(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) ..het is hier zo mooi met dat vriesende weer. o je moest thans de verschieten eens zien, en die akkers met zijn zwarte aarde en vlakken schaduwen dat zou je frapperen, heerlijk schijnt de zon in de ..
in a letter to Willem Maris, 1860's; as cited in 'Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850', Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, p. 31
1860's
Quotes about shadow
page 11
“The deep spaces between stars,
Fathomless as the cold shadow
His mind cast.”
"Wallace Stevens", p. 25
The Bread of Truth (1963)
“Praise
the invisible sun burning beyond
the white cold sky, giving us
light and the chimney's shadow.”
Mass for the Day of St. Thomas Didymus (1981); Online excerpt http://www.poets.org/viewmedia.php/prmMID/16007
Interrupting Jeff Hardy's promo from the top of a ladder. August 21, 2009.
Friday Night SmackDown
Extract from Barbara Hepworth: Carvings and Drawings, (from Chapter 1: The excitement of discovering the nature of carving, 1903-1930), with an introduction by Herbert Read, London, 1952
1947 - 1960
The Blessed Damozel http://www.cs.rice.edu/~ssiyer/minstrels/poems/715.html (1850)
“Adversity shows whether we have friends, or only the shadows of friends.”
Maxim 35
Sentences, The Moral Sayings of Publius Syrus, a Roman Slave
Final stanza of manuscript notes for "God Blessed America" which later became "This Land Is Your Land" (23 February 1940)
From the foreword to Clemente! (1973) by Kal Wagenheim
A Defence of Poetry http://www.bartleby.com/27/23.html (1821)
Quote from Werefkin's letter to Alexej von Jawlensky, between December 1909 and Spring 1910; as cited in 'Ambiguity of Home: Identity and Reminiscence in Marianne Werefkin's Return Home, c. 1909', Adrienne Kochman http://www.19thc-artworldwide.org/spring06/52-spring06/spring06article/171-ambiguity-of-home-identity-and-reminiscence-in-marianne-werefkins-return-home-c-1909
1906 - 1911
Letter to Thomas Oldham Barlow (1876), from The Letters of Samuel Palmer, ed. Raymond Lister (Oxford, 1974)
Speech in Chicago, Illinois (29 September 1952)
Genesis II, 18 (p. 9)
The Pentateuch and Haftorahs (one-volume edition, 1937, ISBN 0-900689-21-8
First chorus, line 65.
Atalanta in Calydon (1865)
Wrap up Warm tour, May 2004
Stand-up
Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), Modern Science and Pantheism, p.77-8
Source: Father and Child Reunion (2001), p. 120.
“The field is fought—who walketh there?—
The shadow victory casts—Despair!”
The Vow of the Peacock (1835)
As quoted in Holy Terror: Inside the World of Islamic Terrorism (1987) by Amir Taheri, pp. 241-3.
Disputed
Fakhruddin Iraqi: Divine Flashes (1982)
"Moods of Washington" (p.36)
So This Is Depravity (1980)
Quote in a letter to his son Lucien, 8 Mai 1903, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 149
Quote of Pissarro - referring to the writer of the book Impressionist Painting, it Genesis and Development, published in 1904
after 1900
Source: Posthumous publications, Portrait of Manet by himself and his contemporaries (1960), p. 98.
In 'Dynanisme plastique' 1914, Boccioni; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 132
1914 - 1916
Archetypal Dimensions of the Psyche (1994), The Anima as the Woman within the Man
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 390.
“It's you who are strange. Talking to you is like talking to someone who has no shadow.”
Jórunn
Heimsljós (World Light) (1940), Book Three: The House of the Poet
“They've found fault with me enough, in all conscience, for putting violet shadows on bodies.”
Source: undated quotes, Renoir – his life and work, 1975, p. 80 : Renoir to Vollard, referring to his color-use.
Lecture II : The Universal Categories, § 1 : Presentness, CP 5.41 - 42
Pragmatism and Pragmaticism (1903)
"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
Commentary on Acts CR 48 104; as quoted in War Against the Idols: The Reformation of Worship from Erasmus to Calvin by Carlos M. N. Eire p.222
“The shadows: some hide, others reveal.”
Las sombras: unas ocultan, otras descubren.
Voces (1943)
During Prime Minister's Questions, 2 April 2008 http://www.youtube.com/watch?v=-AsiKI7uCog&feature=related, with Deputy Conservative Party Leader, William Hague
Source: Shadows Linger (1984), Chapter 1, “Juniper” (p. 223; opening words)
“The Constitution deals with substance, not shadows.”
Cummings v. State of Missouri, 71 U. S. 277, 325 (1866).
Quote in Werefkin's Letter to Igor Grabar on August 10, 1895; Department of Manuscripts of the State Tretyakov Gallery, Fund 106. Item 3242
1895 - 1905
In a letter to her friend, the sculptress Clara Rilke-Westhoff, from Worpswede, 13 May 1901; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 201
1900 - 1905
“God is love, I said, but art's the possibility of forms, and shadows are the source of identity.”
Source: Three Days Before the Shooting... (2010), p. 987.
"The Funeral Procession", as quoted in Understanding Vietnam by Neil Jamieson (University of California Press, 1995), p. 164
"Foreword" to Ken Wilber: Thought as Passion (2000) by Frank Visser
“Truly, we are dust and shadow; truly, desire is blind and greedy; truly, hope deceives.”
Veramente siam noi polvere et ombra,
veramente la voglia cieca e 'ngorda,
veramente fallace è la speranza.
Canzone 294, st. 4
Il Canzoniere (c. 1351–1353), To Laura in Death
Book I, lines 417–430 (pp. 23–24)
The Lusiad; Or, The Discovery of India: an Epic Poem (1776)
Source: Memoirs Of A Bird In A Gilded Cage (1969), CHAPTER 8, Centennial summer, p. 196
"Alive", p. 51
Laboratories of the Spirit (1975)
Source: Dictionary of Burning Words of Brilliant Writers (1895), p. 378.
“Woman is the crowning excellence of God's creation … Woman is light, man is shadow.”
Bankim Chandra Chattopadhyay: From Bankim's novel Krishnakanta's Will, quoted from Elst, Koenraad (2001). Decolonizing the Hindu mind: Ideological development of Hindu revivalism. New Delhi: Rupa. p. 114-115
Source: The White Rose (1985), Chapter 39, “A Guest at Charm” (pp. 624-625)
Pt. I, Ch. 2 Villegagnon
Pioneers of France in the New World (1865)
Epigraph, Ch. 1 : Mount Shasta; this appears as "To Mount Shasta" in In Classic Shades, and Other Poems (1890), p. 126
Variant: I saw the lightning's gleaming rod
Reach forth and write upon the sky
The awful autograph of God.
This variant was cited as being in The Ship in the Desert in the 10th edition of Familiar Quotations (1919) by John Bartlett, but this appears to be an incorrect citation of a misquotation first found in The Japanese Letters of Lafcadio Hearn (1910), edited by Elizabeth Bislande, p. 161.
Shadows of Shasta (1881)
Context: Where storm-born shadows hide and hunt
I knew thee, in thy glorious youth,
And loved thy vast face, white as truth;
I stood where thunderbolts were wont
To smite thy Titan-fashioned front,
And heard dark mountains rock and roll;
I saw the lightning's gleaming rod
Reach forth and write on heaven's scroll
The awful autograph of God!
Part I : Ambiguity and Freedom http://www.marxists.org/reference/subject/ethics/de-beauvoir/ambiguity/ch01.htm
The Ethics of Ambiguity (1947)
Context: At the present time there still exist many doctrines which choose to leave in the shadow certain troubling aspects of a too complex situation. But their attempt to lie to us is in vain. Cowardice doesn’t pay. Those reasonable metaphysics, those consoling ethics with which they would like to entice us only accentuate the disorder from which we suffer.
Science and the Unseen World (1929)
Context: If God is as real as the shadow of the Great War on Armistice Day, need we seek further reason for making a place for God in our thoughts and lives? We shall not be concerned if the scientific explorer reports that he is perfectly satisfied that he has got to the bottom of things without having come across either.<!--VI, p.67
Neb [No-one] (1985)
Context: On seeing his shadow fall on such ancient rocks, he had to question himself in a different context and ask the same old question as before, "Who am I?", and the answer now came more emphatically than ever before, "No-one."
But a no-one with a crown of light about his head. He would remember a verse from Pindar: "Man is a dream about a shadow. But when some splendour falls upon him from God, a glory comes to him and his life is sweet."
Statement at the funeral of Aristotle Onassis, as quoted in Jacqueline Bouvier Kennedy Onassis : A Life (2000) by Donald Spoto.
Context: Aristotle Onassis rescued me at a moment when my life was engulfed with shadows. He brought me into a world where one could find both happiness and love. We lived through many beautiful experiences together which cannot be forgotten, and for which I will be eternally grateful.
Quoted in Parade Magazine 10 July 2008 http://www.parade.com/celebrity/celebrity-parade/archive/pc_0194.html.
Context: I jumped into the water with 45 sharks without a cage in the Bahamas for a Discovery Channel show. That was a really good experience. I'm not saying that everyone should swim with sharks, but sometimes you have to jump over your own shadow in order to learn something that you will never forget for the rest of your life. Then you know you can conquer your fears.
“I'm dancing in the shadows of life
And death is all around me tonight”
Whaler (1994), Right Beside You
Context: I'm dancing in the shadows of life
And death is all around me tonight
I miss you making love to me right
Beside myself I'm holding you tight
Someone is waiting for me to rise
And drive into the ocean I cried
And I cried and I cried my baby to sleep
Beside myself my soul to keep Right beside you I see
Right beside you I stay
Right beside you I'll be
Right beside you always.
St. 1
Hymn to Intellectual Beauty (1816)
Context: The awful shadow of some unseen Power
Floats though unseen among us; visiting
This various world with as inconstant wing
As summer winds that creep from flower to flower;
Like moonbeams that behind some piny mountain shower,
It visits with inconstant glance
Each human heart and countenance;
Like hues and harmonies of evening,
Like clouds in starlight widely spread,
Like memory of music fled,
Like aught that for its grace may be
Dear, and yet dearer for its mystery.
The monster to Robert Walton
Frankenstein (1818)
Context: I seek not a fellow feeling in my misery. No sympathy may I ever find. When I first sought it, it was the love of virtue, the feelings of happiness and affection with which my whole being overflowed, that I wished to be participated. But now that virtue has become to me a shadow, and that happiness and affection are turned into bitter and loathing despair, in what should I seek for sympathy? I am content to suffer alone while my sufferings shall endure; when I die, I am well satisfied that abhorrence and opprobrium should load my memory. Once my fancy was soothed with dreams of virtue, of fame, and of enjoyment. Once I falsely hoped to meet with beings who, pardoning my outward form, would love me for the excellent qualities which I was capable of unfolding. I was nourished with high thoughts of honour and devotion. But now crime has degraded me beneath the meanest animal. No guilt, no mischief, no malignity, no misery, can be found comparable to mine. When I run over the frightful catalogue of my sins, I cannot believe that I am the same creature whose thoughts were once filled with sublime and transcendent visions of the beauty and the majesty of goodness. But it is even so; the fallen angel becomes a malignant devil. Yet even that enemy of God and man had friends and associates in his desolation; I am alone.
“If our so-called facts are changing shadows, they are shadows cast by the light of constant truth.”
Science and the Unseen World (1929)
Context: If our so-called facts are changing shadows, they are shadows cast by the light of constant truth. So too in religion we are repelled by that confident theological doctrine... but we need not turn aside from the measure of light that comes into our experience showing us a Way through the unseen world.<!--IX, p.91
First published in the "Movie Answer Man" column (25 July 2004) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040725/ANSWERMAN/407250305
Context: Many moviegoers and video viewers say they do not "like" black and white films. In my opinion, they are cutting themselves off from much of the mystery and beauty of the movies.
Black and white is an artistic choice, a medium that has strengths and traditions, especially in its use of light and shadow. Moviegoers of course have the right to dislike b&w, but it is not something they should be proud of. It reveals them, frankly, as cinematically illiterate.
I have been described as a snob on this issue. But snobs exclude; they do not include. To exclude b&w from your choices is an admission that you have a closed mind, a limited imagination, or are lacking in taste.
First Ennead, Book VI, as translated by Thomas Taylor, The Eleusinian and Bacchic Mysteries: A Dissertation https://books.google.com/books?id=vEt0LaOue8IC (1891) pp. 43-44.
The First Ennead (c. 250)
“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."
“Darkness at the break of noon
Shadows even the silver spoon
The handmade blade, the child's balloon”
Song lyrics, Bringing It All Back Home (1965), It's Alright, Ma (I'm Only Bleeding)
Context: Darkness at the break of noon
Shadows even the silver spoon
The handmade blade, the child's balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying
"The Retreat," l. 7 - 19.
Silex Scintillans (1655)
Context: When yet I had not walk'd above
A mile or two from my first Love,
And looking back, at that short space
Could see a glimpse of His bright face;
When on some gilded cloud or flower
My gazing soul would dwell an hour,
And in those weaker glories spy
Some shadows of eternity;
Before I taught my tongue to wound
My conscience with a sinful sound,
Or had the black art to dispense
A several sin to every sense,
But felt through all this fleshly dress
Bright shoots of everlastingness.
Man Is Not Alone : A Philosophy Of Religion (1951), Ch. 24 : The Great Yearning; The Yearning for Spiritual Living<!-- p. 259 -->
Context: He who is satisfied has never truly craved, and he who craves for the light of God neglects his ease for ardor, his life for love, knowing that contentment is the shadow not the light. The great yearning that sweeps eternity is a yearning to praise, a yearning to serve. And when the waves of that yearning swell in our souls all the barriers are pushed aside: the crust of callousness, the hysteria of vanity, the orgies of arrogance. For it is not the I that trembles alone, it is not a stir out of my soul but an eternal flutter that sweeps us all. No code, no law, even the law of God, can set a pattern for all of our living. It is not enough to have the right ideas. For the will, not reason, has the executive power in the realm of living. The will is stronger than reason and does not blindly submit to the dictates of rational principles. Reason may force the mind to accept intellectually its conclusions. Yet what is the power that will make me love to do what I ought to do?
Deeds Rather Than Words (1963)
Context: I don't believe in playing down to children, either in life or in motion pictures. I didn't treat my own youngsters like fragile flowers, and I think no parent should.
Children are people, and they should have to reach to learn about things, to understand things, just as adults have to reach if they want to grow in mental stature. Life is composed of lights and shadows, and we would be untruthful, insincere, and saccharine if we tried to pretend there were no shadows. Most things are good, and they are the strongest things; but there are evil things too, and you are not doing a child a favor by trying to shield him from reality. The important thing is to teach a child that good can always triumph over evil, and that is what our pictures attempt to do.
Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XXXII : Sublime Prince of the Royal Secret, p. 841
Context: All hypotheses scientifically probable are the last gleams of the twilight of knowledge, or its last shadows. Faith begins where Reason sinks exhausted. Beyond the human Reason is the Divine Reason, to our feebleness the great Absurdity, the Infinite Absurd, which confounds us and which we believe. For the Master, the Compass of Faith is above the Square of Reason; but both rest upon the Holy Scriptures and combine to form the Blazing Star of Truth.
All eyes do not see alike. Even the visible creation is not, for all who look upon it, of one form and one color. Our brain is a book printed within and without, and the two writings are, with all men, more or less confused.
Is Divorce Wrong? (1889)
Context: To me, the tenderest word in our language, the most pathetic fact within our knowledge, is maternity. Around this sacred word cluster the joys and sorrows, the agonies and ecstasies, of the human race. The mother walks in the shadow of death that she may give another life. Upon the altar of love she puts her own life in pawn. When the world is civilized, no wife will become a mother against her will.
Source: Sex, Art and American Culture : New Essays (1992), Rape and Modern Sex War, p. 68
Context: I am saying that many of the problems between the sexes are coming from something prior to socialization, a turbulence that has to do with every boy’s origin in a woman’s body, and the way he is overwhelmed by this huge, matriarchal shadow of a goddess figure from his childhood. And I feel, after so many decades of studying this, that men are suffering from a sense of dependence on women, their sense that at any moment they could be returned to that slavery and servitude they experienced under a woman’s thumb, when they were a boy in the shadow of the mother. I got this from studying all world culture, and comparing and noticing how often there were these similar patterns in many different cultures. Many things that erupt in rape or violence, or battery and so on, are happening when a woman is pushing that button of fear and dependency.
The Better Part (1901)
Context: I believe that brutality tends to defeat itself. Prizefighters die young, gourmands get the gout, hate hurts worse the man who nurses it, and all selfishness robs the mind of its divine insight, and cheats the soul that would know. Mind alone is eternal. He, watching over Israel, slumbers not nor sleeps. My faith is great: out of the transient darkness of the present the shadows will flee away, and Day will yet dawn. I am an Anarchist.
Lochiel's Warning http://oldpoetry.com/opoem/48723 (1802), a poem regarding "Gentle Lochiel", Donald Cameron of Lochiel, and the final defeat of his forces and other Jacobites at the Battle of Culloden, in which he was badly wounded.
“God is Infinite and His Shadow is also infinite.”
18 : The Four Journeys, p. 22.
The Everything and the Nothing (1963)
Context: God is Infinite and His Shadow is also infinite. The Shadow of God is the Infinite Space that accommodates the infinite Gross Sphere which, with its occurrences of millions of universes, within and without the ranges of men's knowledge, is the Creation that issued from the Point of Finiteness in the infinite Existence that is God.
“The shadows broke and soul awoke
In a strange, dim dream of God.”
Evolution (1895; 1909)
Context: Thus life by life and love by love
We passed through the cycles strange,
And breath by breath and death by death
We followed the chain of change.
Till there came a time in the law of life
When o’er the nursing sod,
The shadows broke and soul awoke
In a strange, dim dream of God.
Reaper's Gale (2007)
Context: For Hood's sake,' the foreigner muttered. 'What's wrong with words?'
'With words,' said Redmask, turning away, 'meanings change.'
'Well,' Anaster Toc said, following as Redmask made his way back to his army's camp, 'that is precisely the point. That's their value — their ability to adapt -'
'Grow corrupt, you mean. The Letheri are masters at corrupting words, their meanings. They call war peace, they call tyranny liberty. On which side of the shadow you stand decides a word's meaning. Words are the weapons used by those who see others with contempt. A contempt which only deepens when they see how those others are deceived and made into fools because they choose to believe. Because in their naivety they thought the meaning of a word was fixed, immune to abuse.
Science and the Unseen World (1929), VII, p.73
Academy of Achievement interview (2006)
Context: You know, we still hear the word "puppet" and we get this nauseating image of some kind of Muppet or something. Puppets really are the origin of theater. Even the shadow on the wall of Plato's cave was a puppet. The very first actor was some kind of hand creating some kind of animal.
“There are no shadows anywhere.
The earth, for us, is flat and bare.
There are no shadows.”
The Man With the Blue Guitar (1937)
Context: Do not speak to us of the greatness of poetry,
Of the torches wisping in the underground,
Of the structure of vaults upon a point of light.
There are no shadows in our sun,
Day is desire and night is sleep.
There are no shadows anywhere.
The earth, for us, is flat and bare.
There are no shadows.
“Night, the shadow of light,
And Life, the shadow of death.”
Second chorus, lines 1-12.
Atalanta in Calydon (1865)
Context: Before the beginning of years
There came to the making of man
Time with a gift of tears,
Grief with a glass that ran,
Pleasure with pain for leaven,
Summer with flowers that fell,
Remembrance fallen from heaven,
And Madness risen from hell,
Strength without hands to smite,
Love that endures for a breath;
Night, the shadow of light,
And Life, the shadow of death.
St. 8
The Present Crisis (1844)
Context: Careless seems the great Avenger; history's pages but record
One death-grapple in the darkness 'twixt old systems and the Word;
Truth forever on the scaffold, Wrong forever on the throne,—
Yet that scaffold sways the future, and, behind the dim unknown,
Standeth God within the shadow, keeping watch above his own.
Though "the Bard" is often reference to William Shakespeare, Fuller here probably uses the term in a generic sense, and in tribute to the poet-philosopher she considered in some ways her mentor, Ralph Waldo Emerson, who may have made such a statement, which she elsewhere quotes as "I have witnessed many a shipwreck, yet still beat noble hearts".
Woman in the Nineteenth Century (1845)
Context: I stand in the sunny noon of life. Objects no longer glitter in the dews of morning, neither are yet softened by the shadows of evening. Every spot is seen, every chasm revealed. Climbing the dusty hill, some fair effigies that once stood for symbols of human destiny have been broken; those I still have with me show defects in this broad light. Yet enough is left, even by experience, to point distinctly to the glories of that destiny; faint, but not to be mistaken streaks of the future day. I can say with the bard,
"Though many have suffered shipwreck, still beat noble hearts."
Always the soul says to us all, Cherish your best hopes as a faith, and abide by them in action. Such shall be the effectual fervent means to their fulfilment.