Quotes about scene
page 5

“What I mean by living to one's-self is living in the world, as in it, not of it: it is as if no one know there was such a person, and you wished no one to know it: it is to be a silent spectator of the mighty scene of things, not an object of attention or curiosity in it; to take a thoughtful, anxious interest in what is passing in the world, but not to feel the slightest inclination to make or meddle with it.”

William Hazlitt (1778–1830) English writer

"On Living to One's-Self" Table Talk: Essays On Men And Manners http://www.blupete.com/Literature/Essays/TableHazIV.htm (1821-1822)

World, Feeling, Personality

“This contest has lasted now for more than four years. Were its scene at a distance from our neighborhood, we might be indifferent to its result, although humanity could not be unmoved by many of its incidents wherever they might occur. It is, however, at our door.”

Ulysses S. Grant (1822–1885) 18th President of the United States

1870s, Fourth State of the Union Address (1872)

Indifference

“Get up,
Get on up.
Stay on the scene.
Get on up,
Like a Sex Machine.
Get on up,
Get up.
Shake your arm,
Then use your form.
Stay on the scene, like a Sex Machine.
You gotta have the feeling,
Sure as you're born.”

James Brown (1933–2006) American singer, songwriter, musician, and recording artist

Get Up (I Feel Like Being a) Sex Machine, written with Bobby Byrd and Ron Lenhoff (1970)
Song lyrics

Sex, Feeling

“Whence first arose among unhappy mortals throughout the world that sickly craving for the future? Sent by heaven, wouldst thou call it? Or is it we ourselves, a race insatiable, never content to abide on knowledge gained, that search out the day of our birth and the scene of our life's ending, what the kindly Father of the gods is thinking, or iron-hearted Clotho? Hence comes it that entrails occupy us, and the airy speech of birds, and the moon's numbered seeds, and Thessalia's horrid rites. But that earlier golden age of our forefathers, and the races born of rock or oak were not thus minded; their only passion was to gain the mastery of the woods and the soil by might of hand; it was forbidden to man to know what to-morrow's day would bring. We, a depraved and pitiable crowd, probe deep the counsels of the gods.”
Unde iste per orbem primus venturi miseris animantibus aeger crevit amor? divumne feras hoc munus, an ipsi, gens avida et parto non umquam stare quieti, eruimus quae prima dies, ubi terminus aevi, quid bonus ille deum genitor, quid ferrea Clotho cogitet? hinc fibrae et volucrum per nubila sermo astrorumque vices numerataque semita lunae Thessalicumque nefas. at non prior aureus ille sanguis avum scopulisque satae vel robore gentes mentibus his usae; silvas amor unus humumque edomuisse manu; quid crastina volveret aetas scire nefas homini. nos, pravum et flebile vulgus, scrutati penitus superos.

Statius book Thebaid

Source: Thebaid, Book III, Line 551 (tr. J. H. Mozley)

Life, God, Age, World

“I said I could to get the part. It made me go slightly mad, because my brain would be spinning all night. But after my big fight scene, where it was just kick, kick, kick, turn, in a freezing graveyard at 5am, I remember coming home on fire, because my brain hadn't kicked in once. Which was really, really a relief.”

Sienna Guillory (1975) British actress

FILM: Beauty and the Beasts Article http://findarticles.com/p/articles/mi_qn4158/is_20040312/ai_n12769890/pg_1. The London Independent. March 12, 2004. Guillory speaks about Resident Evil: Apocalypse.

Home, Fight, Parting, Madness

“The Wild Gallant, act ii. scene. 1.”

John Dryden (1631–1700) English poet and playwright of the XVIIth century

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

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

Joseph Conrad book The Mirror of the Sea

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

Men, Beauty, Hope, Nature

“We are told that Shakespeare's plays were generally performed in barns and that no great trouble was taken over the production. The constant changes of scene which, incidentally, seem the sign of a decadent art rather than one which is progressing, were shown by placards with the inscription: "A Forest," "A Prison," and so on. Within this conventional setting the onlooker's imagination was free to follow the actions of the various characters who were animated by passions drawn from nature, and that was enough for him. So-called innovations are gratefully seized on as an excuse for poverty of invention and in the same way, the long descriptive passages that so overburden modern novels are a sign of sterility, for it is obviously easier to describe a dress or the outward appearance of an object than to trace the subtle development of a character or portray the emotions of the heart.”

Eugène Delacroix (1798–1863) French painter

9 April 1856 (p. 313)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Art, Way, Imagination, Nature

“Dear Jones, - Two months nearly in getting to this Terra Pictura, and at work; but the length of time is my own fault. [because] I must see the South of France, which almost knocked me up, the heat was so intense, particularly at Nismes and Avignon; and until I got a plunge into the sea at Marseilles, I felt so weak that nothing but the change of scene kept me onwards to my distant point. Genoa, and all the sea-coast from Nice to Spezzia, is remarkably rugged and fine; so is Massa... Hope that you have been better than usual, and that the pictures go on well.”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Quote in Turner's letter from Rome, 13 Oct. 1828 to his friend George Jones; as cited in The Life of J. M. W. Turner R.A. , Walter Thornbury - A new Edition, Revised https://ia601807.us.archive.org/24/items/gri_33125004491185/gri_33125004491185.pdf; London Chatto & Windus, 1897, p. 101 1821 - 1851

Hope, Distant, Change, Time

“I read "King Lear" soon after "Macbeth," and I shall never forget the feeling of horror when I came to the scene in which Gloster's eyes are put out. Anger seized me, my fingers refused to move, I sat rigid for one long moment, the blood throbbing in my temples, and all the hatred that a child can feel concentrated in my heart.”

Helen Keller book The Story of My Life

Source: The Story of My Life (1903), Ch. 21

Feeling, Reading, Heart, Anger

“Mr McCain fought in Vietnam. I think that he has enough blood of peaceful citizens on his hands. It must be impossible for him to live without these disgusting scenes anymore. Mr McCain was captured and they kept him not just in prison, but in a pit for several years, Anyone [in his place] would go nuts.”

Vladimir Putin (1952) President of Russia, former Prime Minister

Response to John McCain's tweet "Dear Vlad, The Arab Spring is coming to a neighbourhood near you." http://www.telegraph.co.uk/news/worldnews/europe/russia/8958294/Vladimir-Putin-calls-John-McCain-nuts-in-outspoken-attack.html 2011 - 2015

Peace, Thinking

“I bought a copy of the Nashville Tennessean out of a metal box, just to see what was happening in the world. The principal story indicated that the state legislature, in one of those moments of enlightenment with which the southern states often strive to distinguish themselves, was in the process of passing a law forbidding schools from teaching evolution. Instead they were to be required to instruct that that the earth was created by God, in seven days, sometime, oh, before the turn of the century. The article reminded us that this was not a new issue in Tennessee. The little town of Dayton—not far from where Katz and I now sat, as it happened—was the scene of the famous Scopes trial in 1925, when the state prosecuted a schoolteacher named John Thomas Scopes for rashly promulgating Darwinian hogwash. As nearly everyone knows, Clarence Darrow, for the defense, roundly humiliated William Jennings Bryan, for the prosecution, but what most people don’t realize is that Darrow lost the case. Scopes was convicted, and the law wasn’t overturned in Tennessee until 1967. And now the state was about to bring the law back, proving conclusively that the danger for Tennesseans isn’t so much that they may be descended from apes as overtaken by them.”

Bill Bryson A Walk in the Woods

Source: A Walk in the Woods (1997), Chapter 8 (pp. 107-108)

God, People, World, School

“There is a philosophical, or metaphysical position that can be taken–maybe its a scientific hypothesis–that the past cannot in fact exist. Everything that can possibly exist exists now. Things now may be expressive of some conceivable or describable past state of affairs, yes:but that's different from saying this this former state actually somehow exists in the form of "the past". Even in our memory[…]there is no past:no scenes preserved with all their sights and sounds. Merely fleeting states of mind, myriad points assembled for a moment to make a new picture (but "picture" is wrong too, too full, too fixed) of what we think are former states of things: things that once were, or may have been the case.”

John Crowley book Four Freedoms

Prelude
Four Freedoms (2009)

Thinking, Memory, Past

“Those golden times
And those Arcadian scenes that Maro sings,
And Sidney, warbler of poetic prose.”

William Cowper The Task

Source: The Task (1785), Book IV, The Winter Evening, Line 514.

Singing, Time

“[choosing his scenes by:].. night vigils at the back window.”

John Sloan (1871–1951) American painter

The Gist of Art Joan Sloan, New York: Artist Group, 1939, p. 220
The Gist of Art (1939)

Night

“The real thing she wanted was to play women with real depth, and a challenge, and something that she could resonate with – women that had intelligence and strength, and maturity and passion. […] She's very close to her family – her parents, and her sisters, and her brother; very, very bonded. At some point she became aware that this is where her roots are. […] She was always a wonderful mother. And it didn't make any difference how difficult the scene was, after the meal, Jessica spent that lunchtime with Shura, and was totally into Shura. […] Anyone would be attracted to Sam, I would think. He's a very intelligent person and a very sweet person, first; and then he's so talented; and, on top of that, he looks great. He has a look like a pioneer, and that's very exciting. Maybe not for everybody, but it certainly would be for Jessica.”

Sandra Seacat (1936) American acting teacher and actress

Commenting, respectively, on Jessica Lange's participation in Postman Always Rings Twice, on her decision to purchase land in Minnesota, on the absolute priority placed on parenting throughout the intense Frances shoot, and on the beginning of Lange's relationship with Sam Shepard; as heard in "Jessica Lange: On Her Own Terms," https://www.youtube.com/watch?v=6KvxVFiDVls on A&E's Biography; broadcast November 26, 2001

Women, Family, Intelligence, Thinking

“I want to cry out to these young girls: Stop! Think!... For heaven's sake, don't fall down the rabbit hole of the lesbian scene. You will never escape, and your talent will wither on the vine. Your energy will be wasted and absorbed in repetition without progression. Women alone are Spenser's Bower of Bliss, enclosed, comfortable, and dangerous.”

Camille Paglia (1947) American writer

Source: Vamps and Tramps (1994), "No Law in the Arena: A Pagan Theory of Sexuality", p. 82

Women, Girl, Thinking, Cry

“Saturday is a dismayingly bad book. The numerous set pieces—brain operations, squash game, the encounters with Baxter, etc. — are hinged together with the subtlety of a child's Erector Set. The characters too, for all the nuzzling and cuddling and punching and manhandling in which they are made to indulge, drift in their separate spheres, together but never touching, like the dim stars of a lost galaxy. The politics of the book is banal, of the sort that is to be heard at any middle-class Saturday-night dinner party, before the talk moves on to property prices and recipes for fish stew. There are good things here, for instance the scene when Perowne visits his senile mother in an old-folks' home, in which the writing is genuinely affecting in its simplicity and empathetic force. Overall, however, Saturday has the feel of a neoliberal polemic gone badly wrong; if Tony Blair — who makes a fleeting personal appearance in the book, oozing insincerity — were to appoint a committee to produce a "novel for our time," the result would surely be something like this.”

John Banville (1945) Irish writer

Banville on Saturday http://marksarvas.blogs.com/elegvar/2005/05/banville_on_sat.html, from The New York Review of Books (source dated 10 May 2005). Original source http://www.nybooks.com/articles/archives/2005/may/26/a-day-in-the-life/?pagination=false.

Books, Feeling, Home, Game

“I was always bothered by the idea of hitting a beautiful, living, innocent animal over the head, cutting him up into pieces, then shoving the pieces into my mouth. I finally made my decision to stop eating animals when I came upon a ritual slaughter scene during a visit to Israel. My experiences in the Warsaw Ghetto during the Nazi Holocaust had a profound impact on my subsequent life choices. I felt some guilt that I lived when so many others didn't, and a sense of duty to redeem my survival by assuming their share of responsibility for making this planet a better place to live for all its inhabitants.”

Alex Hershaft (1934) American activist

"Alex Hershaft", in People Promoting and People Opposing Animal Rights: In Their Own Words, ed. John M. Kistler (Westport, CT: Greenwood Press, 2002), p. 145 https://books.google.it/books?id=kIgAi6k69IQC&pg=PA145.

Life, Beauty, Idea, Decision

“He (the photographer) has practically created a new thing out of materials gathered from nature; upon a foundation of fact he has allowed his imagination to build up an entirely fictitious scene, and the truth of the effect will depend upon how far his perceptions have been trained by studying nature at various times, so as to know how things might look under certain circumstances.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 78

Truth, Imagination, Nature, Study

“If we could dredge up something forgotten not only by ourselves but by our whole generation or our entire civilization, we should become indeed the boonbringer, the culture hero of the day—a personage of not only local but world historical moment. In a word: the first work of the hero is to retreat from the world scene of secondary effects to those causal zones of the psyche where the difficulties really reside, and there to clarify the difficulties, eradicate them in his own case (i. e., give battle to the nursery demons of his local culture) and break through to the undistorted, direct experience and assimilation of what C. G. Jung called "the archetypal images." This is the process known to Hindu and Buddhist philosophy as viveka, "discrimination."”

Joseph Campbell book The Hero with a Thousand Faces

Source: The Hero with a Thousand Faces (1949), Chapter 1

World

“The world, I mean our own portion of it, sometimes seems to me like one mighty slaughter-house — one grand school for the suppression of every kind and tender and brotherly feeling — one grand process of education to the entire destitution of all moral principle — one vast scene of destruction to all moral sensibility, and all sympathy with the woes of those around us. Is it not so?”

William Alcott (1798–1859) American physician and author

Source: Vegetable Diet (1838), p. 268

World, Education, School, Feeling

“In the spring or warmer weather when the snow thaws in the woods the tracks of winter reappear on slender pedestals and the snow reveals in palimpsest old buried wanderings, struggles, scenes of death. Tales of winter brought to light again like time turned back upon itself.”

Cormac McCarthy book Child of God

Source: Child of God (1973), p.130

Death, Spring, Light, Winter

“I knew we needed brave actors - the story called for scenes that might be frightening to some - and we needed it to be real and believable.”

Olly Blackburn Film director and screenwriter

[Film4, Channel Four Television Corporation, http://www.film4.com/features/article/olly-blackburn-and-david-bloom-on-donkey-punch, 23 February 2012, Olly Blackburn and David Bloom on Donkey Punch, 2008]

“It must not be supposed that it is always necessary to present our landscapes with an attractive and well-defined arrangement of clouds; on the contrary, it will often happen that the effect of a scene is best emphasized by a mere grey tint representing a covered sky or even a blue, cloudless sky; but this is a very different thing to rendering it as a white blank.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Composition and clouds considered as an aid to expression, p. 105

“Who he was
That piled these stones, and with the mossy sod
First covered, and here taught this aged Tree
With its dark arms to form a circling bower,
I well remember.—He was one who owned
No common soul. In youth by science nursed.
And led by nature into a wild scene
Of lofty hopes, he to the world went forth
A favoured Being, knowing no desire
Which genius did not hallow; 'gainst the taint
Of dissolute tongues, and jealousy, and hate,
And scorn,—against all enemies prepared,
All but neglect. The world, for so it thought,
Owed him no service; wherefore he at once
With indignation turned himself away,
And with the food of pride sustained his soul
In solitude.”

William Wordsworth (1770–1850) English Romantic poet

Lines (1795)

Hate, Youth, Age, World

“With inexpressible delight you wade out into the grassy sun-lake, feeling yourself contained in one of Nature's most sacred chambers, withdrawn from the sterner influences of the mountains, secure from all intrusion, secure from yourself, free in the universal beauty. And notwithstanding the scene is so impressively spiritual, and you seem dissolved in it, yet everything about you is beating with warm, terrestrial, human love, delightfully substantial and familiar.”

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

" The Glacier Meadows of the Sierra http://books.google.com/books?id=zj2gAAAAMAAJ&pg=PA478", Scribner's Monthly, volume XVII, number 4 (February 1879) pages 478-483 (at page 479); modified slightly and reprinted in The Mountains of California http://www.sierraclub.org/john_muir_exhibit/writings/the_mountains_of_california/ (1894), chapter 7: The Glacier Meadows 1890s, The Mountains of California (1894)

Love, Beauty, Feeling, Mountain

“There's a word the teabaggers have wanted to use since Obama came on the scene, but they can't because it's not the 1950s. They would love to say this word. It begins with an N and ends with -er, and it's not "nation-builder."”

Bill Maher (1956) American stand-up comedian

But I'm Not Wrong (2010)

Love

“All my life, it seems, I have hated the guts of Max Lerner. Now, make no mistake: there is nothing personal in this rancor. I have never met, nor have I ever had any personal dealings with, Max. No, my absolute loathing for Max Lerner is disinterested, cosmic in its grandeur. It's just that ever since I was a toddler, this ugly homunculus, this pretentious jackass, has been there, towering over the American ideological scene. In the fifty-five years that I have been aware of Max's presence, in all of his many permutations and combinations and seeming twists and turns, he has taken the totally repellent position at every step of the way.”

Murray N. Rothbard (1926–1995) American economist of the Austrian School, libertarian political theorist, and historian

"I Hate Max Lerner" (2005) http://www.lewrockwell.com/rothbard/rothbard68.html.

Life, Hate, Way, Personality

“And I, whose childhood
Is a forgotten boredom,
Feel like a child
Who comes on a scene
Of adult reconciling,
And can understand nothing
But the unusual laughter,
And starts to be happy.”

Philip Larkin book The Less Deceived

Coming
The Less Deceived (1955)

Happiness, Feeling, Understanding, Laughter

“I painted beach scenes not because I was feeling nice, but because I wanted to get a particular effect of reflection.”

Jack Vettriano (1951) Scottish painter

Introduction by Anthony Quinn, Jack Vettriano Pavillion Books , London , 2004 ISBN 9781862057241
On Art

Feeling, Painting

“To some this may appear to be a small matter, but to Mr. Harry Hook, it is very important. He is a street trader in the Barnsley Market. He has been trading there for some six years without any complaint being made against him; but, nevertheless, he has now been banned from trading in the market for life. All because of a trifling incident. On Wednesday, October 16, 1974, the market was closed at 5:30. So were all the lavatories, or 'toilets' as they are now called. They were locked up. Three quarters of an hour later, at 6:20, Harry Hook had an urgent call of nature. He wanted to relieve himself. He went into a side street near the market and there made water, or 'urinated' as it is now said. No one was about except one or two employees of the council, who were cleaning up. They rebuked him. He said: 'I can do it here if I like'. They reported him to a security officer who came up. The security officer reprimanded Harry Hook. We are not told the words used by the security officer. I expect they were in language which street traders understand. Harry Hook made an appropriate reply. Again, we are not told the actual words, but it is not difficult to guess. I expect it was an emphatic version of 'You be off'. At any rate, the security officer described them as words of abuse. Touchstone would say that the security officer gave the 'reproof valiant' and Harry Hook gave the 'counter-check quarrelsome'; As You Like It, Act V, Scene IV. On Thursday morning the security officer reported the incident. The market manager thought it was a serious matter. So he saw Mr. Hook the next day, Friday, October 18. Mr. Hook admitted it and said he was sorry for what had happened. The market manager was not satisfied to leave it there. He reported the incident to the chairman of the amenity services committee of the Council. He says that the chairman agreed that 'staff should be protected from such abuse.”

Alfred Denning, Baron Denning (1899–1999) British judge

That very day the market manager wrote a letter to Mr. Hook, banning him from trading in the market.
Ex Parte Hook [1976] 1 WLR 1052 at 1055.
Judgments

Life, Understanding, Nature, Water

“Schumann’s Kreisleriana: No other cycle among Schumann’s great works so perfectly expresses the sensation of dark nocturnal things, of chaos, lurking in the background. The last piece of this collection shows this particularly well. Like skeletons on horseback, shadowy figures flit before us in a soft, sustained rhythm; in the middle section horn-calls enliven the scene with visions of knightly strength and nobility, but at the end the figures vanish ghost - like into night and mystery. Looking into the first volume of Schumann’s diaries we find ‘Midnight Piece,’ a prose passage which provides moving, indeed alarming evidence of his perilously depressive mental state. It contains elements of a highly personal kind which memorably convey the particular quality of his imagination, mortally cold and never far from visions of death. It could have served perfectly as a model for the final, disturbing piece in the Kreisleriana set.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Death, Imagination, Personality, Night

“Let us remember that this scene [the Nativity] represents so much more than just a touching story or a nostalgic holiday fairytale. It is, in fact, a reminder of the most amazing reality: That God came, and God spoke. Peace on earth, God is with us. And the God who spoke still speaks. And the God who came still comes. This is the true Miracle of Christmas – that as we stand here tonight in our real world with our real lives full of problems and questions, past hurts and future hopes, God is with us.”

Steven Curtis Chapman (1962) American Christian music singer-songwriter, record producer, actor, author, and social activist

Playing Pastor Michael Curtis in the Lifetime movie "Christmas Child," 2003 http://www.imdb.com/title/tt0346750/

God, World, Peace, Hope

“The structure of the nobility is changed along with that of the state, but it preserves its continuity with the past intact. Knighthood, on the other hand, as the exclusive warrior-class and upholder of secular culture, decays completely. The process is protracted and the ideals of chivalry do not lose their alluring splendour from one day to the next—least of all in the eyes of the middle classes. But behind the scenes everything is set for the fall of Don Quixote.—The decline of the knighthood has been connected with the new methods of warfare introduced in the late Middle Ages, and it has been pointed out that the heavily accoutred cavalry suffered a severe reverse whenever they met the infantry of the new mercenary armies or the foot of the peasant brigades.”

Arnold Hauser (1892–1978) Hungarian art historian

The Social History of Art, Volume I. From Prehistoric Times to the Middle Ages, 1999, Chapter IV. The Middle Ages

Age, Suffering, Change, Past

“I can't let go of my own vision of Nightmare on Elm Street, I just don't want to, I don't want to see another person play Freddy Kruger. I don't want to see scenes that we worked really hard on be reimagined. I respect their reason for doing it but I don't want to have it in my imagination or my mind. Those memories are so precious to me. I was a teenager when I made that movie so it's so formative. My friendship with Robert Englund is so important to me that I don't need it.”

Heather Langenkamp (1964) actress

Heather Langenkamp Reveals Why She'll Never Watch 'Nightmare on Elm Street' Remak http://toofab.com/2017/02/27/heather-langenkamp-reveals-why-shell-never-watch-nightmare-on-elm-street-remake-exclusive/ (February 28, 2017)

Friendship, Imagination, Memory, Personality

“Keen are the pangs
Of hapless love, and passion unapprov'd:
But where consenting wishes meet, and vows
Reciprocally breath'd, confirm the tie,
Joy rolls on joy, an inexhausted stream!
And virtue crowns the sacred scene.”

Tobias Smollett (1721–1771) 18th-century poet and author from Scotland

Act I, scene iii.
The Regicide (1749)

Love, Passion, Joy

“The establishment of "The Times" newspaper is an example, on a large scale, of a manufactory in which the division of labour, both mental and bodily, is admirably illustrated, and in which also the effect of domestic economy is well exemplified. It is scarcely imagined, by the thousands who read that paper in various quarters of the globe, what a scene of organized activity the factory presents during the whole night, or what a quantity of talent and mechanical skill is put in action for their amusement and information.”

Charles Babbage On the Economy of Machinery and Manufactures

Source: On the Economy of Machinery and Manufactures, 1832/1841, p. 270; Ch. 28 "Proper circumstances for the application of machinery."

Imagination, Time, Reading, Night

“You know, you almost got to be a homosexual to be recognized in the entertainment industry anymore. Ellen [Degeneres], and all the rest. I love them, pray for their souls, but they're immoral. And the Hollywood scene — five and eight and 10 marriages — not something to be emulated.”

Jerry Falwell (1933–2007) American evangelical pastor, televangelist, and conservative political commentator

Televised sermon at the Thomas Road Baptist Church in Lynchburg, Virginia (25 June 2006), as quoted in "Falwell on the "moral pervert[s]" in Hollywood: "[Y]ou almost got to be a homosexual to be recognized in the entertainment industry anymore" at Media Matters for America (27 June 2006)

Love, Marriage, Soul

“We have had here within these few days some serious scenes, at which I am not surprised, because I foresaw not only a struggle between the two corps, which the constitution had organized, viz. the executive (so called) and the legislative. But I was convinced that the latter would get the better. Such is the natural, and indeed the necessary order of things. It is nevertheless a painful reflection, that one of the finest countries in the world should be so cruelly torn to pieces. The storrn which lately raged is a little subsided, but the winds must soon arise again, and perhaps from the same, perhaps from another quarter. But that is of but little consequence, since in every case we must expect a little rage and devastation. A man, attached to his fellow men, must see with the same distress the woes they suffer, whether arising from an army or from a mob, and whether those by whom they are inflicted speak French or German.”

Gouverneur Morris (1752–1816) American politician

1790s, First Letter to Thomas Pinckney (1792)

Men, Pain, World, Nature

“Our beautiful planet is indeed worthy of our study; it was once our cradle—it will soon be our grave: between the dawn and the night of life, it is the scene of our busy action, and from it we shall rise to another state of being.”

Gideon Mantell (1790–1852) British scientist and obstetrician

Vol. 1
The Wonders of Geology (1839)

Life, Beauty, Business, Study

“On the morning of January 11th, 1860, I passed, for the eighth time, through the Golden Gate… As the shores of California faded in the distance, and the summits of the Coast Range sank under the blue horizon, I bade farewell — yes, I do not doubt, forever — to those scenes which, however changed or unchanged, must always posses an ineffable interest for me.”

Richard Henry Dana Jr. (1815–1882) United States author and lawyer

Twenty-Four Years After (1869)

Change, Time

“They [the younger woman artists in American Abstract Expressionism: Helen Frankenthaler and Joan Mitchell, ] are the next generation and it is another scene, another story. You forget that in my generation Paris was still the leading school of painting and this situation was being changed by a tiny handful of artists to a scene called New York, America, which never before had a leading role in the art world. That didn’t happen just by reading a newspaper. Now the next generation comes in and they may think it is rough for them but it is a pie... We broke the ground.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 80.

World, School, Art, Thinking

“For a viewer to think the custodian was trying to break free is the exact opposite of what the scene was supposed to convey. There is nothing gained from that kind of ambiguity. Ambiguity is not desirable or meaningful if it confuses an issue that is meant to be clear. This is the challenge of making a film that communicates but doesn't talk down: a lot of viewers and studio execs (and directors) hold that ANY ambiguity is the result of the filmmaker's failure. I disagree, but I also hold that, in order for ambiguity to be effective, certain things NEED to be unambiguous. For example, if it wasn't clear that Judy on the stage is the same character as Judy who'd invited Aeon to the Hostess' lair, then that's just bad execution. If the episode had been finished and seen in a version say, where we don't see her face drawn correctly, and viewers weren't sure it was the same character, they may wonder about things irrelevant to the story's themes, such as "do the custodians alter the appearance of their hosts", or "Trevor is masquerading a different person who is playing the role of Judy on the stage", etc, all of which does not help the story. Thinking that the custodian had a will of its own and wanted to break free is the same type of undesired speculation.”

Peter Chung (1961) Korean-American animator

Re: Utopia or Deuteranopia? http://ilx.wh3rd.net/thread.php?msgid=6622756

Communication, Failure, Thinking, Appearance

“Has not experience demonstrated quite recently that Jack the Ripper performed his exploits under the eye of the London police — a most active force — and that he only left off killing when the population of Whitechapel itself began to give chase to him?
And in our every-day relations with our fellow-citizens, do you think that it is really judges, gaolers, and police that hinder anti-social acts from multiplying? The judge, ever ferocious, because he is a maniac of law, the accuser, the informer, the police spy, all those interlopers that live from hand to mouth around the Law Courts, do they not scatter demoralization far and wide into society? Read the trials, glance behind the scenes, push your analysis further than the exterior facade of law courts, and you will come out sickened.”

Peter Kropotkin (1842–1921) Russian zoologist, evolutionary theorist, philosopher, scientist, revolutionary, economist, activist, geogr…

Anarchism: Its Philosophy and Ideal (1896)

Law, Thinking, Reading

“A scene like Peter's denial fits into no antique genre. It is too serious for comedy, too contemporary and everyday for tragedy, politically too insignificant for history—and the form which was given it is one of such immediacy that its like does not exist in the literature of antiquity.”

Erich Auerbach Mimesis: The Representation of Reality in Western Literature

Source: Mimesis: The Representation of Reality in Western Literature (1946), p. 45

History, Literature

“I wonder who will find the film more uncomfortable - men or women? Both will recoil from the brutality of the scenes of the assault. But for some men, the movie will reveal a truth that most women already know. It is that verbal sexual harassment, whether crudely in a saloon back room or subtly in an everyday situation, is a form of violence - one that leaves no visible marks but can make its victims feel unable to move freely and casually in society.”

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

Review http://www.rogerebert.com/reviews/the-accused-1988 of The Accused (14 October 1988) Reviews, Three star reviews

Women, Men, Truth, Feeling

“Fame has earned me great applause, thanks to our generous people. of course, this fortune brought my financial situation. and the increasing love of the people who did not decline for years. Everything is mutual. I liked it very much, too many listeners, my followers … I paid my price with my heart, unfortunately. my heart is tired and said that this event comes from the stress of the scene that lasts for 25 years; doctors. And I said goodbye to the stage for 4 years. I gave my heart. I bought a lot but I gave it my heart, sir.”

Zeki Müren (1931–1996) Turkish musician

What did your honor stole from you? https://www.youtube.com/watch?v=Fq_jdymMh1U

Love, People, Heart

“And however one's mind may be elevated, and kept us to what is excellent, by the works of the Great Masters — still Nature is the fountain's head, the source from whence all originally must spring — and should an artist continue his practice without referring to nature he must soon form a manner, & be reduced to the same deplorable situation as the French painter mentioned by Sir J. Reynolds, who told him that he had long ceased to look at nature for she only put him out.For the last two years I have been running after pictures, and seeking the truth at second hand. I have not endeavoured to represent nature with the same elevation of mind — but have neither endeavoured to make my performances look as if really executed by other men….. There is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.I am come to a determination to make no idle visits this summer, nor to give up my time to common-place people. I shall return to Bergholt, where I shall make some laborious studies from nature — and I shall endeavour to get a pure and unaffected manner of representing the scenes that may employ me.”

John Constable (1776–1837) English Romantic painter

3 quotes in Constable's letter to John Dunthorne (29 May 1802), from John Constable's Correspondence, ed. R.B. Beckett (Ipswich, Suffolk Records Society, 1962-1970), part 2, pp. 31-32
1800s - 1810s

Men, People, Truth, Spring

“Sabi is the color of the poem. It does not necessarily refer to the poem that describes a lonely scene. If a man goes to war wearing stout armor or to a party dressed up in gay clothes, and if this man happens to be an old man, there is something lonely about him. Sabi is something like that.”

Bashō Matsuo (1644–1694) Japanese poet

sabi wa ku no iro nari. kanjaku naru ku wo iu ni arazu. tatoeba, roujin no katchuu wo taishi senjou ni hataraki, kinshuu wo kazari goen ni haberitemo, oi no sugata aru ga gotoshi. Classical Japanese Database, Translation #42 http://carlsensei.com/classical/index.php/translation/view/42 (Translation: Robert Hass) Statements

War, Color, Clothes

“Subject…. no specific scene but many incidents. – The first word I spoke was Argula – it has no meaning. I was then five years old. Thus I called this painting 'Argula' as I was entering a new period closer to my instincts.
(Technique..:) Hundreds and hundreds of layers of paint to obtain the weight of reality – Art this period I measured by weight. [mid 1930's]”

Arshile Gorky (1904–1948) Armenian-American painter

in his reply to Questionnaires of the MOMA museum, 1941
Gorky's quote refers on his multi-layered painting technique Gorky applied those days
1930 - 1941

Art, Reality, Painting

“Computing spread out much, much faster than educating unsophisticated people can happen. In the last 25 years or so, we actually got something like a pop culture, similar to what happened when television came on the scene and some of its inventors thought it would be a way of getting Shakespeare to the masses. But they forgot that you have to be more sophisticated and have more perspective to understand Shakespeare. What television was able to do was to capture people as they were. So I think the lack of a real computer science today, and the lack of real software engineering today, is partly due to this pop culture.”

Alan Kay (1940) computer scientist

ACM Queue A Conversation with Alan Kay Vol. 2, No. 9 - Dec/Jan 2004-2005 http://queue.acm.org/detail.cfm?id=1039523 2000s, A Conversation with Alan Kay, 2004–05

People, Education, Way, Understanding

“Who is Gloria Estefan today? I'm very fulfilled as a woman. I've been able to have a wonderful family life, a fantastic career. I have a lot of good friends around me. My family has been my grounding point, and rooted me deeply to the earth... I'm very happy. I've done everything I ever wanted to do. The key to me was -- I told my husband when we were in our 20s -- I'm going to work really hard, so one day I won't have to work so hard. And to me what that was, was having choices. And I do have choices now -- and I have take full advantage of that. It's important for me now to be here for my little girl [Emily, age 12]. My son is full grown -- and I know have quickly that goes. So, I'm balancing being a mother -- which to me is the most important role I have on this earth -- and still being creative, writing -- which is what I love to do. So, I've been able to branch out into not just writing songs like you have heard through the years -- but writing children's books, writing a screenplay. But at my core that's what I am: a writer. And that's what I enjoy doing behind the scenes: writing the songs for albums, recording it. And that's why you have seen me take more of a back seat to being the center of attention, and being out on tour and doing that kind of thing. I've stepped up a lot of my charity work. This year, the five concerts I did were all for charity: different ones and my own foundation. So, that's becoming a bigger and bigger part of my life -- as I wanted it to be. And [I keep] just growing and evolving.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

iTunes interview (released June 2, 2007)
2007

Love, Life, Happiness, Children

“On the approach of spring I withdraw without reluctance from the noisy and extensive scene of crowds without company, and dissipation without pleasure.”

Edward Gibbon (1737–1794) English historian and Member of Parliament

Vol. i. p. 116.
Memoirs (1796)

Pleasure, Spring

“People always died in the most hidden places. They'd bleed to death, I guess. By the time their bodies were brought in, they're bloated, and they'd dig out the identification tags on some corpse's chest, maggots all over the place. And those aren't scenes which you want to report to your people back home. I mean, everybody would think it was their own son. I didn't have his name.”

Larry LeSueur (1909–2003) American journalist

All Things Considered, NPR, Washington, D.C.: February 6, 2003, transcript available at ProQuest: from Research Library Core. (Document ID: 351141181); excerpted from a 1994 concerning what LeSueur saw on D-Day at Normandy.

Death, People, Home, Thinking

“Far from participating in a current literary scene agog with vogue and hyperbole, the LRB has kept what is widely perceived as a mandarin aloofness from it. Complicity with the institutions of literature, whether patrons or advertisers, is scarcely a charge that can be made against the paper.”

Perry Anderson (1938) British historian

Debts 1. "The London Review of Books" (1996; 2005)
Ref: en.wikiquote.org - Perry Anderson / Quotes / Spectrum: From Right to Left in the World of Ideas (2005)
Spectrum: From Right to Left in the World of Ideas (2005), Debts 1. "The London Review of Books" (1996; 2005)

Literature

“It may be that the human brain not only perceives but stores the essentials of a visual scene using the same geometrical, quasi-symbolic, minimalist vocabulary found in maps.”

Alan MacEachren (1952) American geographer

Source: How Maps Work: Representation, Visualization, and Design (1995), p. 171

“I poured my heart and soul into the role of Chandramukhi. In my view, hers was the greater character (compared with Paro's). One scene that will forever be etched in my memory is the one in which Devdas takes leave of Chandramukhi, saying that he hopes he will meet her again, 'if not in this lifetime, then in the next.”

Vyjayanthimala (1936) Indian actress, politician & dancer

Vyjayanthimala still cuts a striking figure tall

Hope, Soul, Memory, Heart

“Painting responded to the plague-darkened vision of the human condition provoked by repeated exposure to sudden, inexplicable death. Tuscan painters reacted against Giotto's serenity, preferring sterner, hieratic portrayals of religious scenes and figures. The "Dance of Death" became a common theme for art; and several other macabre motifs entered the European repertory.”

William H. McNeill (1917–2016) Canadian historian

Source: Plagues and Peoples (1976), Ch.4 "The Impact of the Mongol Empire on Shifting Disease Balances, 1200-1500".

Death, Art, Dance, Painting

“I was dealing with a political story where much of the action took place on the floor of the U. S. Senate, and one of the edicts that came down from the Mt. Sinai of advertisers row was that at no time in a political drama must a speech or a character be equated with an existing political party or current political problems. So several million viewers were treated to an incredible display of senators shouting, gesticulating and talking in hieroglyphics, saying not a single thing germaine to the current political scene.”

Rod Serling (1924–1975) American screenwriter

Rod Serling on Arena, American Masters.
Other

Problem, Time

“We went to see 'Dr No' [first James Bond film, 1962] at Fort-Second Street. It's a fantastic movie, so cool. We walked outside and somebody threw a cherry bomb right in front of us, in this big crowd. And there was blood. I saw blood on people and all over. I felt like I was bleeding all over. I saw in the paper last week that there are more people throwing them - it's just part of the scene - and hurting people. My show in Paris is to be called 'Death in America.”

Andy Warhol (1928–1987) American artist

I'll show the 'Electric-chair' pictures and the Dogs in Birmingham and car wrecks and some suicide pictures.
Source: 1963 - 1967, What Is Pop Art? Interviews with Eight Painters, Part 1 (1963), pp. 116-19

Death, People, Dogs, Cars

“"Th' immortal mind of mortal man!" we hear yon loud-lunged Zealot cry;
Whose mind but means his sum of thought, an essence of atomic "I." Thought is the work of brain and nerve, in small-skulled idiot poor and mean;
In sickness sick, in sleep asleep, and dead when Death lets drop the scene.”

Richard Francis Burton (1821–1890) British explorer, geographer, translator, writer, soldier, orientalist, cartographer, ethnologist, spy, lin…

The Kasîdah of Hâjî Abdû El-Yezdî (1870)

Death, Sleep, Cry, Dead

“Retakes, a standard procedure on the Hollywood scene, are not desirable in making TV films with audience participation. Dubbed-in laughs are artificial and, consequently, used only in emergencies. Close-ups, another routine step in standard film-making, were discarded since such glamour treatment stood out like a sore thumb.”

Karl Freund (1890–1969) German film director and cinematographer

Filming The Lucy Show (December 1953)

“The scene was more beautiful far to the eye
Than if day in its pride had arrayed it.”

Paul Moon James (1780–1854) British poet and banker

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

Beauty

“I really liked Deadheads and the whole Dead concert scene: the tailgating, the tie-dye uniforms, the camaraderie — it was like NASCAR for potheads.”

Ann Coulter (1961) author, political commentator

Interview in Jambands (23 June 2006).
2006

Dead

“I shall never forget the sight of that beautiful boat as she went down, the orchestra playing to the last, the lights burning until they were extinguished by the waves. It sounds so unreal, like a scene on the stage.”

Steve Turner (1949) British writer

Source: The Band That Played On (Thomas Nelson, 2011), p. 152

Beauty, Light, Forgetting

“The whole thing had lasted only about three minutes. And three minutes after it was over, Frank Sinatra had probably forgotten about it for the rest of his life — as Ellison will probably remember it for the rest of his life: he had had, as hundreds of others before him, at an unexpected moment between darkness and dawn, a scene with Sinatra.”

Gay Talese (1932) American writer

"Frank Sinatra Has a Cold" (Esquire, April 1966)

Life

“Our Investigation has required EIGHT full time undercover investigative reporters embedded throughout the country from the bottom to the top of many political entities. Because we have hundreds of hours of footage, we needed to connect the dots and the scenes into a storyline that links it all together. It will be more impactful and more powerful instead of just putting it all out there at once or as soon as I got the video money shots individually. Long story short, everything you've heard about back room deals and smoke filled rooms are verified. We have smoking gun evidence and it is incredibly damning.”

James O'Keefe (1984) American conservative filmmaker

Reddit AMA https://www.reddit.com/r/The_Donald/comments/57jd2p/hi_im_james_okeefe_ask_me_anything/ (October 14, 2016)

Money, Time, Country

“He's never really been part of the scene
Give him Guns N' Roses, he'll take Queen
He's more into Beatles than the Stones,
He's more Stevie Wonder than Ramones”

Tim Minchin (1975) Australian comedian, actor, singer, songwriter, music composer and musician (from British descend)

"Rock and Roll Nerd" (from Darkside, 2005)

Parting

“As you know, very recently the secretary of state proclaimed his loyalty to a man guilty of what has always been considered as the most abominable of all crimes — of being a traitor to the people who gave him a position of great trust. The secretary of state, in attempting to justify his continued devotion to the man who sold out the Christian world to the atheistic world, referred to Christ's Sermon on the Mount as a justification and reason therefore, and the reaction of the American people to this would have made the heart of Abraham Lincoln happy. When this pompous diplomat in striped pants, with a phony British accent, proclaimed to the American people that Christ on the Mount endorsed communism, high treason, and betrayal of a sacred trust, the blasphemy was so great that it awakened the dormant indignation of the American people.
He has lighted the spark which is resulting in a moral uprising and will end only when the whole sorry mess of twisted warped thinkers are swept from the national scene so that we may have a new birth of national honesty and decency in government.”

Joseph McCarthy (1908–1957) Wisconsin politician

Speech in Wheeling, West Virginia (9 February 1950), as quoted at Civics Online http://www.civics-online.org/library/formatted/texts/mccarthy.html

Happiness, People, World, Communication

“p>'Ah, see,' he sang, 'the shamefast, virgin rose
first bursting her green bud so timidly,
half hidden and half bare: the less she shows
herself, the lovelier she seems to be.
Now see her bosom, budding still, unclose
and look! She droops, and seems no longer she—
not she who in her morning set afire
a thousand lads and maidens with desire.So passes in the passing of a day
the leaf and flower from our mortal scene,
nor will, though April come again, display
its bloom again, nor evermore grow green.”

Torquato Tasso (1544–1595) Italian poet

Deh mira (egli cantò) spuntar la rosa
Dal verde suo modesta e verginella;
Che mezzo aperta ancora, e mezzo ascosa,
Quanto si mostra men, tanto è più bella.
Ecco poi nudo il sen già baldanzosa
Dispiega: ecco poi langue, e non par quella,
Quella non par che desiata innanti
Fu da mille donzelle e mille amanti.Così trapassa al trapassar d'un giorno
Della vita mortale il fiore, e 'l verde:
Nè, perchè faccia indietro April ritorno,
Si rinfiora ella mai, nè si rinverde.
Canto XVI, stanzas 14–15 (tr. Wickert)
Gerusalemme Liberata (1581)

Flowers

“The louder a sound is, the more we recognize it as being near, so the louder the "tone" of objects that is, the blacker or whiter the nearer they seem; and so if in our picture we wish to give a sense of distance, we must see that the darkest shadows and highest lights are in the foreground : and because we may not be able to materially alter things as the undiscriminating process gives them to us, we must seek for and select those scenes, those subjects, in which this arrangement of highest and deepest tones do come in the foreground, and then take care that our process renders them with fidelity, so that we may not lose the sense of their nearness or the feeling of greater distance of other planes which it is intended they shall give.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 44-45

Feeling, Sense, Light

“The type of man who lives nowadays in the Romanian political scene, I have already found in history: under his rule, nations died and states were destroyed.”

Corneliu Zelea Codreanu (1899–1938) Romanian politician

For My Legionaries: The Iron Guard (1936), Politics

History

“So like we say, our weakness is our strength too. It maybe makes it hard as hell on a day-to-day basis. There's (always) some kind of tribulations or trials going on with us, whether it's in our inner camp or just inner demons of our own. It's definitely not an amazingly functioning unit at all times. There's no bull---t with that. Behind the scenes is as interesting as what people are seeing up front.”

Bert McCracken (1982) American musician

Alan Sculley (September 2, 2005) "The Used Overcome Conflicts, Achieve Success", The Press of Atlantic City, p. 23.

People, Hell, Time

“Here I am once more in this scene of dissipation and vice, and I begin already to find my morals corrupted.”

Jane Austen (1775–1817) English novelist

Letter (August 1796) on arriving in London [Letters of Jane Austen -- Brabourne Edition]
Letters

“Muslim power again suffered a setback after the death of Alauddin Khalji in 1316 AD. But it was soon revived by the Tughlaqs. By now most of the famous temples over the length and breadth of the Islamic empire in India had been demolished, except in Orissa and Rajasthan which had retained their independence. By now most of the rich treasuries had been plundered and shared between the Islamic state and its swordsmen. Firuz Shah Tughlaq led an expedition to Orissa in 1360 AD. He destroyed the temple of Jagannath at Puri, and desecrated many other Hindu shrines….
After the sack of the temples in Orissa, Firuz Shah Tughlaq attacked an island on the sea-coast where 'nearly 100,000 men of Jajnagar had taken refuge with their women, children, kinsmen and relations'. The swordsmen of Islam turned 'the island into a basin of blood by the massacre of the unbelievers'. A worse fate overtook the Hindu women. Sirat-i-Firuz Shahi records: 'Women with babies and pregnant ladies were haltered, manacled, fettered and enchained, and pressed as slaves into service in the house of every soldier.' Still more horrible scenes were enacted by Firuz Shah Tughlaq at Nagarkot (Kangra) where he sacked the shrine of Jvalamukhi. Firishta records that the Sultan 'broke the idols of Jvalamukhi, mixed their fragments with the flesh of cows and hung them in nosebags round the necks of Brahmins. He sent the principal idol as trophy to Medina.”

Firuz Shah Tughlaq (1309–1388) Tughluq sultan

S.R. Goel, The Story of Islamic Imperialism in India

Death, Women, Men, Fate

“They [his 'Street Scene' paintings and drawings, he made in Berlin] originated in the years 1911-14, in one of the loneliest times of my life, during which an agonizing restlessness drove me out onto the streets day and night, which were filled with people and cars.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Quote from Kirchner's Notebook entry 'Meine Strasenbilder', 24 Augustus 1919; as quoted in Ernst Ludwig Kirchner, Meisterwerke der Druckgraphik, M. M. Moeller, Gerd Hatje, Stuttgart 1990 p. 184
1916 - 1919

Life, People, Cars, Time

“The war with the Soviet Union began in June 1941, I think. And I believe it was two months later, or maybe three, that Heydrich sent for me. I reported. He said to me: "The Führer has ordered physical extermination." These were his words. And as though wanting to test their effect on me, he made a long pause, which was not at all his way. I can still remember that. In the first moment, I didn't grasp the implications, because he chose his words so carefully. But then I understood. I didn't say anything, what could I say? Because I'd never thought of a … of such a thing, of that sort of violent solution. … Anyway, Heydrich said: "Go and see Globocnik, the Führer has already given him instructions. Take a look and see how he's getting on with his program. I believe he's using Russian anti-tank trenches for exterminating the Jews." As ordered, I went to Lublin, located the headquarters of SS and Police Commander Globocnik, and reported to the Gruppenführer. I told him Heydrich had sent me, because the Führer had ordered the physical extermination of the Jews. … Globocnik sent for a certain Sturmbannführer Höfle, who must have been a member of his staff. We went from Lublin to, I don't remember what the place was called, I get them mixed up, I couldn't say if it was Treblinka or some other place. There were patches of woods, sort of, and the road passed through — a Polish highway. On the right side of the road there was an ordinary house, that's where the men who worked there lived. A captain of the Ordnungspolizei welcomed us. A few workmen were still there. The captain, which surprised me, had taken off his jacket and rolled up his sleeves, somehow he seemed to have joined in the work. They were building little wooden shacks, two, maybe three of them; they looked like two- or three-room cottages. Höfle told the police captain to explain the installation to me. And then he started in. He had a, well, let's say, a vulgar, uncultivated voice. Maybe he drank. He spoke some dialect from the southwestern corner of Germany, and he told me how he had made everything airtight. It seems they were going to hook up a Russian submarine engine and pipe the exhaust into the houses and the Jews inside would be poisoned.
I was horrified. My nerves aren't strong enough … I can't listen to such things… such things, without their affecting me. Even today, if I see someone with a deep cut, I have to look away. I could never have been a doctor. I still remember how I visualized the scene and began to tremble, as if I'd been through something, some terrible experience. The kind of thing that happens sometimes and afterwards you start to shake. Then I went to Berlin and reported to the head of the Security Police.”

Adolf Eichmann (1906–1962) German Nazi SS-Obersturmbannführer

Source: Eichmann Interrogated (1983), p. 75 - 76.

Men, War, Way, Thinking

“My mother took me to town with her, and made me pass, as if by accident, through the yard of a slaughter-house. I saw some men, their arms naked and besmeared with blood, knocking a bull in the head; others cutting the throats of calves and sheep, and separating their still heaving limbs. Streams of smoking gore ran along the pavement. An intense feeling of pity, mingled with horror, seized upon me. I asked to be led away quickly. The thought of these scenes, the necessary preliminaries of one of those dishes of meat which I had so often seen on the table, made me take a disgust to animal food and inspired me with a horror for butchers.”

Alphonse de Lamartine (1790–1869) French writer, poet, and politician

Book IV, Note VIII, p. 61
Les confidences (1849)

Men, Food, Feeling, Animals

“All is so calm and chaste, so like a dream.
That looking at this masterpiece of God, I ask myself
Where is there a painter, an artist so supreme,So profoundly wise as to unfurl
A canvas with a more arresting scene,
More delicate and beautiful in this World?”

Florbela Espanca (1894–1930) Portuguese poet

Tudo é tranquilo e casto e sonhador...
Olhando esta paisagem que é uma tela
De Deus, eu penso então: Onde há pintorOnde há artista de saber profundo,
Que possa imaginar coisa mais bela,
Mais delicada e linda neste Mundo?
Juvenilia: versos inéditos de Florbela Espanca (1946), p. 56
Translated by John D. Godinho
Juvenília (1931), No meu Alentejo

God, World, Beauty, Dreams

“The newspapers were saying, 'You have AIDS.' They actually said I was dead. I just threw myself into my work when the whispering campaign turned really ugly. I think Camille saved me. I felt incredibly paranoid, just as Camille did. And do you know? I was able to use that in doing Camille's scenes. It made them better.”

Isabelle Adjani (1955) French actress

The 'Hounding' of Isabelle Adjani http://www.nytimes.com/1990/01/06/movies/the-hounding-of-isabelle-adjani.html, 6 January 1990.

Thinking, Dead

“Unique descriptions of scene play a significant role in the success of fiction, and any first-rate novelists knows enough to keep changing the scenes in which his characters carry out action, since that no only conceals the novelist's shortcomings, but also heightens the reader's enthuisiasm in the reading process”

Mo Yan book The Republic of Wine

Source: The Republic of Wine (1992), Chapter 10, Section 2

Change, Reading, Success

“The actual quality of game music is very dissapointing today. The demo scene has way better and more interesting music. The simply fact is that demo scene music can usually stand on it's own and game music can't.”

Jesper Kyd (1972) musician

Amiga Music Preservation interview, 2006

Music, Way, Game

“In fact, their contempt for the native converts was deeper than that for their Hindu subjects. They had all along looked down upon the native converts as Ajlãf (low-born) and Arzãl (base-born) as compared to the Ashrãf (exalted) which distinctive designation they had reserved for themselves….. It was at this critical juncture that the frustrated fraternity of foreign Muslims took a very strategic step. They started swearing by a solidarity with the native Muslims whom they had despised so far. They let loose on the native Muslims an army of mercenary Mullahs recruited, mostly from their own ranks. These Mullahs went about broadcasting the message that ‘Islam was in danger’, and that ‘Hindus were out to enslave and exploit the Muslim minority’. It was in this manner that the residues of Islamic imperialism managed to ‘merge’ themselves with the native converts, and to present themselves at the head of a strong phalanx pitted against whatever historical forces threatened their unjust privileges. Hitherto, the haughty Ashrãf had stood strictly aloof from the abject Ajlãf and the despised Arzãl. Now all of a sudden the latter became the former’s ‘brothers in faith’. This was a tremendous transformation of the political scene in the second decade of the 20th century. … The British never attached more than a nuisance value to this noisy fraternity which had to be befriended or ignored according to the needs of British policy at any time. It was the national leadership which was impressed by this mobilisation of the ‘Muslim masses’ and the pathos of ‘Muslim plight’. They accepted not only separate electorates but also weightages for the ‘Muslim minority’ in many provinces.”

Sita Ram Goel (1921–2003) Indian activist

Muslim Separatism – Causes and Consequences (1987)

Faith, Strong, Time

“I've been flyin' down the road,
And I've been starvin' to be alone,
Independent from the scene that I've known.”

Neil Young (1945) Canadian singer-songwriter

Albuquerque
Song lyrics, Tonight's the Night (1975)

“Alas! we wake: one scene alone remains, —
The exiles by the streams of Babylon.”

Emma Lazarus (1849–1887) American poet

In the Jewish Synagogue at Newport

“The perseverence of a rebel, I drop heavier levels
of unseen or heard, a king with words
Can't knock the hustle, but I've seen street dreams deferred
Dark spots in my mind where the scene occurred
Some say I'm too deep, but I'm in too deep to sleep”

Common (rapper) (1972) American rapper, actor and author from Illinois

"The 6th Sense" (Track 9)
Albums, Like Water for Chocolate (2000)

Dreams, Sleep, Perseverance

“And soon a branch, part of a hidden scene,
The leafy mind, that long was tightly furled,
Will turn its private substance into green,
And young shoots spread upon our inner world.”

Theodore Roethke (1908–1963) American poet

"The Light Comes Brighter," ll. 17-20
Open House (1941)

World, Parting

“John Howard turned the prime ministership into something like a state police minister. He's at the scene of every crime, twice a day on radio, the guy did no thinking.”

Paul Keating (1944) Australian politician, 24th Prime Minister of Australia

Referring to former Prime Minister of Australia John Howard, 7.30 Report, August 6, 2008. 7.30 Report Interview http://www.abc.net.au/7.30/content/2008/s2326431.htm

Guy, Thinking

“Last night I saw the grass
Slowly divide (it was the same scene
But now it glowed a fierce and mortal green)
And saw the dog emerging.”

Richard Wilbur (1921–2017) American poet

The Pardon

Dogs, Grass, Night

“That's the kind of stuff you are offered today. Scripts that have you mixed up with young men. I find them utterly revolting. Of course WE never had to do nude scenes. I'm glad, too, because I'm susceptible to pneumonia.”

Irene Dunne (1898–1990) American actress

citation needed

Men

“I have separate lists titled by characters in which I list each scene concerning that character consecutively and also the proposed scenes for that character along with notes of how I want to write it. So I take these and by them map out ahead the final draft, interlacing the scenes between various characters. Wonderful, isn't it? If I fail as a writer, I can always become a bookkeeper.
I have always been bothered because I couldn't remember details of time, place, etc. and I used to find myself either surrounded by reams of written pages, or else rewriting the same thing three or four times. This helps somewhat to alleviate that.”

James Jones (1921–1977) American author

Letter to Maxwell Perkins (21 October 1946); p. 78
To Reach Eternity (1989)

Time, Help

“Well let me tell you like this, the rap scene right now has taken its own course and its own direction because you have so many rap records of all different calibers coming out. And me, I favor everybody, I like everybody and the reason why is because I want everyone to Favor Flav. If I favor one certain rapper or one certain singer then only one certain singer/rappers are going to favor Flav. So me, I'm just a friendly ghost and not only that I'm a musician. I like all kinds of music. And everybody making records right now is definitely respected by Flav and for all you new comers just starting to make records: welcome aboard.”

Flavor Flav (1959) American rapper

[Casey, Cisneros, http://media.www.collegian.com/media/storage/paper864/news/2005/01/27/VervetheDishLive/Flavor.Flav.Interview-1705943.shtml, Flavor Flav interview, The Rocky Mountain Collegian, Colorado State University, 27 January 2005, 2008-03-05]

Music

“When I go down to the manufacturing districts, I know that I shall be returning to a gloomy scene. I know that starvation is stalking through the land, and that men are perishing for want of the merest necessaries of life. When I witness this, and recollect that there is a law which especially provides for keeping our population in absolute want. I cannot help attributing murder to the Legislature of this country—and wherever I stand, whether here or out of doors, I will denounce that system as legislative murder which denies to the people of the land food in exchange for the produce of their industry.”

Richard Cobden (1804–1865) English manufacturer and Radical and Liberal statesman

Speech http://hansard.millbanksystems.com/commons/1841/sep/24/supply-distress-of-the-country in the House of Commons (24 September 1841) against the Corn Laws. 1840s

Life, Men, People, Law