gleam of Sunshine, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Past

“I think of it often and imagine the scene clearly. Even if they come to kill me, I will tell them what they are trying to do is wrong, that education is our basic right.”

Malala Yousafzai (1997) Pakistani children's education activist

Malala in Interview with a Pakistani Television network, 2011-12; Cited in: The girl who wanted to go to school http://www.newyorker.com/online/blogs/newsdesk/2012/10/the-girl-who-wanted-to-go-to-school.html." The New Yorker by Basharat Peer, posted October 10, 2012 2010 -

Education, Imagination, Thinking

“For wheresoe'er I turn my ravished eyes,
Gay gilded scenes and shining prospects rise,
Poetic fields encompass me around,
And still I seem to tread on classic ground.”

Joseph Addison (1672–1719) politician, writer and playwright

A Letter from Italy, to the Right Honourable Charles, Lord Halifax. 1701.

“I have always been interested in the occult, but during the filming of The Mummy I had to keep such things private, especially in those days. I used the occult auto-suggestively…I mean, before I would play a scene I would get into the spirit, so to speak, with certain prayers. As a child my father gave me an Ouija board and soon I started to get messages, then I moved towards the Tarot. By the time I was in Basil Sidney’s company I was asked to read cards all the time for the other players, and Basil himself depended on what I saw in those cards.”

Zita Johann (1904–1993) actress

Camp David: Zita Johann http://filmsinreview.com/2007/02/01/camp-david-february-2007-zita-johann/3/ (1981)

Time, Reading, Dependency

“The movie stars Michelle Pfeiffer as LouAnne Johnson… [h]er teaching methods are inventive. She bribes them with candy bars and free trips to amusement parks, and involves them in the words of that important poet, Bob Dylan (the Tambourine Man might have been a drug dealer!). Soon they're in the school library, finding connections between Bob Dylan and Dylan Thomas… [w]hat, exactly, will these disadvantaged inner-city kids accomplish by being bribed with candy bars and the "relevancy" of Bob Dylan? Can they read and write? Can they compete in the job market? An educational system that has brought them to the point we observe in the first classroom scene has already failed them so miserably that all of Miss Johnson's karate lessons are not going to be much help.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review of http://www.rogerebert.com/reviews/dangerous-minds-1995 Dangerous Minds (11 August 1995) Reviews, One-and-a-half star reviews

Education, School, Star, Reading

“Svenson taught me how to speak German in this film! I didn't know anything, and this guy, who used to be a Swedish ice-hockey player who went to Vietnam as a Marine, he stood there with me, coaching me things like `Bringen Sie die Gefangenen in mein Buro!' Williamson also was a very nice person. I had one wonderful scene in this movie, where I…I was outranking them, they are my prisoners, I walk in front of the prisoners, and I have to say something like, in a very contemptuous way: `Americans…Italians…Jews…Irish!”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

I felt like a traitor!
Euro Trash Cinema magazine interview (March 1996)

Way, Guy, Personality, Hockey

“The message is clear and loud. The fortunes of the persons who rule the country and the contents of the textbooks run in tandem. When Ayub Khan was in power in 1969 and the Urdu book was published it was right and proper that the bulk of it should be in praise of him. When, in 1970, he was no longer on the scene and this English translation was published it was meet that the book should ignore him. All the books published during Zia's years of power followed this practice. The conclusion is inescapable: the students arc not taught contemporary history but an anthology of tributes to current rulers. The authors are not scholars or writers but courtiers.”

Khursheed Kamal Aziz (1927–2009) historian

The Murder of History, critique of history textbooks used in Pakistan, 1993

Books, History, Personality, Country

“While we had France for an enemy, Germany was the scene to employ and baffle her arms.”

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

Speech in the House of Commons (August 1762).

“That feeling of terrible emptiness when I touched him was like going into a house that you thought would be full of people you loved, only to find it empty, and even the furniture taken. You walk from room to room, hearing your footsteps echo on the naked floors. Your voice bounces back from the empty walls, where the lines of beloved photos still show like the line around a body at a crime scene. He was gone.”

Laurell K. Hamilton (1963) Novelist

memories of Princess Meredith about encountering the body of her father, Essus; p. 40
Merry Gentry series, A Stroke of Midnight (2005)

Love, People, Feeling, Photo

“Like other systems in decay, the Roman Empire continued to function for several generations after its vitality was sapped. For nearly a hundred years our Island was one of the scenes of conflict between a dying civilisation and lusty, famishing barbarism.”

Winston S. Churchill book A History of the English-Speaking Peoples

A History of the English-Speaking Peoples (1956–58)

“No more of courts, of triumphs, or of arms,
No more of Valour’s force, or Beauty's charms!
The themes of vulgar lays with just disdain
I leave unsung, the flocks, the amorous swain,
The pleasures of the land, and terrors of the main.
How abject, how inglorious 'tis to lie
Grovelling in dust and darkness, when on high
Empires immense, and rolling worlds of light,
To range their heavenly scenes the muse invite!”

Richard Blackmore (1654–1729) English poet and physician

Book I, opening lines
Creation (1712)

Pleasure, Lie, World, Beauty

“Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land... A few years later he came to Paris [circa 1914] and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in: 'Appreciations of other artists': Joan Miro (painter, sculptor author) 1946, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

War, Age, World, Art

“Puppetry's a lot harder than people realize, and it's particularly difficult doing a movie. You have this scene with all these puppets, and when something goes wrong, you've got to set the whole thing up to do it again. With people, you ask an actor to walk across the room a second or third time, and he does it. That's it.”

Jim Henson (1936–1990) American puppeteer

Interview with Associated Press (1984)

People, Time

“The video of 'Paranoid Android' has been censored by MTV. They took all nipples out of the cartoon, but they had no problem with the scene in which a man cuts off his own arms and legs.”

Thom Yorke (1968) English musician, philanthropist and singer-songwriter

source http://www.greenplastic.com/coldstorage/articles/humo.html

Problem

“Sometimes I think the worst thing is the current 'worldliness' of the whole [art] scene. It is the most deceptive, corrupting, transient thing, full of kicks and fun but so little to do with what it's all really about.... It has to do with our time, a desperate pact about the power of immediate-in-ness. But I feel less and less concerned with this as an issue. So what? No threat.”

Helen Frankenthaler (1928–2011) American artist

Source: 1960s, Interview with Henry Geldzahler', in 'Artforum', 1965, p. 38

Art, Feeling, Thinking, Time

“[this letter concerns the naval duel in which HMS Flora captured the French navy frigate Nymphe] When Capt. Williams had conquered the crew, they found sixty dead upon deck;- the two ships exhibited a scene more like a slaughter-house, than any thing imaginable- These, oh Christians! are the features of war- and thus Most Christian Kings and Defenders of Faith shew their zeal and love for the dying commands of their Divine Master”

Ignatius Sancho (1729–1780) British composer, writer and grocer

(from vol 2, letter 78: 18 Aug 1780, to J___ S___ esq.).

Love, War, Faith, Imagination

“I had to wear an oxygen mask both in the water and on land because of the carbon monoxide. I fainted four times during the first day of filming. We were shooting the scene in which Godzilla emerges from the water as he approaches Hong Kong. I wasn't warned about the carbon monoxide, so I wasn't wearing an oxygen mask. We were shooting in water, so nobody could just run up to me when they saw me acting strangely. We were filming a long shot, so nobody was very close to me. The members of the staff didn't realize I'd fainted that first time until they started opening up the costume so I could get out.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by David Milner, "Kenpachiro Satsuma Interview III" http://www.davmil.org/www.kaijuconversations.com/satsum3.htm, Kaiju Conversations (December 1995)

Water, Time

“Santa Agnesa, Act I., Scene II. — (Lascone).”

Giovanni Maria Cecchi (1518–1587) Italian poet, playwright, writer and notary

Ogni laccio
O sia di seta, o d’oro, o si di fune
Strigne ed affoga.
Translation: Every bond,
Be it of silk, or gold, or vulgar hemp,
Presses and suffocates.
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 385.

“Ah this scene was of brief duration, but, though a simple and humble affair, it impressed me more than anything of the kind I ever witnessed. What a fine picture that would have made Mr. Lincoln landing from a ship-of-war's boat, an aged negro on his knees at his feet, and a dozen more trying to reach him to kiss the hem of his garments! In the foreground should be the shackles he had broken when he issued his proclamation giving liberty to the slave.”

David Dixon Porter (1813–1891) United States Navy admiral

Source: 1880s, Incidents and Anecdotes of the Civil War (1885), p. 296

War, Age, Kiss

“The excursus upon the origin of Odysseus’ scar is not basically different from the many passages in which a newly introduced character, or even a newly appearing object or implement, though it be in the thick of a battle, is described as to its nature and origin; or in which, upon the appearance of a god, we are told where he last was, what he was doing there, and by what road he reached the scene; indeed, even the Homeric epithets seem to me in the final analysis to be traceable to the same need for an externalization of phenomena in terms perceptible to the senses. Here is the scar, which comes up in the course of the narrative; and Homer’s feeling simply will not permit him to see it appear out of the darkness of an unilluminated past; it must be set in full light, and with it a portion of the hero’s boyhood. … To be sure, the aesthetic effect thus produced was soon noticed and thereafter consciously sought; but the more original cause must have lain in the basic impulse of the Homeric style: to represent phenomena in a fully externalized form, visible and palpable in all their parts, and completely fixed in their spatial and temporal relations. Nor do psychological processes receive any other treatment: here too nothing must remain hidden and unexpressed. With the utmost fullness, with an orderliness which even passion does not disturb, Homer’s personages vent their inmost hearts in speech; what they do not say to others, they speak in their own minds, so that the reader is informed of it. Much that is terrible takes place in the Homeric poems, but it seldom takes place wordlessly: Polyphemus talks to Odysseus; Odysseus talks to the suitors when he begins to kill them; Hector and Achilles talk at length, before battle and after; and no speech is so filled with anger or scorn that the particles which express logical and grammatical connections are lacking or out of place.”

Erich Auerbach Mimesis: The Representation of Reality in Western Literature

Source: Mimesis: The Representation of Reality in Western Literature (1946), p. 5

God, Feeling, Nature, Sense

“Look around you, and you will behold the universe full of active powers. Action is, so to speak, the genius of nature. By motion and exertion, the system of being is preserved in vigor. By its different parts always acting in subordination one to another, the perfection of the whole is carried on. The heavenly bodies perpetually revolve. Day and night incessantly repeat their appointed course. Continual operations are going on in the earth and in the waters. Nothing stands still. All is alive and stirring throughout the universe. In the midst of this animated and busy scene, is man alone to remain idle in his place? Belongs it to him to be the sole inactive and slothful being in the creation, when in so many various ways he might improve his own nature; might advance the glory of the God who made him; and contribute his part in the general good?”

Hugh Blair (1718–1800) British philosopher

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 4.

God, Way, Business, Nature

“I’m not against celebrating the differences of individuals. What I’m against is the homogeny of mankind because that’s regressive. To celebrate the differences of people is fantastic, but to blend them all together… You know, the same homosexual community that I found such compassion from, I don’t feel that camaraderie from them anymore; I don’t feel it in the social scene; I don’t feel it in the arts. That’s weird to me. Because that was the group that I learned the most from, because they were certainly the most open-minded at that time. But if I say things about the mainstreaming of homosexuals, it’s because I don’t believe in mainstreaming or special interests legislating for themselves. What has happened with gays in America is that they pander so much to the heterosexual mainstream that they’ve taken on the complexes of the heterosexual mainstream.”

Vincent Gallo (1961) American film director, writer, model, actor and musician

People, Art, Feeling, Communication

“I compete with myself, people will judge whether I deserve to be on the scene or not.”

Layal Abboud (1982) Lebanese pop singer

January 16, 2008; Al-Jarida http://www.aljarida.com/articles/1461245935503330200/ 2008

People

“It is easy to specify the individual objects of admiration in these grand scenes; but it is not possible to give an adequate idea of the higher feelings of wonder, astonishment, and devotion, which fill and elevate the mind.”

Charles Darwin book The Voyage of the Beagle

Source: The Voyage of the Beagle (1839), chapter II, "Rio de Janeiro", 18 April 1832, page 29 http://darwin-online.org.uk/content/frameset?viewtype=image&itemID=F11&pageseq=48

Feeling, Idea

“The scene has thoroughly changed. The six weeks' march to Paris has come world drama. Mass murder has become a monotonous task, and yet the final solution is not one step nearer. Capitalist rule is caught in its own trap, and cannot ban the spirit that it has Gone is the first mad delirium. Gone are the patriotic street demonstrations, the chase after suspicious-looking automobiles; the false telegrams, the cholera-poisoned wells. Gone the mad stories of Russian students who hurl bombs from every bridge of Berlin, or French men flying over Nuremberg; gone the excesses of spy-hunting populace, the singing through, the coffee shops with their patriotic songs; gone the violent mobs, ready to denounce, ready to persecute women, ready to whip themselves into a delirious frenzy over every wild rumor; gone the atmosphere of ritual murder, the Kishinev air that left the policeman at the corer as the only remaining representative of human dignity.”

Rosa Luxemburg (1871–1919) Polish Marxist theorist, socialist philosopher, and revolutionary

Source: The Junius Pamphlet (1915), Ch.1

Women, Men, World, Coffee

“Kautilya has elaborated in his Arthashastra the psychological principles which alienate some people from their own society, and lead them straight into the lap of those who are out to subvert that society. The first group of people who can be alienated are the maneevarga, that is, those who are conceited and complain that they have been denied what is their due on account of birth, brains or qualities of character. (…) the Church was instinctively employing the psychological principles propounded by Kautilya. …Christian missionaries could find quite a few and easy converts amongst these upper classes precisely because the Church had declared war on their society. … By the time the French, the British and the Dutch appeared on the Eastern scene, Christianity had been found out in the West for what it had always been in facto power-hungary politics masquerading as religion. The later-day European imperialists, therefore, had only a marginal use for the christian missionary. He could be used to beguile the natives. But he could not be allowed to dictate the parallel politics of imperialism. … The field for the Christian politics of conversion has become considerably smaller in Asia due to the resurgence of Islam, and the triumph of Communism… It is only in India, Ceylon and Japan that the missionary continues to practice his profession effectively.”

Sita Ram Goel (1921–2003) Indian activist

Genesis and History of the Politics of Conversion, in Christianity, and Imperialist ideology. 1983.

War, People, Religion, Communication

“In one point, and that too of more importance than is generally attached to it, the puritans of the two epochs bear a critical resemblance, namely, their hostility to rural and athletic sports: to those sports, which string the nerves and strengthen the frame, which excite an emulation in deeds of hardihood and valour, and which imperceptibly instill honour, generosity, and a love of glory, into the mind of the clown. Men thus formed are pupils unfit for the puritanical school; therefore it is, that the sect are incessantly labouring to eradicate, fibre by fibre, the last poor remains of English manners. And, sorry I am to tell you, that they meet with but too many abettors, where they ought to meet with resolute foes. Their pretexts are plausible: gentleness and humanity are the cant of the day. Weak men are imposed on, and wise men want the courage to resist. Instead of preserving those assemblages and those sports, in which the nobleman mixed with his peasants, which made the poor man proud of his inferiority, and created in his breast a personal affection for his lord, too many of the rulers of this land are now hunting the common people from every scene of diversion, and driving them to a club or a conventicle, at the former of which they suck in the delicious rudiments of earthly equality, and, at the latter, the no less delicious doctrine, that there is no lawful king but King Jesus.”

William Cobbett (1763–1835) English pamphleteer, farmer and journalist

Political Register (27 February 1802).

Love, Men, Hostility, People

“I think it is a great day for freedom. I watched the scenes on television last night and again this morning because I felt one ought not only hear about them but see them because you see the joy on people's faces and you see what freedom means to them; it makes you realise that you cannot stifle or suppress people's desire for liberty and so I watched with the same joy as everyone else and I hope that they will be a prelude to the Berlin Wall coming down.”

Margaret Thatcher (1925–2013) British stateswoman and politician

Remarks on the Berlin Wall (10 November 1989) http://www.margaretthatcher.org/document/107819 Third term as Prime Minister

People, Hope, Thinking, Freedom

“On no other stage are the scenes shifted with a swiftness so like magic as on the great stage of history when once the hour strikes.”

Edward Bellamy (1850–1898) American author and socialist

Author's postscript. Looking Backward, 2000-1887 http://www.gutenberg.org/dirs/etext96/lkbak10.txt (1888)

History

“Oh, wow, what a scene that place was - that heavenly drug down sexual perversion get their rocks off health spa. I was already so bombed I don't know how I got there. I got down to the pool, where all the freaks were. I met Paul America at the pool and I told him we were probably in danger if we stayed, but we were so blasted we forgot what was good for us and what wasn't, and the whole place turned into a giant orgy... every kind of sex freak, from homosexuals to nymphomaniacs... oh, everybody eating each other on the raft, and drinking, guzzling tequila and vodka and Scotch and bourbon and shooting up every other second... losing syringes down the pool drains, the needles of the mainline scene, blocking the water infiltration system with broken syringes. Oh, it was really some night just going on an incredible sexual tailspin. Gobble, gobble, gobble. Couldn't get enough of it. It was one of the wildest scenes I've ever been in or ever hope to be in. I should be ashamed of myself. I'm not, but I should be. Sex and speed, wow! Like, oh God. A twenty-four-hour climax that can go on for days. And there's no way to explain it unless you've been through it; there's no way to tell anyone who hasn't tasted it. I'd like to turn on the whole world for just a moment... just for a moment. I'm greedy; I'd like to keep most of it for myself and a few others, a few of my friends... to keep that superlative high, just on the cusp of each day... so that I'd radiate sunshine.”

Edie Sedgwick (1943–1971) Socialite, actress, model

Ciao! Manhattan tapes, recalling its pool spa orgy scene
Edie : American Girl (1982)

God, Health, World, Hope

“Yes, my acting was not stylised. I always underplayed, maybe because I never learnt acting. I thought the best way is to feel it and do it. And when you feel it, the emotions come out naturally. Gulabo (Pyaasa) was liked by people and I started getting different roles. If I liked a story my attitude used to be: this is the scene, this is the character and I have to do it. I never thought about the repercussions of doing a character.”

Waheeda Rehman (1938) Indian actress

Quote, Queen of hearts

People, Way, Feeling, Nature

“I controlled [Rodan's] wings with my arms. While we were shooting the scene in which Rodan flies over the bridge in Saikai Village in Kyushu, the pulley from which I was suspended broke. I fell from a height of twenty-five feet, but the wings and the water, which was about one and a half feet deep, absorbed much of the impact.”

Haruo Nakajima (1929–2017) Japanese actor

As quoted by David Milner, "Haruo Nakajima Interview" http://www.davmil.org/www.kaijuconversations.com/nakajima.htm, Kaiju Conversations (March 1995)

Water

“The Kiss scene was attempted three times. The first was in a peculiar spot of the fort on the ground level. It felt forced to me, and I knew right away that, in spite of what others were saying, it was dead wrong. The next day at work, I went straight to Daniel and told him so, saying something to the effect that "It was my fault". We told Michael my opinion (and this was unusual), he thought it over, watched dailies (which we were not allowed to see) and came back and said "You're right".”

Madeleine Stowe (1958) American actress

Mohican Press interview (2005)

Kiss, Time, Dead

“In whatever light we view religion it appears solemn and venerable. It is a temple full of majesty, to which the worshiper may approach with comfort, in the hope of obtaining grace and finding mercy; but where they cannot enter without being inspired with awe. If we may be permitted to compare spiritual with natural things, religion resembles not those scenes of natural beauty where every object smiles. It cannot be likened to the gay landscape or the flowery field. It resembles more the august and sublime appearances of Nature — the lofty mountain, the expanded ocean, and the starry firmament; at the sight of which the mind is at once overawed and delighted; and, from the union of grandeur with beauty, derives a pleasing but a serious devotion.”

Hugh Blair (1718–1800) British philosopher

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 493.

Religion, Smile, Beauty, Hope

“I now realized the imprudence of landing without a large body of marines; and yet this seemed to me, after all, the fittest way for Mr. Lincoln to come among the people he had redeemed from bondage. What an ovation he had, to be sure, from those so-called ignorant beings! They all had their souls in their eyes, and I don't think I ever looked upon a scene where there were so many passionately happy faces.”

David Dixon Porter (1813–1891) United States Navy admiral

Source: 1880s, Incidents and Anecdotes of the Civil War (1885), p. 297

Happiness, People, Way, Soul

“I don't know much about the score for GODZILLA 1985. However, my impression of GODZILLA VS. BIOLLANTE is a negative one, both in terms of the direction and the music. For example, the music that is heard while the scenes that take place in Saradia are shown is just ridiculous. The composer used European music instead of some modern Arabic music. By the way, during the production of GODZILLA VS. BIOLLANTE, Toho asked for permission to use some of my music in the film. I said that I would allow its use as long as it was not turned into popular music. Toho agreed to that, but just before GODZILLA VS. BIOLLANTE was completed, a Toho representative came to me and said, "Well, your music was turned into popular music." By that time, it was too late to do anything about the situation. After GODZILLA VS. BIOLLANTE was released, my daughter came to me and said, "No matter how much you try to escape from Godzilla movies, Toho always uses your name and your melodies, so why don't you just score the next Godzilla film yourself?"”

Akira Ifukube (1914–2006) Japanese composer

That is why I agreed to work on GODZILLA VS. GHIDRAH. As quoted by David Milner, "Akira Ifukube Interview I" http://www.davmil.org/www.kaijuconversations.com/ifukub.htm, Kaiju Conversations (December 1992)

Music, Way, Time, Daughters

“Here one cries sudden on a sobbing breath,
Gripped in the clutch of some incarnate fear
What terror through the darkness draweth near?
What memory of carnage and ofdeath
What vanished scenes of dread to his closed eyes appear?”

Eva Dobell (1876–1963) British poet

Unsourced, Night Duty

Fear, Appearance, Memory

“Born under another sky, placed in the middle of an always-moving scene, himself driven by the irresistible torrent which sweeps along everything that surrounds him, the American has no time to tie himself to anything; he grows accustomed to naught but change, and concludes by viewing it as the natural state of man; he feels a need for it; even more, he loves it: for instability, instead of occurring to him in the form of disasters, seems to give birth to nothing around him but wonders…”

Alexis De Tocqueville (1805–1859) French political thinker and historian

National Character of Americans—first impressions (1831) Oeuvres complètes, vol. VIII, p. 233 https://books.google.de/books?id=x9pnAAAAMAAJ&pg=RA2-PA233&q=ciel. Original text: Né sous un autre ciel, placé au milieu d'un tableau toujours mouvant, poussé lui-même par le torrent irrésistible qui entraîne tout ce qui l'environne, l'Américain n'a le temps de s'attacher à rien; il ne s'accoutume qu'au changement, et finit par le regarder comme l'état naturel à l'homme; il en sent le besoin; bien plus, il l'aime : car l'instabilité, au lieu de se produire à lui par des désastres, semble n'enfanter autour de lui que des prodiges... 1830s

Love, Feeling, Birth, Nature

“Did you hear the cops finally busted Madame Marie for tellin' fortunes better than they do?
For me this boardwalk life is through, babe.
You ought to quit this scene too.”

Bruce Springsteen (1949) American singer and songwriter

"4th of July, Asbury Park (Sandy)"
Song lyrics, The Wild, the Innocent & the E Street Shuffle (1973)

Life

“Insulting the Prophet is something that has been going on in Europe for a very long time. In Dante's Inferno, if you're interested in the 28th Canto, where Dante is being taken on his conducted tour of hell and guided by Virgil, he comes across the Prophet Mohammed in the course of his eternal damnation. He is punished I quote Dante's words, as a seminator di scandalo e di scisma, a sower of scandal and of schism. Now, this is very insulting. In the great Cathedral of Bologna there is a wonderful set of pictures painted, if I remember rightly, in the 15th century depicting scenes from Dante's Inferno, including some very graphic pictures of Mohammed being tortured in hell by the devil very graphic.
Nobody did anything about this. A couple of years ago, the leaders of the Italian-Muslim community sent a polite request to the cathedral saying these are insulting to Muslims; would they mind covering those pictures. The cathedral administration said they would consider it. Nothing happened. The pictures are still in view.”

Bernard Lewis (1916–2018) British-American historian

Books, Islam and the West: A Conversation with Bernard Lewis (2006)

Quotes, Communication, Hell, Time

“Hitchcock was a character. In one particularly scary scene I had to sneak down a dark corridor. When I got to the end there was Mr. Hitchcock, sticking out his tongue and flapping his hands in the back of his ears. I didn't dare laugh, because the cameras were turning. But he certainly eliminated any tension I felt.”

Laraine Day (1920–2007) American actress

The Independent, Obituaries, Laraine Day, November 13, 2007.

“Wild Wild West is a comedy dead zone. You stare in disbelief as scenes flop and die. The movie is all concept and no content; the elaborate special effects are like watching money burn on the screen. You know something has gone wrong when a story is about two heroes in the Old West, and the last shot is of a mechanical spider riding off into the sunset.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/wild-wild-west-1999 of Wild Wild West (30 June 1999) Reviews, One-star reviews

Money, Dead

“I don't wear anything in bed. But I'm not ready for a nude scene quite yet.”

Nigella Lawson (1960) British food writer, journalist and broadcaster

A woman of extremes (2001)

“Perhaps a better title for The Da Vinci Code might be Much Ado About Nothing. When you boil away the hype and hysteria, all that remains is a pedestrian murder mystery that isn't sufficiently challenging or scandalous to raise anyone's hackles. It's preposterous, overlong, and saddled with a sloppy denouement that defines the term "anti-climax." The film's two big "surprises" are telegraphed early, and the ease with which they can be guessed (using the "conservation of characters" process) leeches the movie of a large measure of its suspense. Individual scenes are entertaining in their own right, but the production as a whole is a lumbering mess.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=1014 of The Da Vinci Code (2006). Two-and-a-half star reviews

“The culture-its excess-really suited me. I always liked Indian miniature painting much more than Renaissance painting. I didn't see what was so great about Rembrandt or Michelangelo. I liked paintings where there were 10,000 people in the scene and elephants and horses! I liked the carvings on Indian temples so much more than the simple architectural outlines.”

Wendy Doniger (1940) American Indologist

On the cultural aspect of India.
Q&A with Wendy Doniger, the Mircea Eliade Distinguished Service Professor and author of The Hindus

People, Horse, Painting

“The photographer’s gesture as the search for a viewpoint onto a scene takes place within the possibilities offered by the apparatus. The photographer moves within specific categories of space and time regarding the scene: proximity and distance, bird- and worm’s-eye views, frontal- and side-views, short or long exposures, etc. The Gestalt of space–time surrounding the scene is prefigured for the photographer by the categories of his camera. These categories are an a priori for him. He must ‘decide’ within them: he must press the trigger.”

Vilém Flusser (1920–1991) Czech philosopher and photographer

Flusser, Vilém (2012) [1980], "Towards a Theory of Techno-Imagination", Philosophy of Photography (POP) 2 (2), p. 198.

Search, Bird, Time

“From the fact that many libertarians believe that the state has no legitimacy, they arrive at the position that anything the state does is illegitimate. This is a logical confusion. Consider the murderer who happens on a scene of a rape while fleeing the law, saves the woman, and pounds the rapist. Is this good deed illegitimate because performed by a murderer?”

Ilana Mercer South African writer

“Libertarian Wrangling,” http://www.ilanamercer.com/phprunner/public_article_list_view.php?editid1=320 WorldNetDaily.com, July 31, 2002. 2000s

Law

“Among those who were sent to receive political indoctrination in June 1919 was a 30-year-old corporal who had been in the Bavarian army since the beginning of the war and had stayed in it through all the vicissitudes of Social Democracy, anarchy and Communism, taking part in demonstrations, wearing a red armband along with the rest of his comrades, and disappearing from the scene with most of them when they had been ordered to defend Munich against the invading forces in the proceeding weeks. His name was Adolf Hitler.”

Richard J. Evans (1947) British historian

Source: The Coming of the Third Reich (2003), p. 161

War, Democracy, Communication, Parting

“I paint what I see in America, in other words I paint the American scene.”

Stuart Davis (1892–1964) American painter

Cited in: Ian Chilvers, "Davis, Stuart," in: The Oxford Dictionary of Art, (2994). p. 195

Painting

“A scene that has often come into my mind, both sleeping and waking — I am standing in the wings of a theatre waiting for my cue to go onstage. As I stand there I can hear the play proceeding, and suddenly it dawns on me that the lines I have learnt are not in this play at all, but belong to quite a different one. Panic seizes me; I wonder frenziedly what should I do. Then I get my cue. Stumbling, falling over the unfamiliar scenery, I make my way onto the stage, and then look for guidance to the prompter, whose head I can just see rising out of the floor-boards. Alas he only signals helplessly to me and I realise of course that his script is different from mine. I begin to speak my lines, but they are incomprehensible to the other actors and abhorrent to the audience, who begin to hiss and shout: “Get off the stage!”, “Let the play go on!”, “You’re interrupting!””

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

I am paralysed and can think of nothing to do but to go on standing there and speaking my lines that don’t fit. The only lines I know.
Chronicles of Wasted Time: The Green Stick (1972)

Way, Thinking, Sleep, Waiting

“Some poets still write about the hair and eyes and body of a beloved and depict scenes of joy when lovers meet to drink and dance and be merry. But that is not the kind of poetry that the Islamic movement, grown on the concept of jihad and martyrdom, wants.”

Amir Taheri (1942) Iranian journalist

When the Ayatollah Dictates Poetry http://www.aawsat.net/2015/07/article55344336/when-the-ayatollah-dictates-poetry, Ashraq Al-Awsat (Jul 11, 2015).

Lovers, Drink, Joy, Dance

“I want tell you about the town of Stockbridge, Massachusetts, where this happened here, they got three stop signs, two police officers, and one police car, but when we got to the scene of the crime, there was five police officers and three police cars, being the biggest crime of the last fifty years, and everybody wanted to get in the newspaper story about it.”

Arlo Guthrie (1947) American folk singer

Alice's Restaurant Massacree

Cars

“Praise whoever sketched this desolate scene.”

Hồ Xuân Hương (1772–1822) Vietnamese poet

"Autumn Landscape", line 2
Spring Essence (2000)

“Today, the Israelis tightened the noose on the mass media in northern occupied Palestine and occupied Palestine. No one can report any news or broadcast any footage. [News reports] are subject to the Israeli censorship which permits and disseminates them. Even you at Al-Jazeera Channel were subjected to arrests, interrogation, restricted activities, and the like. Why do the Israelis resort to concealing the truth on the other side? Why? Do they do that only because they accuse the media outlets of setting the coordinates? This is nonsense. We have the coordinates of these Israeli settlements and military positions in the north, centre, or in any part of occupied Palestine. We do not need anybody to give us information, images, or the like. In that case, they want to conceal the true scene of the war on the other side because it will have definite impact on the Israeli street and media and the morale of the Israelis.”

Hassan Nasrallah (1960) Secretary General of Hezbollah

Hassan Nasrallah, Al-Jazeera interviews Hezbollah chief http://www.globalresearch.ca/index.php?context=viewArticle&code=AL-20060722&articleId=2790 Al-Jazeera 20 July 2006 Quote, 2006

War, Truth, Parting

“When an aggressor comes on the scene, at least one other state will eventually take direct responsibility for checking it.”

John Mearsheimer book The Tragedy of Great Power Politics

Source: The Tragedy of Great Power Politics (2001), Chapter 8, Balancing versus Buck-Passing, p. 269

“Il Diamante, Act I., Scene I.”

Giovanni Maria Cecchi (1518–1587) Italian poet, playwright, writer and notary

Al gatto vecchio,
Dice il proverbio, dagli topo tenero.
Translation: To the old cat,
So says the proverb, give a tender mouse.
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 244.

“Lois: [intercepting a man in the women's bookstore] Can I help you find something, sir?
Man: Um… just browsing.
Lois: Hmm… I find that publication rather tame myself. Have you ever seen this one? This month there's a hot photo spread of three totally tattooed babes with strap-ons doing an armpit shaving scene. And if you're looking for a real thrill, check out the story, "She Came in Waves," in this new female ejaculation anthology!
Man: 'Scuse me, I think I left my car at a hydrant.”

Alison Bechdel book Dykes to Watch Out For

#155, "Cultural Exchange" (1993), collected in Spawn of DTWOF (1993).
Dykes to Watch Out For

Women, Cars, Photo, Thinking

“The faculty of moral will, developed in the child, is a new element of his nature. It is a new power brought upon the scene, and a ruling power, delegated from Heaven. Never was a human being sunk so low that he had not, by God's gift, the power to rise. Because God commands him to rise. it is certain that he ran rise. Every man has the power, and should use it, to make all situations, trials, and temptations instruments to promote his virtue and happiness; and is so far from being the creature of circumstances, 'that he creates and controls them, making them to be all that they are, of evil or of good, to him as a moral being.”

Albert Pike book Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry

Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XXII : Grand Master Architect, p. 192

God, Happiness, Nature, Evil

“Dramatists have always made fun of the friendship between a husband and his wife's lover. But is it so comic? These two men undoubtedly have more to say to one another than the lover and his mistress. They get on perfectly well, and it is often the husband's presence that makes endurable the intolerable boredom of certain affairs of this sort. Cases have been known where a break occurred almost immediately following the husband's withdrawal from the scene.”

André Maurois (1885–1967) French writer

Un Art de Vivre (The Art of Living) (1939), The Art of Friendship

Men, Friendship, Lovers

“At Chartres Christ is identified with his Mother, the spirit of love and grace, and his Church is the Church Triumphant.

Not only is Fear absent; there is not even a suggestion of pain; there is not a martyr with the symbol of his martyrdom; and what is still more striking, in the sculptured life of Christ, from the Nativity to the Ascension, which adorns the capitals of the columns, the single scene that has been omitted is the Crucifixion. There, as everywhere in this Portal, the artists seem actually to have gone out of their way to avoid a suggestion of suffering.”

Henry Adams (1838–1918) journalist, historian, academic, novelist

Mont Saint Michel and Chartres (1904)

Love, Life, Pain, Fear

“Blue hyacinths!
Oh, do not show them me; they fill my eyes
With tears too soft for such a scene as this.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Ancestress (Spoken by Bertha)
The Venetian Bracelet (1829)

Tear

“Two women and a child in a glade beside a spring. Beyond them, the varnished wilderness wherein bright birds cry. The child is chalk, Europe's daughter. Her dusky attendants, a green Indian and a maroon slave.
The scene, from Democracy in America, is discovered by that most famous European traveler to the New World, Alexis de Tocqueville, aristocratic son of the Enlightenment, liberal, sickly, gray, violet, lacking the vigor of the experiment he has set himself to observe… His description intends to show the African and the Indian doomed by history in corresponding but opposing ways.”

Richard Rodríguez (1944) American journalist and essayist

History is a coat cut only to the European.
Brown : The Last Discovery of America (2003)

Women, World, Way, Travel

“The only thing I remember is … he put a lot of urination scenes in Tromeo and Juliet. Too much of that. Other than that, I think he did a great job. It was his idea to put in the line, "What light through yonder plexiglass breaks?" That set up a stunt with plexiglass that almost blew me up. They used too much dynamite, or whatever they use for stunts like that.”

Lloyd Kaufman (1945) American film director

Village Voice http://www.villagevoice.com/2014-01-15/film/troma-lloyd-kaufman-interview/ January 15, 2014 2014

Idea, Thinking, Light

“The Man in the Moon is like a great short story, one of those masterpieces of language and mood where not one word is wrong, or unnecessary. It flows so smoothly from start to finish that it hardly even seems like an ordinary film. Usually I am aware of the screenwriter putting in obligatory scenes. I can hear the machinery grinding. Not this time. Although, in retrospect, I can see how carefully the plot was put together, how meticulously each event was prepared for, as I watched the film I was only aware of life passing by.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/the-man-in-the-moon-1991 of The Man in the Moon (4 October 1991) Reviews, Four star reviews

Life, Mood, Time

“It is not a recognisable scene [his two paintings 'Dances at the spring', 1912 - Picabia painted the motion and the excitement of a peasant dance while he was on his honeymoon in the countryside of Italy; one version is lost]. There is no dancer, no spring, no light, no perspective, nothing other than the visible clue of the sentiments I am trying to express... I would draw your attention to a song of colours, which will bring out for others the joyful sensations and feelings inspired in me on those summer days when I found myself somewhere in the country near the Italian border, where there was a spring in a wonderful garden. A photograph of that spring and that garden would in now way look like my painting 'Dance at a spring' I was shown for the first time at the w:Salon d'Automne in Paris in 1912.”

Francis Picabia (1879–1953) French painter and writer

As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 200
1920's

Way, Feeling, Spring, Light

“Through all the drama — whether damned or not —
Love gilds the scene, and women guide the plot.”

Richard Brinsley Sheridan The Rivals

Epilogue.
The Rivals (1775)

Love, Women

“Chesterton was important — as important to me in his way as C. S. Lewis had been.
You see, while I loved Tolkien and while I wished to have written his book, I had no desire at all to write like him. Tolkien’s words and sentences seemed like natural things, like rock formations or waterfalls, and wanting to write like Tolkien would have been, for me, like wanting to blossom like a cherry tree or climb a tree like a squirrel or rain like a thunderstorm. Chesterton was the complete opposite. I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight.”

Neil Gaiman (1960) English fantasy writer

"Mythcon 35 Guest of Honor Speech", in Mythprint (October 2004) http://www.mythsoc.org.nyud.net:8090/mythcon/35/speech/

Love, Books, Way, Nature

“Punk: Well, I've had six days to watch that scene over and over and over, and as painful as it was to watch, as painful it was to experience, I saw something more painful. Something caught my eye that was ten times more painful than my arm being mangled inside of a ladder while Alberto wrenched on it with his cross-armbreaker; it was more painful than Alberto butchering the English language; it was more painful than watching Miz [demonstrates] make his own bad-guy face, and his pathetic attempts to sound like a tough guy—"really? really?"—it was more painful than sitting through two hours of Michael Cole commentary as he struggles to sound relevant. No, I continued to watch Monday Night Raw, and what I saw was old clown shoes himself, the Executive Vice President of Talent Relations and Interim Raw General Manager, John Laurinaitis accept an award on my behalf. This wasn't just any award, it was the Slammy Award for Superstar of the Year, being accepted by a guy who's never been a superstar of thirty seconds. I mean, who's he ever beat? And I'm not a hard guy to find, I've yet to receive said Slammy. So what…[turns around and notices] oh. Speak of the devil. No, no, no, don't apologize. Where's my Slammy at?
Laurinaitis: Punk, I mailed your Slammy to you, but with the holiday season, it may take a while to get to you. But if I were you, I'd be more worried about your championship match tonight than your Slammy.
Punk: Well, if I were you, I'd wish myself best of luck in my future endeavors. But I don't expect you to do that; in fact, you wouldn't do that, just like I'm not gonna lose the Title tonight. So when TLC is over with, you're still gonna have to put up with CM Punk as your WWE Champion.
Laurinaitis: You know what, Punk? I'm gonna be the bigger man right now, okay? I mean, after all, I am taller than you. Good luck tonight, and merry Christmas.
Punk: Johnny, luck's for losers.”

Phil Brooks (1978) American professional wrestler and mixed martial artist

TLC 2011
WWE Raw

Pain, Shoe, Guy, Time

“In India, the early documentary scene was dominated by government propaganda made by the Films Division of India, which produced newsreels and documentaries that were compulsorily shown before every commercial film. People either arrived deliberately late or walked out for a smoke during these films, and the tag of "boring" became inescapably attached to the documentary. It has taken several decades of sustained independent work to break this tag.”

Anand Patwardhan (1950) Indian film director

Anand Patwardhan, the Michael Moore of India -Interview UC Berkeley News http://berkeley.edu/news/media/releases/2004/10/13_patwardhan.shtml (October 13, 2004)

People

“The fourth phase which commenced with the coming of independence proved a boon for Christianity. The Christian right to convert Hindus was incorporated in the Constitution. Prime Minister Jawaharlal Nehru who dominated the scene for 17 long years, promoted every anti-Hindu ideology and movement behind the smokescreen of a counterfeit secularism. The regimes that followed continued to raise the spectre of ‘Hindu communalism’ as the most frightening phenomenon. Christian missionaries could now denounce as a Hindu communalist and chauvinist, even as a Hindu Nazi, any one who raised the slightest objection to their means and methods. All sorts of ‘secularists’ came forward to join the chorus. New theologies of Fulfilment, Indigenisation, Liberation, and Dialogue were evolved and put into action. The missionary apparatus multiplied fast and became pervasive. Christianity had never had it so good in the whole of its history in India. It now stood recognized as ‘an ancient Indian religion’ with every right to extend its field of operation and expand its flock. The only rift in the lute was K. M. Panikkar’s book, Asia and Western Dominance, published from London in 1953, the Niyogi Committee Report published by the Government of Madhya Pradesh in 1956, and Om Prakash Tyagi’s Bill on Freedom of Religion introduced in the Lok Sabha in December 1978.”

Sita Ram Goel (1921–2003) Indian activist

Vindicated by Time: The Niyogi Committee Report (1998)

Books, Religion, History, Communication

“There is one important aspect of my answer that I would change, however. I have come to appreciate as a result of a closer reading of the biblical text that God’s command to Israel was not primarily to exterminate the Canaanites but to drive them out of the land. It was the land that was (and remains today!) paramount in the minds of these Ancient Near Eastern peoples. The Canaanite tribal kingdoms which occupied the land were to be destroyed as nation states, not as individuals. The judgment of God upon these tribal groups, which had become so incredibly debauched by that time, is that they were being divested of their land. Canaan was being given over to Israel, whom God had now brought out of Egypt. If the Canaanite tribes, seeing the armies of Israel, had simply chosen to flee, no one would have been killed at all. There was no command to pursue and hunt down the Canaanite peoples.
It is therefore completely misleading to characterize God’s command to Israel as a command to commit genocide. Rather it was first and foremost a command to drive the tribes out of the land and to occupy it. Only those who remained behind were to be utterly exterminated. There may have been no non-combatants killed at all. That makes sense of why there is no record of the killing of women and children, such as I had vividly imagined. Such scenes may have never taken place, since it was the soldiers who remained to fight. It is also why there were plenty of Canaanite people around after the conquest of the land, as the biblical record attests.”

William Lane Craig book Reasonable Faith

[Subject: The “Slaughter” of the Canaanites Re-visited, Reasonable Faith, http://www.reasonablefaith.org/site/News2?page=NewsArticle&id=8973, 2011-10-20], quoted in [Why I refuse to debate with William Lane Craig, Richard, Dawkins, Guardian, 2011-10-20, http://www.guardian.co.uk/commentisfree/2011/oct/20/richard-dawkins-william-lane-craig, 2011-10-20]

Women, God, Children, People

“I am feeble, pale and weary,
And my wings are nearly furled;
I have caused a scene so dreary,
I am glad to quit the world!
With bitterness I'm thinking
On the evil I have done,
And to my caverns sinking
From the coming of the sun.”

Hannah Flagg Gould (1788–1865) American writer

"The Dying Storm" in Poems (published 1835), p. 59.

World, Thinking, Evil, Sun

“The growing drama has outgrown such toys
Of simulated stature, face, and speech:
It also peradventure may outgrow
The simulation of the painted scene,
Boards, actors, prompters, gaslight, and costume,
And take for a worthier stage the soul itself,
Its shifting fancies and celestial lights,
With all its grand orchestral silences
To keep the pauses of its rhythmic sounds.”

Elizabeth Barrett Browning (1806–1861) English poet, author

Book V. Aurora Leigh http://digital.library.upenn.edu/women/barrett/aurora/aurora.html (1857)

Soul, Light, Silence, Painting

“Had they ever thought of the parallel in the origins of Mohammedanism and Bolshevism—both springing out of Christianity, one proclaiming brotherhood and the other communism, but both proclaiming death and damnation upon all unbelievers. Within a century of the death of the prophet the Mohammedans had spread from Arabia to the Pyrenees by means of the sword and were stopped by Charles Martel at Tours. Russia throws up few great men but imagine what might happen if a Bolsehvik Peter the Great appeared on the scene.”

Stanley Baldwin (1867–1947) Former Prime Minister of the United Kingdom

Conversation with Thomas Jones (3 July 1932), quoted in Thomas Jones, A Diary with Letters. 1931-1950 (Oxford University Press, 1954), p. 43.
1932

Death, Men, Imagination, Spring

“When serious scientists with huge beards aren't looking, I jocularly refer to these fossils as my alien goldfish. Picture the scene: the giant spaceship is parked on a wide beach, and kicking pebbles Commodore Grafnik is in a filthy mood. Yet another planet with hundreds of millions of years to go before intelligence evolves, not even at the zorkquaan stage, for Threga's sake! And as for his pet vlantans!! Purchased at huge expense, all they do is feed voraciously and then fall asleep. Still fuming, Grafnik carries the bowl down to the lagoon edge and (contrary to every regulation in the AIPC [Access to Inhabited Planets Code]) tips the vlantans out. They dart away and several months later enter the fossil record of a planet where they have no right to be.”

Simon Conway Morris (1951) British palaeontologist

Astronomy and Geophysics: Vol. 46, No. 4: "Aliens like us?"
Miscellaneous

Intelligence, Mood

“Rosey Grier, immortalized in needlepoint - and by my own hands to boot! If anyone would have told me that I would go from football to needlepoint, I would have laughed in their face. In fact, the whole thing started as a joke, but it's turned into one of the most enjoyable and satisfying things I've ever done. I try to turn other guys on to needlepoint wherever I go - from the dude sitting next to me on a plane to the guy working behind the scenes on a movie set. 'Smile all you want,' I tell them, 'but if you try it once, you'll keep on coming back for more,' and that's the truth brother.”

Rosey Grier (1932) Player of American football

(January 1, 1973). Needlepoint for Men. Walker Co, Back Cover. ISBN 0802704212.

Truth, Smile, Guy, Football

“Here is the basis of the modern critical biblical science, which treats the documents of Christianity and Judaism according to the same principles of historical investigation which are valid in all other historical domains, particularly in that of the history of the ethnic religions.
The attempt has been crowned with brilliant success. Everywhere, where formerly miracles and oracles, the activity of supernatural persons, and the appearance on the scene of supernatural beings were thought to be discerned, there shows itself now a constant succession of events that are natural, i. e. in accord with the universal laws of human experience. The prophets appear no longer as media of supernatural oracles, but as men whose works and words are perfectly explicable from the character regarded in connection with the conditions of their age and environment. They stand, indeed, in a certain respect above their contemporaries, so far as they contest the modes of thought and action of the latter, and hold before them higher ideals of purer piety and morality; yet these ideals were not communicated to them from without by supernatural revelation, but sprang from their own spirit as products of an especially powerful and happy religious-moral nature, which, under the influence of historical relations, had been so developed that they saw clearly what was perverted in the mode of thought of others, and gave to the better a potent expression.”

Otto Pfleiderer (1839–1908) German Protestant theologian

Source: Evolution and Theology (1900), pp. 10-11.

Men, Happiness, Age, Religion

“Towards the end of his life, Schumpeter re-painted his picture of capitalist development on an even broader canvas. In Capitalism, Socialism and Democracy (Schumpeter 1950), he offered a complex, multifaceted argument that the type of capitalism he had earlier described might be passing from the historical scene, morphing by small degrees into some variety of socialism.”

Sidney G. Winter (1935) American economist

Dynamic Capability as a Source of Change, 2008

Life, Democracy, Painting

“It’s fascinating to me that there has been so much comment about that single sex scene and so little about the multiple child murders. That must mean something, but I’m not sure what.”

Stephen King (1947) American author

Regarding a controversial scene in his 1986 novel It September 2017, Vulture Magazine http://www.vulture.com/2017/09/stephen-king-statement-on-child-sex-in-novel-it.html

Sex

“Romantic Switzerland! thy scenes are traced
With characters of strange wild loveliness,
Beauty and desolation, side by side;
Here lofty rocks uprise, where nature seems
To dwell alone in silent majesty;
Rob'd by the snow, her stately palace fram'd
Of the white hills; towering in all their pride,
The frost's gigantic mounds are lost in clouds,
Like to vast castles rear'd in middle air.
The ice has sculptur'd too strange imagery—
Obelisks, columns, spires, fantastic piles;
Some like the polish'd marble, others clear
As the rock crystal, others sparkling with
The hues that melt along the sunborn bow.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

Canto I, I opening lines
The Fate of Adelaide (1821)

Beauty, Nature

“We are indeed a strange lot! There are times we doubt that we have any emotions we can honestly call our own. I have approached every dynamic scene change in my life the same way. When I married Charlie MacArthur, I sat down and wondered how I could play the best wife that ever was…. My love for him was the truest thing in my life; but it was still important that I love him with proper effect, that I act loving him with great style, that I achieve the ultimate in wifedom.”

Helen Hayes (1900–1993) actress

Thoughts on actors, Ch. 1
On Reflection (1968)

Love, Life, Way, Change

“Celestial choir! enthron'd in realms of light, Columbia's scenes of glorious toils I write. While freedom's cause her anxious breast alarms, She flashes dreadful in refulgent arms.”

Phillis Wheatley (1753–1784) American poet

1770s, To His Excellency, George Washington (1775)

Freedom, Light

“And all sad scenes and thoughts and feelings vanish
In that sweet sleep no power can ever banish,
That one best sleep which never wakes again.”

James Thomson (B.V.) (1834–1882) Scottish writer (1834-1882)

Part XIX
The City of Dreadful Night (1870–74)

Sadness, Feeling, Sleep

“A drive to right! Back to Georgia! Gone! A grand slam! What a scene at Shea!”

Bob Costas (1952) American sportscaster

Call of the Mets' Robin Ventura's Grand Slam Single in Game 5 of the 1999 NLCS.

“It was a bright September afternoon, and the streets of New York were brilliant with moving men…. He was pushed toward the ticket-office with the others, and felt in his pocket for the new five-dollar bill he had hoarded…. When at last he realized that he had paid five dollars to enter he knew not what, he stood stock-still amazed…. John… sat in a half-maze minding the scene about him; the delicate beauty of the hall, the faint perfume, the moving myriad of men, the rich clothing and low hum of talking seemed all a part of a world so different from his, so strangely more beautiful than anything he had known, that he sat in dreamland, and started when, after a hush, rose high and clear the music of Lohengrin's swan. The infinite beauty of the wail lingered and swept through every muscle of his frame, and put it all a-tune. He closed his eyes and grasped the elbows of the chair, touching unwittingly the lady's arm. And the lady drew away. A deep longing swelled in all his heart to rise with that clear music out of the dirt and dust of that low life that held him prisoned and befouled. If he could only live up in the free air where birds sang and setting suns had no touch of blood! Who had called him to be the slave and butt of all?… If he but had some master-work, some life-service, hard, aye, bitter hard, but without the cringing and sickening servility…. When at last a soft sorrow crept across the violins, there came to him the vision of a far-off home — the great eyes of his sister, and the dark drawn face of his mother…. It left John sitting so silent and rapt that he did not for some time notice the usher tapping him lightly on the shoulder and saying politely, 'will you step this way please sir?'… The manager was sorry, very very sorry — but he explained that some mistake had been made in selling the gentleman a seat already disposed of; he would refund the money, of course… before he had finished John was gone, walking hurriedly across the square… and as he passed the park he buttoned his coat and said, 'John Jones you're a natural-born fool.”

W.E.B. Du Bois book The Souls of Black Folk

Then he went to his lodgings and wrote a letter, and tore it up; he wrote another, and threw it in the fire....
Source: The Souls of Black Folk (1903), Ch. XIII: Of the Coming of John

Life, Men, Money, World

“Oh, I have roamed o'er many lands,
And many friends I've met;
Not one fair scene or kindly smile
Can this fond heart forget.”

Thomas Haynes Bayly (1797–1839) English poet, songwriter, dramatist, and writer

Oh, steer my Bark to Erin's Isle, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Smile, Heart, Forgetting

“There's actually a network that I could think of that [does not ask difficult questions] for a living, which is tell the people at home the same answer all the time, because it makes them feel good. And they don't like hearing arguments on that network, the people that watch it. There are people out there that — there was a great scene at the end of Carnal Knowledge — remember that old movie — where Jack Nicholson is going to the hooker, and he wants it exactly the same every time. And when she— when Rita Moreno, who played the hooker, said something just a little bit different in their normal sort of business they did, and he couldn't do it. They want it exactly the same way, these people who watch Fox. Every night they want it the same way. They can't do it if it's not exactly the same way.”

Chris Matthews (1945) American news anchor

Real Time with Bill Maher, 27 August 2004; regarding the Fox News Channel

People, Way, Feeling, Home

“This was a wonderful role. I played a Sicilian baron. They had incredible locations, for instance this majestic castle, I couldn't believe how beautiful it was! We also shot a scene in Hadrian's Villa, in a place called Sanctuario di Ercole. I had a great costume - the costume designers also worked on Visconti's GATTOPARDO. It's a mystery to me why they wouldn't let the film out. It's terrible for an actor: You think you have a big break, then the film just rots on the shelf! Also, the director was a very likeable person, very calm on the set. A wonderful movie.”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

Beauty, Thinking, Personality

“My canvas soothes me into forgetfulness of the scene of turmoil and folly — and worse — of the scene around me. Every gleam of sunshine is blighted to me in the art at least. Can it therefore be wondered at that I paint continual storms? "Tempest o'er tempest roll'd"”

John Constable (1776–1837) English Romantic painter

still the "darkness" is majestic.
Letter to C.R. Leslie (1834), John Constable's Correspondence, ed. R.B. Beckett, (Ipswich, Suffolk Records Society, 1962-1970), vol. 3, p. 122; also quoted in Hugh Honour, Romanticism (Westview Press, 1979, ISBN 0-064-30089-7, ch. 3, p. 91
1830s

Art, Painting, Forgetting

“The theory of politics that emerges from the political literature of the pre-Revolutionary years rests on the belief that what lay behind every political scene, the ultimate explanation of every political controversy, was the disposition of power.”

Bernard Bailyn book The Ideological Origins of the American Revolution

Source: The Ideological Origins of the American Revolution (1967), Chapter III, POWER AND LIBERTY A THEORY OF POLITICS, p. 55.

Literature

“This war in Iraq makes millions of dollars for big corporations, either weapons manufacturers or those working in the reconstruction, such as Halliburton and its sister companies... It is crystal clear who benefits from igniting the fire of this war and this bloodshed: They are the merchants of war, the bloodsuckers who run the policy of the world from behind the scenes. President Bush and his ilk, the media giants, and the U. N... all are a fatal danger to the world, and the Zionist lobby is their most dangerous member. God willing, we will persist in fighting them...”

Osama bin Laden (1957–2011) founder of al-Qaeda

Reported in Strategic Culture and Violent Non-state Actors: Weapons of Mass Destruction and Asymmetrical Operations Concepts and Cases https://books.google.com/books?id=zUYhAQAAIAAJ&pg=PA33 by James M. Smith, Jerry Mark Long, Thomas H. Johnson, p. 33, USAF Institute for National Security Studies, 2008 2000s, 2004

God, War, World, Sister

“I had seen him [Mahatama Gandhi] from a distance This was going to be the first personal contact. As I ascended the stairs of Manibahavan…I was feeling the thrill of anticipation of a great event. I entered the room and the awe which the scene inside inspired in my heart has not been erased from my memory. I sat in front of the Mahatma…After a while Gandhiji turned to me and asked me about the work that I was doing…He then inquired about my situation. Would I have to face any difficulties if I came away to join the movement? I reflected for a few fleeting moments. I asked myself…How can an army like this function if every soldier who is recruited has to place his personal difficulties before the General. I replied to him that I had no problems for his consideration. Then an interesting conversation followed. Lala Lajpat Rai took up the thread and asked Gandhiji to permit me to proceed to the Punjab, the place of my origin and join him, in the work of the movement there. Thereafter Shankarlal Banker put forward the argument that since my political birth was in Bombay I should stick to this place. The Mahatma gave his verdict in favour of Bombay and thus the interview ended. I found that Bunker was the key figure in the organization in Bombay then and a number of activities were being carried out under his personal direction.”

Gulzarilal Nanda (1898–1998) Prime Minister of India

In, p. 5-6
Gulzarilal Nanda: A Life in the Service of the People

Feeling, Birth, Problem, Memory

“No one can imagine the beauty of the view from anything witnessed in England. It had never been seen before by European eyes; but scenes so lovely must have been gazed upon by angels in their flight.”

David Livingstone (1813–1873) Scottish explorer and missionary

Missionary Travels and Researches in South Africa http://www.gutenberg.org/files/1039/1039-h/1039-h.htm

Love, Beauty, Angels, Imagination

Quotes about scene page 4

Quotes about scene
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