Quotes about shadow
page 6

Robert Sheckley photo

“Your predator is close behind you and will infallibly be your death.”
“I don’t doubt it,” Carmody said, in a moment of strange calm.” But in terms of long-range planning, I never did expect to get out of this Universe alive.”
“That is meaningless,” the Prize said. “The fact is, you have lost everything.”
“I don’t agree,” Carmody said. “Permit me to point out that I am presently still alive.”
“Agreed. But only for the moment.”
“I have always been alive only for the moment,” Carmody said. “I could never count on more. It was my error to expect more. That holds true, I believe, for all of my possible and potential circumstances.”
“Then what do you hope to achieve with your moment?”
“Nothing,” Carmody said. “Everything.”
“I don’t understand you any longer,” the Prize said. “Something about you has changed, Carmody. What is it?”
“A minor thing,” Carmody told him. “I have simply given up a longevity which I never possessed anyhow. I have turned away from the con game which the Gods run in their heavenly sideshow. I no longer care under which shell the pea of immortality might be found. I don’t need it. I have my moment, which is quite enough.”
“Saint Carmody,” the Prize said, in tones of deepest sarcasm. “No more than a shadow’s breadth separates you and death! What will you do now with your pitiable moment?”

“I shall continue to live it,” Carmody said. “That is what moments are for.”
Source: Dimension of Miracles (1968), Chapter 28 (pp. 189-190; closing words)

Alexander Pope photo
Stephen King photo
Joseph Addison photo

“If we hope for what we are not likely to possess, we act and think in vain, and make life a greater dream and shadow than it really is.”

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

No. 535 (13 November 1712).
The Spectator (1711–1714)

Paul Cézanne photo
Aldo Capitini photo

“I wanted to go away, in the midst of something entirely different,
I had been there, in the house of torture,
I have seen people being kicked, men’s bodies scorched,
nails pulled out with pliers.
Armed with flame and cudgels, grinning men in shirt sleeves.
Where I could hear my friends being thrown headlong
down the stairs.
Night was as day, and long shrieks wounded me.
In vain I tried to think of wooded lanes and flowers,
a serene life and human words.
The thought seized up, it was as if a wound were opened up
again and again and endlessly searched.
From the mouth struck, teeth and blood came out,
and lamenting moans from the deep throat.
Away, away from that house, from that street and town,
from anything similar to it.
I must save myself, keep up my mind,
that I should not be led to madness by these memories.
Oh, if we could go back to a void, from which a new order,
a maternal opening could come forth,
if I hear a certain tone of voice even in jest, I shudder.
My unhappiness is that I avoid the sight of suffering,
hospitals and prisons.
I have yearned for high solitudes, lands of still sunshine
and sweet shadows,
but I would always be pursued by the ghosts of human beings.
All of a sudden I feel the need of distraction and play,
to lose myself in the noise of the fairground.
I remain with you, but forgive me
if you see me sometimes act like a madman.
I try to heal myself by myself, as an animal,
trusting that the wounds will close.
I stop to listen to the simple conversations of the women
in the marketplace, with their dialectical lilt.
I rejoice at the footsteps of running children,
their overpowering calls.
Because you do not know the absurdity of my dreams,
the fixed expressions, the incomprehensible gestures.
There is turmoil inside me, which seems to ridicule me.
And I cannot cry out, not to be like them.
Tomorrow I will go towards some music, now I am getting ready.”

Aldo Capitini (1899–1968) Italian philosopher and political activist
Percy Bysshe Shelley photo
Sadegh Hedayat photo
Charles Webster Leadbeater photo
André Maurois photo

“Old age is far more than white hair, wrinkles, the feeling that it is too late and the game finished, that the stage belongs to the rising generations. The true evil is not the weakening of the body, but the indifference of the soul. Upon crossing the shadow line, it is more the desire to act than the power to do so that is lost. Is it possible, after fifty years of experiences and disappointments, to retain the ardent curiosity of youth, the desire to know and understand, the power to love wholeheartedly, the certainty that beauty, intelligence, and kindness unite naturally, and to preserve faith in the efficacy of reason? Beyond the shadow line lies the realm of even, tempered light where the eyes, not being dazzled any more by the blinding sun of desire, can see things and people as they are. How is it possible to believe in the moral perfection of pretty women if you have loved one of them? How is it possible to believe in progress when you have discovered throughout a long and difficult life that no violent change can triumph over human nature and that it is only the most ancient customs and ceremonies that can provide people with the flimsy shelter of civilization? "What's the use?" says the old man to himself. This is perhaps the most dangerous phrase he can utter, for after having said: "What's the use of struggling?" he will say one day: "What's the use of going out?" then: "What's the use of leaving my room?" then: "What's the use of leaving my bed?" and at last comes "What's the use of living?"”

André Maurois (1885–1967) French writer

which opens the portals of death.
Un Art de Vivre (The Art of Living) (1939), The Art of Growing Old

Peter Greenaway photo
Emil M. Cioran photo
Michel De Montaigne photo

“The world is all a carcass and vanity, The shadow of a shadow, a play
And in one word, just nothing.”

Michel De Montaigne (1533–1592) (1533-1592) French-Occitan author, humanistic philosopher, statesman

Attributed

Baba Amte photo
James Anthony Froude photo
John Dryden photo

“Behold him setting in his western skies,
The shadows lengthening as the vapours rise.”

Pt. I line 268.
Absalom and Achitophel (1681)

John F. Kennedy photo
Vladimir Putin photo

“Ukraine is an independent, sovereign state and will choose its own path to peace and security.. . . Such a conversation would be entirely appropriate and entirely possible. I certainly don’t see there being anything particularly tricky here, anything that need or that could cast a shadow over relations between Russia and Ukraine.”

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

About Ukraine seeking membership in Nato, after the Nato–Russia Council was created at the Nato summit in Rome, May 28, 2002. http://www.usubc.org/keyissues/russia_reset040109.php
On Ukraine

Noel Gallagher photo
Frederick William Faber photo

“See! he sinks
Without a word; and his ensanguined bier
Is vacant in the west, while far and near
Behold! each coward shadow eastward shrinks,
Thou dost not strive, O sun, nor dost thou cry
Amid thy cloud-built streets.”

Frederick William Faber (1814–1863) British hymn writer and theologian

The Rosary and Other Poems, On the Ramparts at Angoulême; reported in Hoyt's New Cyclopedia Of Practical Quotations (1922), p. 769-70.

Saul D. Alinsky photo
Alan Moore photo
Barend Cornelis Koekkoek photo

“Immediately and definitively [after starting a painting] I determine the effect of sunlight, day and shadow, without being concerned with any detail. This enable me to see in the started painting the whole of it, which my mind already saw before I begun to work - I see it appearing on the panel or canvas rather soon and can consider in this way the harmony of the composed objects and colors.”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Ik bepaal dadelijk en voor vast [nadat ik een schilderij begin] het effect van zonlicht, dag en schaduw, zonder mij met eenige uitvoerigheid op te houden. Hierdoor ben ik in staat gesteld, om in mijne aangelegde schilderij een geheel, dat mijn geest reeds vóór dat ik begon te arbeiden zag, binnen korten tijd op het paneel of doek te zien, en over de harmonie de zamengestelde voorwerpen en kleuren te kunnen oordelen..
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 99:

Pat Cadigan photo
Norman Spinrad photo

“Flaming torches arching from hand to hand, the silken rolling of flesh on flesh, tautened wire vibrating to the human word, ideogrammatic gestures of fear, love, and rage, the mathematical grace of bodies moving through space—all seemed revealed as shadows on the void, the pauvre panoply of man’s attempt to transcend the universe of space and time through the transmaterial purity of abstract form.
Yet beyond this noble dance of human art, the highest expression of our spirit’s striving to transcend the realm of time and form, lay that which could not be encompassed by the artifice of man. From nothing are we born, to nothing do we go; the universe we know is but the void looped back upon itself, and form is but illusion’s final veil.
We touch that which lies beyond only in those fleeting rare moments when the reality of form dissolves—through molecule and charge, the perfection of the meditative trance, orgasmic ego-loss, transcendent peaks of art, mayhap the instant of our death.
Vraiment, is not the history of man from pigments smeared on the walls of caves to our present starflung age, our sciences and arts, our religions and our philosophies, our cultures and our noble dreams, our heroics and our darkest deeds, but the dance of spirit round this central void, the striving to transcend, and the deadly fear of same?”

Source: The Void Captain's Tale (1983), Chapter 10 (p. 117)

Maurice Glasman, Baron Glasman photo
Percy Bysshe Shelley photo
Charles Dickens photo
Mike Oldfield photo
Bernard of Clairvaux photo

“No more starry eyes from behind these dusty spectacles. I’ll wipe them and follow my own shadow for a change.”

Dawud Wharnsby (1972) Canadian musician

"Upon My Shelf"
Blue Walls and The Big Sky (1995)

Mike Oldfield photo

“Somebody's out to get you
Hiding in the shadows
Poison arrows!
Somebody's out to break you
Hiding in narrows
Poison arrows!”

Mike Oldfield (1953) English musician, multi-instrumentalist

Song lyrics, Discovery (1984)

Clive Staples Lewis photo

“Reality is harsh to the feet of shadows.”

Source: The Great Divorce (1944–1945), Ch. 5

David Brin photo
Georges Bernanos photo
Juan Luis Vives photo

“All these books were written by idle, unoccupied, ignorant men, the slaves of vice and filth. I wonder what it is that delights us in these books unless it be that we are attracted by indecency. Learning is not to be expected from authors who never saw even a shadow of learning. As for their story-telling, what pleasure is to be derived from the things they invent, full of lies and stupidity?”
Quos omnes libros conscripserunt homines otiosi, male feriati, imperiti, vitiis ac spurcitiae dediti, in queis miror quid delectet nisi tam nobis flagitia blandirentur. Eruditio non est exspectanda ab hominibus qui ne umbram quidem eruditionis viderant. Iam cum narrant, quae potest esse delectatio in rebus quas tam aperte et stulte confingunt?

Juan Luis Vives (1492–1540) Spanish philosopher

De Institutione Feminae Christianae (1523), trans. by C. Fantazzi (1996), Vol. I, p. 47.

John Ruskin photo
Alice Cary photo

“My soul is full of whispered song,—
My blindness is my sight;
The shadows that I feared so long
Are full of life and light.”

Alice Cary (1820–1871) American writer

"Dying Hymn", in Ballads, Lyrics, and Hymns (1866) p. 326.

Philip Melanchthon photo

“The shadow does not follow the body more closely than eloquence accompanies sagacity.”

Philip Melanchthon (1497–1560) German reformer

Source: Praise of Eloquence (1523), p. 65

Evelyn Waugh photo
Clifford D. Simak photo
Georges Seurat photo
Letitia Elizabeth Landon photo
George Chapman photo

“Our hopes, I see, resemble much the sun,
That rising and declining cast large shadows;
But when his beams are dressed in's midday brightness,
Yields none at all: when they are farthest from
Success, their guilt reflection does display
The largest shows of events fair and prosperous.”

George Chapman (1559–1634) English dramatist, poet, and translator

Revenge for Honour (1654), Act II, scene i. Attributed, probably falsely, to Chapman. The play may have been written by Henry Glapthorne.
Disputed

James Shirley photo

“No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even if it be only the faintest shadow — and if it does not do so it is bad art and false morals.”

Kenneth Clark (1903–1983) Art historian, broadcaster and museum director

Source: The Nude: A Study in Ideal Form (1951), Ch. 1: The Naked and the Nude

Evelyn Waugh photo
George William Russell photo

“In ancient shadows and twilights
Where childhood had strayed,
The world’s great sorrows were born
And its heroes were made.
In the lost boyhood of Judas
Christ was betrayed.”

George William Russell (1867–1935) Irish writer, editor, critic, poet, and artistic painter

"Germinal" in Vale and Other Poems (1931)

Alfred Horsley Hinton photo
G. K. Chesterton photo
Umberto Boccioni photo
Garth Nix photo

“Noon sits at the Master's right hand, Dawn at his left. Dusk stands behind, in the shadows. Yet sometimes it is easier to see the light when you stand partly in the darkness.”

Garth Nix (1963) Australian fantasy writer

Source: The Keys to the Kingdom series, Mister Monday (2003), p. 241.

Max Tegmark photo
John Clare photo
Colin Wilson photo
Robert E. Howard photo
Rudyard Kipling photo

“A people always ends by resembling its shadow.”

Rudyard Kipling (1865–1936) English short-story writer, poet, and novelist

Said to author and critic André Maurois c. 1930, on the subject of the transformation of Germany.
Quoted in Maurois, The Art of Writing, “The Writer's Craft,” sct. 2 (1960).
Other works

Charles Wesley photo
Edmund Burke photo
Ben Carson photo
Thomas Francis Meagher photo
Greg Egan photo

“Every night, at exactly a quarter past three, something dreadful happens on the street outside our bedroom window. We peek through the curtains, yawning and shivering in the life-draining chill, and then we clamber back beneath the blankets without exchanging a word, to hug each other tightly and hope for sound sleep before it's time to rise.

Usually what we witness verges on the mundane. Drunken young men fighting, swaying about with outstretched knives, cursing incoherently. Robbery, bashings, rape. We wince to see such violence, but we can hardly be shocked or surprised any more, and we're never tempted to intervene: it's always far too cold, for a start! A single warm exhalation can coat the window pane with mist, transforming the most stomach-wrenching assault into a safely cryptic ballet for abstract blobs of light.

On some nights, though, when the shadows in the room are subtly wrong, when the familiar street looks like an abandoned film set, or a painting of itself perversely come to life, we are confronted by truly disturbing sights, oppressive apparitions which almost make us doubt we're awake, or, if awake, sane. I can't catalogue these visions, for most, mercifully, are blurred by morning, leaving only a vague uneasiness and a reluctance to be alone even in the brightest sunshine.”

Greg Egan (1961) Australian science fiction writer and former computer programmer

Scatter My Ashes http://gregegan.customer.netspace.net.au/HORROR/SCATTER/Scatter.html, published in Interzone (Spring 1988)
Fiction

Stephen Foster photo

“The day goes by like a shadow o’er the heart,
With sorrow where all was delight;
The time has come when the darkies have to part:
Then my old Kentucky home, good night!”

Stephen Foster (1826–1864) American songwriter

My Old Kentucky Home. Reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Michel Foucault photo
David Gerrold photo

“shadows of night and reflections of light
shiver and quiver and churn,
for the searching of soul that never can hurt
is the fire that never can burn.”

Section 2 (p. 5; typed by HARLIE in answer to the question [how do you feel, harlie?)]
When HARLIE Was One (1972)

George W. Bush photo
Helena Petrovna Blavatsky photo

“and so the shadows ripple on
until it's time to part”

Flora Thompson (1876–1947) English author and poet

Shallows- a poem in the anthology Bog Myrtle & Peat (1921)
Poetry

Ed Harcourt photo

“Once I was a shadow of man. Most dark nights my head was in it's hands.”

Ed Harcourt (1977) British musician

I'am The Drug.

Auguste Rodin photo

“Live Freaky! Die Freaky! will be, without a shadow of a doubt, the single greatest film of all time about Charles Manson being the savior to all humanity in the year 3069.”

John Roecker (1966) American film director

An Epic Interview with John Roecker, FilmJerk, www.filmjerk.com, Kristopher, Terrell, August 23, 2003 http://www.filmjerk.com/interviews/article.php?id_int=12,
About

Rumi photo

“What is the body? That shadow of a shadow
of your love, that somehow contains
the entire universe.”

Rumi (1207–1273) Iranian poet

"Where are we?" in Ch. 2 : Bewilderment
Disputed, The Essential Rumi (1995)

Johann Wolfgang von Goethe photo

“There is strong shadow where there is much light.”

Wo viel Licht ist, ist starker Schatten.
Götz von Berlichingen, Act I (1773)

Elizabeth Cady Stanton photo
Frederick William Robertson photo
Ahmad Sirhindi photo

“It is said that the Shariat prospers under the shadow of the sword (al-Shara‘ tahat al-saif). And the glory of the holy Shariat depends on the kings of Islam…”

Ahmad Sirhindi (1564–1624) Indian philosopher

Maktubat-i-Imam Rabbani translated into Urdu by Maulana Muhammad Sa’id Ahmad Naqshbandi, Deoband, 1988, Volume I, p.211. This letter was written to the Khan-i-Azam of that time.
From his letters

Robert E. Howard photo
Hans Reichenbach photo

“The surfaces of three-dimensional space are distinguished from each other not only by their curvature but also by certain more general properties. A spherical surface, for instance, differs from a plane not only by its roundness but also by its finiteness. Finiteness is a holistic property. The sphere as a whole has a character different from that of a plane. A spherical surface made from rubber, such as a balloon, can be twisted so that its geometry changes…. but it cannot be distorted in such a way as that it will cover a plane. All surfaces obtained by distortion of the rubber sphere possess the same holistic properties; they are closed and finite. The plane as a whole has the property of being open; its straight lines are not closed. This feature is mathematically expressed as follows. Every surface can be mapped upon another one by the coordination of each point of one surface to a point of the other surface, as illustrated by the projection of a shadow picture by light rays. For surfaces with the same holistic properties it is possible to carry through this transformation uniquely and continuously in all points. Uniquely means: one and only one point of one surface corresponds to a given point of the other surface, and vice versa. Continuously means: neighborhood relations in infinitesimal domains are preserved; no tearing of the surface or shifting of relative positions of points occur at any place. For surfaces with different holistic properties, such a transformation can be carried through locally, but there is no single transformation for the whole surface.”

Hans Reichenbach (1891–1953) American philosopher

The Philosophy of Space and Time (1928, tr. 1957)

Mike Oldfield photo

“Walking on foreign ground
Like a shadow
Roaming in far off territory
Over your shoulder
Stories unfold
You're searching
For a sanctuary…”

Mike Oldfield (1953) English musician, multi-instrumentalist

Song lyrics, Discovery (1984)

Letitia Elizabeth Landon photo
Gerard Manley Hopkins photo
Clifford D. Simak photo
Stephen Crane photo
Elvis Costello photo

“Well there's a line that you must toe
and it'll soon be time to go
but it's darker than you know in those Complicated Shadows”

Elvis Costello (1954) English singer-songwriter

Complicated Shadows
Song lyrics, All This Useless Beauty (1996)

Gary S. Becker photo
Emil M. Cioran photo
John Fletcher photo

“Man is his own star, and the soul that can
Render an honest and a perfect man
Commands all light, all influence, all fate.
Nothing to him falls early, or too late.
Our acts our angels are, or good or ill,
Our fatal shadows that walk by us still.”

Epilogue. Compare: "Every man hath a good and a bad angel attending on him in particular all his life long", Robert Burton, Anatomy of Melancholy, part i. sect. 2, memb. 1, subsect. 2.
The Honest Man's Fortune, (1613; published 1647)