
Source: 'A Plea for Art Photography in America', Alfred Stieglitz, in 'Photographic Mosaics,' Vol 28, 1892: About Pictorialism.
Source: 'A Plea for Art Photography in America', Alfred Stieglitz, in 'Photographic Mosaics,' Vol 28, 1892: About Pictorialism.
Annotations to Sir Joshua Reynolds's Discourses, title page (c. 1798–1809)
1790s
Source: Permaculture: A Designers' Manual (1988), chapter 12.7
Teasing Los Angeles Times reporter Peter Wallsten during a White House press conference, unaware that Wallsten suffers from Stargardt’s disease and is partly blind.
"Bush shows his sensitive side, telling blind journalist: 'I'm interested in the shade look'" http://news.independent.co.uk/world/americas/article1089264.ece, The Independent, June 16, 2006.
2000s, 2006
By Still Waters (1906)
Servant of Peace : A Selection of the Speeches and Statements of Dag Hammarskjöld, Secretary General of the United Nations (1962), p. 107; this has sometimes been paraphrased: It is in playing safe that we create a world of utmost insecurity.
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 282
Sun-being to Cyrano
The Other World (1657)
Speech in Birmingham (16 April 1884), quoted in The Times (17 April 1884), p. 10
We have been Friends.
Fitzgerald News Conference from the Washington Post (October 28, 2005)
Interview with Underworld: Blood Wars Composer, Michael Wandmacher http://www.thesoundarchitect.co.uk/interview-underworld-blood-wars-composer-michael-wandmacher/ (February 15, 2018)
Act I
Buchanan Dying (1974)
translation from the Dutch original: Fons Heijnsbroek
version in original Dutch / citaat van Paul Gabriël, in Nederlands: O, wat dat betreft, dan moet ge maar eens goed opletten, hoe in ieder gewest van ons land het plattegrond er geheel anders uitziet; niet alleen het weiland heeft een andere tint, maar de koeien zijn anders, ja de menschen hebben als 't ware het karakter aangenomen van den grond zij zijn geboren en getogen. Dat is zoo sterk, dat toen ik met Roelofs nog in Brussel woonde [vroege 1860's] en wij in 't mooie gedeelte van het seizoen naar Holland plachten te gaan om studies te maken, Roelofs wanneer hij thuis kwam, mij niet behoefde te zeggen waar hij geweest was. Ik zag het aan zijn werk en één voor één noemde ik hem de plekjes van ons vaderland, waar hij op studietocht van het land en de bewoners schetsen had gemaakt.
Quote of Gabriël, in a talk to W. C. Nakken, c. 1880; published in Elsevier's geïllustreerd maandschrift: verzameling van Nederlandsche letterkundige kunstwerken geïllustreerd door Nederlandsche kunstenaars, W. C. Nakken, June/July 1898; taken from the excerpt https://rkd.nl/explore/excerpts/365 in the Collection RKD Letters, Manuscripts and small Archives], The Hague
1880's + 1890's
How to Shoot an Amateur Naturalist (1984)
Source: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 88
"Music When the Lights Go Out" (with Carl Barat)
Lyrics and poetry
Text for the 'Old Sarum', print in 'English Landscape' 1835/36, as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 380
1830s
Source: Lycidas (1637), Line 64; comparable to: "Erant quibus appetentior famæ videretur, quando etiam sapientibus cupido gloriae novissima exuitur" (Translated: "Some might consider him as too fond of fame, for the desire of glory clings even to the best of men longer than any other passion"), Tacitus, Historiae, iv. 6; said of Helvidius Priscus.
St. 22
The Scholar Gypsy (1853)
The Nuts of Knowledge (1903)
Memoirs : David Ben-Gurion (1970), p. 36
Keeping the Faith.
Song lyrics, An Innocent Man (1983)
version in original Dutch (citaat van Gerrit Benner, in het Nederlands:) Het gaat om de sfeer van de natuur, zeker, maar ik wil dat het schilderij klaarte, vrolijkheid opwekt. Als zo'n ding af is, dan moet ik ermee leven, daarom moet het prettig zijn. Zon. Klaarte. Nooit wit-zwart, want daar zijn zoveel tinten tussen!
quoted by Hans Redeker (before 1967), in Gerrit Benner; Meulenhoff, Amsterdam, 1967; as cited by Susan van den Berg in 'Benner en Bregman', website 'de Moanne' http://www.demoanne.nl/benner-en-bregman/, 1 Sept. 2008, note xx
1950 - 1980
The Making of America (1986)
St. 2
Ode on a Distant Prospect of Eton College http://www.thomasgray.org/cgi-bin/display.cgi?text=odec (written 1742–1750)
“Let us cross over the river, and rest under the shade of the trees.”
Last words (May 10, 1863); as quoted in "Stonewall Jackson's Last Days" by Joe D. Haines, Jr. in America's Civil War
Under the Trees, reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 494.
Elliot and Dowson, Vol. II : Elliot and Dowson, History of India as told by its own Historians, 8 Volumes, Allahabad Reprint, 1964. pp. 238-39
(18th August 1827) Euthanasia
The London Literary Gazette, 1827
Source: Quotes from secondary sources, Dictionary of Burning Words of Brilliant Writers, 1895, P. 95.
Brown : The Last Discovery of America (2003)
L’herbe de l’été pâlit sous le soleil.
La rose, expirant sous les âpres ravages
Des chaleurs, languit vers l’ombre, et le sommeil
Coule des feuillages.
La fraîcheur se glisse http://www.reneevivien.com/sapho.html#fraicheur (Coolness glides...), trans. Margaret Porter (1977)
Sapho http://www.reneevivien.com/sapho.html (1903)
“How happy he who crowns in shades like these,
A youth of labour with an age of ease.”
Source: The Deserted Village (1770), Line 99.
As quoted in El Punt (28 January 2012). "La teva cara em sona" http://www.elpuntavui.cat/noticia/article/5-cultura/19-cultura/500466-la-teva-cara-em-sona.html
Source: after 2000, Doubt and belief in painting' (2003), p. 43, note 36 : quote on his start with photography
“So does he strive to rescue your shade from the pyre and wages a mighty contest with Death, wearying the efforts of artists and seeking to love you in every material. But beauty created by toil of cunning hand is mortal.”
Sic auferre rogis umbram conatur et ingens
certamen cum Morte gerit, curasque fatigat
artificum inque omni te quaerit amare metallo.
Sed mortalis honos, agilis quem dextra laborat.
i, line 7
Silvae, Book V
Madoc in Wales http://olivercowdery.com/texts/1805sout.htm#pg001, Part I, Sec. V - 48 (1805). Compare: "'Darkly, deeply, beautifully blue,' As some one somewhere sings about the sky", Lord Byron, Don Juan, canto iv. stanza 110.
As quoted in "The Scoreboardː Stengelː 'Wagner Best I Ever Saw'" https://news.google.com/newspapers?id=_kYqAAAAIBAJ&sjid=9U4EAAAAIBAJ&pg=7207%2C1231475
A poem from the collection “Hunnutettu” (“Veiled”), translation by Rupert Moreton (1936)
Léon Walras, Elements d'économie pure, ou théorie de la richesse sociale, 1874, Translation, Routledge, 1954/2013, p. 65.
“Sorrow, like a cloud on the sun, shades the soul of Clessammor.”
"Carthon"
The Poems of Ossian
Defence of Criminals: A Criticism of Morality (1889)
Source: Prajwal Hegde "I am enjoying my partnership with Cara Black: Sania Mirza"
Song: "Silhouettes"
"Repentance and Impenitence" p. 365
Lectures on Systematic Theology (1878)
Pg 66
Becoming A Barbarian (2016)
“Shade, unperceiv'd, so softening into shade.”
Source: Hymn (1730), line 25.
The Owner Built Home: A How-to-do-it Book (1972)
(14th February 1829) Lines on Newton’s Picture of the Disconsolate
The London Literary Gazette, 1829
Quote from Corot's 'Notebooks', ca. 1828, as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 240
1820 - 1850
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 6.
Source: 1930s, On my Painting (1938), p. 14
The Novel: What It Is (1893)
Elegy, p. 60
Anthology of Georgian Poetry (1948)
New York City (p. 260).
States of Desire: Travels in Gay America (1980)
"Creation", as quoted in "Shattered Identities and Contested Images: Reflections of Poetry and History in 20th-Century Vietnam" by Neil Jamieson, in Crossroads: An Interdisciplinary Journal of Southeast Asian Studies, Vol. 7, No. 2, 1992, p. 89, and in Understanding Vietnam by Neil Jamieson (University of California Press, 1995), ISBN 978-0520916586, p. 164
The Hedgehog, the Fox, and the Magister's Pox: Mending the Gap between Science and the Humanities (Harmony, 2003), p. 82
I’m a diehard romantic - Shraddha Kapoor via Filmfare (April 30, 2013) http://www.filmfare.com/interviews/im-a-diehard-romantic-shraddha-kapoor-3014.html
“Oh! breathe not his name, let it sleep in the shade,
Where cold and unhonour'd his relics are laid.”
Oh Breathe Not His Name, st. 1.
Irish Melodies http://www.musicanet.org/robokopp/moore.html (1807–1834)
Riyadh-as-Saliheen by Imam Al-Nawawi, Hadith 376
Sunni Hadith
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 254.
Source: 1950's, In: Reminiscence and Reverie, 1951, pp. 45, 46
The Conspiracy of Kings (1792)
Context: Of these no more. From Orders, Slaves and Kings,
To thee, O Man, my heart rebounding springs.
Behold th' ascending bliss that waits your call,
Heav'n's own bequest, the heritage of all.
Awake to wisdom, seize the proffer'd prize;
From shade to light, from grief to glory rise.
Freedom at last, with Reason in her train,
Extends o'er earth her everlasting reign…
“Obscure they went through dreary shades, that led
Along the waste dominions of the dead.”
Ibant obscuri sola sub nocte per umbram,
Perque domos Ditis vacuas et inania regna.
Source: Aeneid (29–19 BC), Book VI, Lines 268–269 (tr. John Dryden)
“Already his vast shadow shed upon the unhappy planet a shade soft as a night of love.”
Source: The Revolt of the Angels (1914), Ch. XXXV
Context: Satan found pleasure in praise and in the exercise of his grace; he loved to hear his wisdom and his power belauded. He listened with joy to the canticles of the cherubim who celebrated his good deeds, and he took no pleasure in listening to Nectaire's flute, because it celebrated nature's self, yielded to the insect and to the blade of grass their share of power and love, and counselled happiness and freedom. Satan, whose flesh had crept, in days gone by, at the idea that suffering prevailed in the world, now felt himself inaccessible to pity. He regarded suffering and death as the happy results of omnipotence and sovereign kindness. And the savour of the blood of victims rose upward towards him like sweet incense. He fell to condemning intelligence and to hating curiosity. He himself refused to learn anything more, for fear that in acquiring fresh knowledge he might let it be seen that he had not known everything at the very outset. He took pleasure in mystery, and believing that he would seem less great by being understood, he affected to be unintelligible. Dense fumes of Theology filled his brain. One day, following the example of his predecessor, he conceived the notion of proclaiming himself one god in three persons. Seeing Arcade smile as this proclamation was made, he drove him from his presence. Istar and Zita had long since returned to earth. Thus centuries passed like seconds. Now, one day, from the altitude of his throne, he plunged his gaze into the depths of the pit and saw Ialdabaoth in the Gehenna where he himself had long lain enchained. Amid the ever lasting gloom Ialdabaoth still retained his lofty mien. Blackened and shattered, terrible and sublime, he glanced upwards at the palace of the King of Heaven with a look of proud disdain, then turned away his head. And the new god, as he looked upon his foe, beheld the light of intelligence and love pass across his sorrow-stricken countenance. And lo! Ialdabaoth was now contemplating the Earth and, seeing it sunk in wickedness and suffering, he began to foster thoughts of kindliness in his heart. On a sudden he rose up, and beating the ether with his mighty arms, as though with oars, he hastened thither to instruct and to console mankind. Already his vast shadow shed upon the unhappy planet a shade soft as a night of love.
And Satan awoke bathed in an icy sweat.
Nectaire, Istar, Arcade, and Zita were standing round him. The finches were singing.
"Comrades," said the great archangel, "no — we will not conquer the heavens. Enough to have the power. War engenders war, and victory defeat.
"God, conquered, will become Satan; Satan, conquering, will become God. May the fates spare me this terrible lot; I love the Hell which formed my genius. I love the Earth where I have done some good, if it be possible to do any good in this fearful world where beings live but by rapine.
Now, thanks to us, the god of old is dispossessed of his terrestrial empire, and every thinking being on this globe disdains him or knows him not. But what matter that men should be no longer submissive to Ialdabaoth if the spirit of Ialdabaoth is still in them; if they, like him, are jealous, violent, quarrelsome, and greedy, and the foes of the arts and of beauty? What matter that they have rejected the ferocious Demiurge, if they do not hearken to the friendly demons who teach all truths; to Dionysus, Apollo, and the Muses? As to ourselves, celestial spirits, sublime demons, we have destroyed Ialdabaoth, our Tyrant, if in ourselves we have destroyed Ignorance and Fear."
And Satan, turning to the gardener, said:
"Nectaire, you fought with me before the birth of the world. We were conquered because we failed to understand that Victory is a Spirit, and that it is in ourselves and in ourselves alone that we must attack and destroy Ialdabaoth."
“They think too much of having shaded out
A few old pecker-fretted apple trees.”
Directive (1947)
Context: p>As for the woods' excitement over you
That sends light rustle rushes to their leaves,
Charge that to upstart inexperience.Where were they all not twenty years ago?
They think too much of having shaded out
A few old pecker-fretted apple trees.</p
“He moves in darkness as it seems to me,
Not of woods only and the shade of trees.”
Mending Wall (1914)
Context: He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father’s saying,
And he likes having thought of it so well
He says again, “Good fences make good neighbours.”
“Sun of Righteousness, arise,
Triumph o'er the shades of night”
"Sun of Righteousness, Arise", a morning hymn, reported in Dictionary of Burning Words of Brilliant Writers (1895) by Josiah Hotchkiss Gilbert, p. 77.
Context: Christ whose glory fills the skies,
Christ, the true, the only light,
Sun of Righteousness, arise,
Triumph o'er the shades of night;
Day-spring from on high, be near,
Day-star in my heart appear.
“There are twin Gates of Sleep.
One, they say, is called the Gate of Horn
and it offers easy passage to all true shades.
The other glistens with ivory, radiant, flawless,
but through it the dead send false dreams up toward the sky.”
Sunt geminae Somni portae, quarum altera fertur
Cornea, qua veris facilis datur exitus umbris,
Altera candenti perfecta nitens elephanto,
Sed falsa ad caelum mittunt insomnia Manes.
Source: Aeneid (29–19 BC), Book VI, Lines 893–896 (tr. Fagles); the gates of horn and ivory.
“Yes, thou art gone! and round me too the night
In ever-nearing circle weaves her shade.”
St. 14
Thyrsis (1866)
Context: Yes, thou art gone! and round me too the night
In ever-nearing circle weaves her shade.
I see her veil draw soft across the day,
I feel her slowly chilling breath invade
The cheek grown thin, the brown hair sprent with grey;
I feel her finger light
Laid pausefully upon life’s headlong train; —
The foot less prompt to meet the morning dew,
The heart less bounding at emotion new,
And hope, once crush’d, less quick to spring again.
"The Altar of Righteousness" in Harper's Monthly (June 1904).
Context: God by God flits past in thunder, till His glories turn to shades;
God to God bears wondering witness how His gospel flames and fades.
More was each of these, yet they were, than man their servant seemed:
Dead are all of these, and man survives who made them while he dreamed.