Quotes about shape
page 8

Nick Cave photo
Marcel Duchamp photo
Marshall McLuhan photo
George Moore (novelist) photo
Michael Shea photo

“Is it not unsettling to consider the blind unlikelihoods that shape one’s fate?”

Michael Shea (1946–2014) writer

Source: A Quest for Simbilis (1974), Chapter 7, “The Stronghold of Simbilis” (p. 134)

“The shapes of molecules influence their behavior and function, especially the ease with which they can fit into various guest-host configurations important in biology and biochemistry.”

David W. Oxtoby (1951) President of Pomona college

Principles of Modern Chemistry (7th ed., 2012), Ch. 3 : Classical Bonding: The Classical Description

John Marshall photo
John Maxson Stillman photo
William Penn photo
Käthe Kollwitz photo
Carole King photo
George Steiner photo
Kim Wilde photo

“Don't let your dreams escape / The future's ours to shape”

Kim Wilde (1960) English pop singer

World in perfect harmony
Love moves (1990)

Angela Merkel photo
Charles Lyell photo
Albert Einstein photo

“I am a determinist. As such, I do not believe in free will. The Jews believe in free will. They believe that man shapes his own life. I reject that doctrine philosophically. In that respect I am not a Jew.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

Quoted in Einstein: His Life and Universe http://books.google.com/books?id=dJMpQagbz_gC&lpg=PP1&pg=PA387#v=onepage&q&f=false by Walter Isaacson, p. 387
1920s, Viereck interview (1929)

Jakob Dylan photo

“It doesn't always have a shape,
Almost never does it have a name,
It maybe has a pitchfork, maybe has a tail,
But evil is alive and well.”

Jakob Dylan (1969) singer and songwriter

"Evil Is Alive And Well" - YouTube video http://www.youtube.com/watch?v=YMh1zeeSQ9g
Seeing Things (2008)

John Ruskin photo

“We have much studied and much perfected, of late, the great civilized invention of the division of labour; only we give it a false name. It is not, truly speaking, the labour that it divided; but the men: — Divided into mere segments of men — broken into small fragments and crumbs of life; so that all the little piece of intelligence that is left in a man is not enough to make a pin, or a nail, but exhausts itself in making the point of a pin or the head of a nail. Now it is a good and desirable thing, truly, to make many pins in a day; but if we could only see with what crystal sand their points were polished, — sand of human soul, much to be magnified before it can be discerned for what it is — we should think that there might be some loss in it also. And the great cry that rises from our manufacturing cities, louder than their furnace blast, is all in very deed for this, — that we manufacture everything there except men; we blanch cotton, and strengthen steel, and refine sugar, and shape pottery; but to brighten, to strengthen, to refine, or to form a single living spirit, never enters into our estimate of advantages. And all the evil to which that cry is urging our myriads can be met only in one way: not by teaching nor preaching, for to teach them is but to show them their misery, and to preach at them, if we do nothing more than preach, is to mock at it. It can only be met by a right understanding, on the part of all classes, of what kinds of labour are good for men, raising them, and making them happy; by a determined sacrifice of such convenience or beauty, or cheapness as is to be got only by the degradation of the workman; and by equally determined demand for the products and results of healthy and ennobling labour.”

Volume II, chapter VI, section 16.
The Stones of Venice (1853)

Patrick Moore photo

“William Herschel was the first man to give a reasonably correct picture of the shape of our star-system or galaxy; he was the best telescope-maker of his time, and possibly the greatest observer who ever lived.”

Patrick Moore (1923–2012) English writer, broadcaster and astronomer

As quoted on the official website http://www.rbwm.gov.uk/web/libraries_local_history_figures.htm#William_Herschel of the Royal Borough of Windsor and Maidenhead.

Michael Mullen photo

“It is a really important place to not go, if we can not go there in any way, shape or form.”

Michael Mullen (1946) U.S. Navy admiral and 17th Chairman of the Joint Chiefs of Staff

On attacking Iran, Washington, D.C., July 2009. http://news.bbc.co.uk/2/hi/middle_east/8139655.stm

S. I. Hayakawa photo
Alexander Calder photo
Joan Miró photo

“How did I think up my drawings and my ideas for painting? Well I'd come home to my Paris studio in Rue Blomet at night, I'd go to bed, and sometimes I hadn't any supper. I saw things, and I jotted them down in a notebook. I saw shapes on the ceiling..”

Joan Miró (1893–1983) Catalan painter, sculptor, and ceramicist

from: Miro, on English Wikipedia
Miró's quote on 'automatic painting and drawing', explaining the start of his work 'Harlequin's Carnival' he made in Paris, strongly admired then by Surrealists like André Breton
1915 - 1940

John Burroughs photo
Mohamed Nasheed photo
Geddy Lee photo
Jon Cruddas photo
B.K.S. Iyengar photo
Michael Crichton photo
Marino Marini photo
Roberto Clemente photo

“The language others speak to us, from childhood, shapes the attitudes and beliefs that ground how we use all our powers of action.”

Jay Lemke (1946) American academic

Source: Textual politics: Discourse and social dynamics, 1995, p. 1

Temple Grandin photo
Fritz Leiber photo
Suniti Kumar Chatterji photo
Max Pechstein photo

“What a variety of shapes exists in the lithograph when one prepares the stone for printing, etches it, and prints oneself. Above all, one must do the printing oneself!”

Max Pechstein (1881–1955) German artist

quote, c. 1920; in Buchheim, Künstlergemeinschaft Brücke, p. 303; as cited in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, pp. 40-41

Guru Govind Singh photo

“The public mind [is] a cloudy region where only the simplest shapes are discerned with any accuracy.”

Hugh Kingsmill (1889–1949) British writer and journalist

"William Gerhardi", p. 131
The Progress of a Biographer (1949)

Philip Schaff photo

“Luther's Qualifications. Luther had a rare combination of gifts for a Bible translator: familiarity with the original languages, perfect mastery over the vernacular, faith in the revealed word of God, enthusiasm for the gospel, unction of the Holy Spirit. A good translation must be both true and free, faithful and idiomatic, so as to read like an original work. This is the case with Luther's version. Besides, he had already acquired such fame and authority that his version at once commanded universal attention.
His knowledge of Greek and Hebrew was only moderate, but sufficient to enable him to form an independent judgment. What he lacked in scholarship was supplied by his intuitive genius and the help of Melanchthon. In the German tongue he had no rival. He created, as it were, or gave shape and form to the modern High German. He combined the official language of the government with that of the common people. He listened, as he says, to the speech of the mother at home, the children in the street, the men and women in the market, the butcher and various tradesmen in their shops, and, "looked them on the mouth," in pursuit of the most intelligible terms. His genius for poetry and music enabled him to reproduce the rhythm and melody, the parallelism and symmetry, of Hebrew poetry and prose. His crowning qualification was his intuitive insight and spiritual sympathy with the contents of the Bible.
A good translation, he says, requires "a truly devout, faithful, diligent, Christian, learned, experienced, and practiced heart."”

Philip Schaff (1819–1893) American Calvinist theologian

Luther's competence as a Bible translator

John Gray photo
Ben Croshaw photo
Stephen King photo
John Gray photo

“Treasure maps; Czarist bonds; a case of stuffed dodos; Scarlett O'Hara's birth certificate; two flattened and deformed silver bullet heads in an old matchbox; Baedeker's guide to Atlantis (seventeenth edition, 1902); the autograph score of Schubert's Unfinished Symphony, with Das Ende written neatly at the foot of the last page; three boxes of moon rocks; a dumpy, heavy statuette of a bird covered in dull black paint, which reminded him of something but he couldn't remember what; a Norwich Union life policy in the name of Vlad Dracul; a cigar box full of oddly shaped teeth, with CAUTION: DO NOT DROP painted on the lid in hysterical capitals; five or six doll's-house-sized books with titles like Lilliput On $2 A Day; a small slab of green crystal that glowed when he opened the envelope; a thick bundle of love letters bound in blue ribbon, all signed Margaret Roberts; a left-luggage token from North Central railway terminus, Ruritania; Bartholomew's Road Atlas of Oz (one page, with a yellow line smack down the middle); a brown paper bag of solid gold jelly babies; several contracts for the sale and purchase of souls; a fat brown envelope inscribed To Be Opened On My Death: E. A. Presley, unopened; Oxford and Cambridge Board O-level papers in Elvish language and literature, 1969-85; a very old drum in a worm-eaten sea-chest marked F. Drake, Plymouth, in with a load of minute-books and annual accounts of the Winchester Round Table; half a dozen incredibly ugly portraits of major Hollywood film stars; Unicorn-Calling, For Pleasure & Profit by J. R. Hartley; a huge collection of betting slips, on races to be held in the year 2019; all water, as far as Paul was concerned, off a duck's {back]”

Tom Holt (1961) British writer

The Portable Door (2003)

George Frisbie Hoar photo
Robert Boyle photo
Fortunato Depero photo

“The Futurists were the first painters, poets, and architects who exalted modern work with their art—
they painted speeding automobiles—
they painted lamps bursting with light—
they painted steaming locomotives and swift bicyclists—
the Futurists stylized their compositions, adopting a violently colored look; with synoptic and geometric shapes they multiplied and decomposed the rhythms of objects and landscapes in order to increase their dynamic qualities and to give an effective rendering of their swift ideas, the states of mind, their conceptions.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

Depero (1931) "Futurism and Adverticing Art"; Republished in: Futurism : an anthology http://modernistarchitecture.files.wordpress.com/2011/09/ebooksclub-org__futurism__an_anthology__henry_mcbride_series_in_modernism_.pdf. edited by Lawrence Rainey, Christine Poggi, and Laura Wittman, (2011), p. 290

Varadaraja V. Raman photo
Pliny the Elder photo
Thomas De Witt Talmage photo

“I like the Bible folded between lids of cloth, or calfskin, or morocco, but I like it better when, in the shape of a man, it goes out into the world—a Bible illustrated.”

Thomas De Witt Talmage (1832–1902) American Presbyterian preacher, clergyman and reformer during the mid-to late 19th century.

Thomas De Witt Talmage (1832-1902), The Pathway of Life, New York: The Christian Herald, 1894 p 278.
The Pathway of Life, New York: The Christian Herald, 1894

Albert Einstein photo
Tom Robbins photo
Shashi Tharoor photo

“A philosopher is a lover of wisdom, not of knowledge, which for all its great uses ultimately suffers from the crippling effect of ephemerality. All knowledge is transient linked to the world around it and subject to change as the world changes, whereas wisdom, true wisdom is eternal immutable. To be philosophical one must love wisdom for its own sake, accept its permanent validity and yet its perpetual irrelevance. It is the fate of the wise to understand the process of history and yet never to shape it.”

The Great Indian Novel
Variant: A philosopher is a lover of wisdom, not of knowledge, which for all its great uses ultimately suffers from the crippling effect of ephemerality. All knowledge is transient linked to the world around it and subject to change as the world changes, whereas wisdom, true wisdom is eternal immutable. To be philosophical one must love wisdom for its own sake, accept its permanent validity and yet its perpetual irrelevance. It is the fate of the wise to understand the process of history and yet never to shape it.

Michael Swanwick photo

““You ask a question that cannot be answered without knowing the nature of the primal chaos from which being arose. Is Spiral Castle like a crystal, once shattered, forever destroyed? That is what I prefer to believe. Or is it like a still pond, whose mirrored surface may be shattered and churned, but which will inevitably restore itself as the waves die down? You may believe this if you choose. You can even believe—why not?—that the restored universe will be an improvement on the old. For me, so long as I have my vengeance I care not what comes after.”
“And us?”
“We die.” An involuntary rise in the dragon’s voice, a slight quickening of cadence, told her that she had touched upon some unclean hunger akin to but less seemly than battle-lust. “We die beyond any chance of rebirth. You and I and all we have known will cease to be. The worlds that gave us birth, the creatures that shaped us—all will be unmade. So comprehensive will be their destruction that even their pasts will die with them. It is an extinction beyond death that we court. Though the ages stretch empty and desolate into infinity and beyond, there will be none to remember us, nor any to mourn. Our joys, sorrows, struggles, will never have been.
“And even if there is a universe to come, it will know naught of us.””

Source: The Iron Dragon's Daughter (1993), Chapter 19 (pp. 340-341)

Michael Polanyi photo
Henry David Thoreau photo
John Burroughs photo
Naomi Wolf photo
Washington Irving photo
N.T. Wright photo
Franklin Pierce photo

“Do we not all know that the cause of our casualties is the vicious intermeddling of too many of the citizens of the Northern States with the constitutional rights of the Southern States, cooperating with the discontents of the people of those states? Do we not know that the disregard of the Constitution, and of the security that it affords to the rights of States and of individuals, has been the cause of the calamity which our country is called to undergo? And now, war! war, in its direst shape — war, such as it makes the blood run cold to read of in the history of other nations and of other times — war, on a scale of a million of men in arms — war, horrid as that of barbaric ages, rages in several of the States of the Union, as its more immediate field, and casts the lurid shadow of its death and lamentation athwart the whole expanse, and into every nook and corner of our vast domain.

Nor is that all; for in those of the States which are exempt from the actual ravages of war, in which the roar of the cannon, and the rattle of the musketry, and the groans of the dying, are heard but as a faint echo of terror from other lands, even here in the loyal States, the mailed hand of military usurpation strikes down the liberties of the people, and its foot tramples on a desecrated Constitution.”

Franklin Pierce (1804–1869) American politician, 14th President of the United States (in office from 1853 to 1857)

Address to the Citizens of Concord, New Hampshire (4 July 1863).

“The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art.”

George Kubler (1912–1996) American art historian

George Kubler summarizing the view of Meyer Schapiro (with whom he disagrees), quoted by Alpers in Lang, Berel (ed.), The Concept of Style, 1987, Ithaca: Cornell University Press, ISBN 0801494397

Lewis Pugh photo

“A thought came across my mind: if things go pear-shaped on this swim, how long will it take for my frozen body to sink the four and a half kilometers to the bottom of the ocean?”

Lewis Pugh (1969) Environmental campaigner, maritime lawyer and endurance swimmer

TED Talk: Swimming the North Pole, September 2009 http://www.ted.com/talks/lang/en/lewis_pugh_swims_the_north_pole.html
Speaking & Features

Giorgio de Chirico photo
Charlotte Brontë photo

“The theatre was full — crammed to its roof: royal and noble were there; palace and hotel had emptied their inmates into those tiers so thronged and so hushed. Deeply did I feel myself privileged in having a place before that stage; I longed to see a being of whose powers I had heard reports which made me conceive peculiar anticipations. I wondered if she would justify her renown: with strange curiosity, with feelings severe and austere, yet of riveted interest, I waited. She was a study of such nature as had not encountered my eyes yet: a great and new planet she was: but in what shape? I waited her rising.She rose at nine that December night: above the horizon I saw her come. She could shine yet with pale grandeur and steady might; but that star verged already on its judgment-day. Seen near, it was a chaos — hollow, half-consumed: an orb perished or perishing — half lava, half glow.I had heard this woman termed "plain," and I expected bony harshness and grimness — something large, angular, sallow. What I saw was the shadow of a royal Vashti: a queen, fair as the day once, turned pale now like twilight, and wasted like wax in flame.For awhile — a long while — I thought it was only a woman, though an unique woman, who moved in might and grace before this multitude. By-and-by I recognized my mistake. Behold! I found upon her something neither of woman nor of man: in each of her eyes sat a devil. These evil forces bore her through the tragedy, kept up her feeble strength — for she was but a frail creature; and as the action rose and the stir deepened, how wildly they shook her with their passions of the pit! They wrote HELL on her straight, haughty brow. They tuned her voice to the note of torment. They writhed her regal face to a demoniac mask. Hate and Murder and Madness incarnate she stood.It was a marvellous sight: a mighty revelation.It was a spectacle low, horrible, immoral.Swordsmen thrust through, and dying in their blood on the arena sand; bulls goring horses disembowelled, made a meeker vision for the public — a milder condiment for a people's palate — than Vashti torn by seven devils: devils which cried sore and rent the tenement they haunted, but still refused to be exorcised.Suffering had struck that stage empress; and she stood before her audience neither yielding to, nor enduring, nor in finite measure, resenting it: she stood locked in struggle, rigid in resistance. She stood, not dressed, but draped in pale antique folds, long and regular like sculpture. A background and entourage and flooring of deepest crimson threw her out, white like alabaster — like silver: rather, be it said, like Death.”

Source: Villette (1853), Ch. XXIII: Vashi

Max Heindel photo
John Gray photo
Ellen Willis photo
Steven Pinker photo
Donald J. Trump photo
Frederick Douglass photo
Melanie Joy photo
Ernest Hemingway photo
Robert Charles Wilson photo
Dorothy Wordsworth photo

“The pre-World War I works of Schoenberg, Berg, and Webern, "give a glimpse of a new universe of emancipated discourse, unfortunately quickly abandoned when Schoenberg returned to the classical musical shapes upon adopting the twelve-tone system."”

Elliott Carter (1908–2012) American composer

Elliott Carter (1977). The Writings of Elliott Carter, p.186. Bloomington: Indiana University Press.
Cited in Albright, Daniel (2004). Modernism and Music: An Anthology of Sources. University of Chicago Press. ISBN 0226012670.

Neville Chamberlain photo
Joanne B. Freeman photo

“I’ve stayed interested in Hamilton not because he was a standard-issue hero, but because of his complications; he was self-destructive, had a highly problematic personality, and was often extreme in his politics. I don’t like hero history. It does the study of history a disservice on a thousand different levels. It’s far more interesting to study complicated people and the history they helped to shape.”

Joanne B. Freeman (1962) US historian and tenured professor of History and American Studies at Yale University

In conversation: Joanne Freeman on Alexander Hamilton the man and 'Hamilton' the musical https://news.yale.edu/2016/08/11/conversation-joanne-freeman-alexander-hamilton-man-and-hamilton-musical

Samuel Taylor Coleridge photo
Ronald David Laing photo

“The range of what we think and do is limited by what we fail to notice. And because we fail to notice there is little we can do to change until we notice how failing to notice shapes our thoughts and deeds.”

Ronald David Laing (1927–1989) Scottish psychiatrist and author

Attributed to R.D. Lang in: Jack Lee Seymour, Margaret Ann Crain, Joseph V. Crockett (1993) Educating Christians. p. 53

Gregory of Nyssa photo
D. V. Gundappa photo

“The one and only God of Universe Vishwanatha, takes the shape of different deities, worshipped by the devotees whether he be Hindu, Jain, Parsi, Mohammed, Yahudi, Christian. Let him also sow seeds of unity and friendship in the mind of the people of the country.”

D. V. Gundappa (1887–1975) Indian writer

One of the six hymns that he had set for the Gokhale Institute of Public Affairs that he had set up in Bangalore quoted in page=13
D.V. Gundappa,Sahitya Akademi

Trinny Woodall photo

“The mantra is forget your size discover your shape and transform yourself.”

Trinny Woodall (1964) English fashion advisor and designer, television presenter and author

As quoted in "Exclusive Trinny and Susannah Interview" by Caz Moss in Female First http://www.femalefirst.co.uk/entertainment/Trinny+And+Susannah-40852.html?Vote=5 (19 September 2007)

George Henry Lewes photo
Glen Cook photo

“A teacher?”
“Yes. He argued that we are the gods, that we create our own destiny. That what we are determines what will become of us. In a peasantlike vernacular, we all paint ourselves into corners from which here is no escape simply by being ourselves and interacting with other selves.”
“Interesting.”
“Well. Yes. There is god of sorts, Croaker. Do you know? Not a mover and shaker, though. Simply a negator. An ender of tales. He has a hunger that cannot be sated. The universe itself will slide down his maw.”
“Death?”
“I do not want to die, Croaker. All that I am shrieks against the unrighteousness of death. All that I am, was, and probably will be, is shaped by my passion to evade the end of me.” She laughed quietly, but there was a thread of hysteria there. She gestured, indicating the shadowed killing ground below. “I would have built a world in which I was safe. And the cornerstone of my citadel would have been death.”
The end of the dream was drawing close. I could not imagine a world without me in it, either. And the inner me was outraged. Is outraged. I have no trouble imagining someone becoming obsessed with escaping death.
“I understand.”

“Maybe. We’re all equals at the dark gate, no? The sands run for us all. Life is but a flicker shouting into the jaws of eternity. But it seems so damned unfair!”
Source: The White Rose (1985), Chapter 39, “A Guest at Charm” (p. 625)

Lawrence M. Schoen photo

““You didn’t do any of these things because they were necessarily good unto themselves, but because you saw them as means to shape events to serve your own ends. The entire legacy of the Matriarch is the exploitation of others like pieces in some great game.”
She laughed in his face. “You can see it that way if you like. The weak usually do, if they see it at all. But you disappoint me. Despite your study of history, you fail to understand power. It’s obvious you never will… There’s really only one choice you ever have to make in any act of creation. Will you be the instrument or the artist? If you’re only now coming to realize that you’ve been a tool all your life, there’s no one to blame for it but yourself. If you don’t like that state of affairs, then act! Impose your will upon the world and walk your own path. If you don’t, you’ll just end up being a token in someone else’s game; you’ll continue to be used as they see fit. That’s how the universe works. You don’t have to like it, but you’d do well to get used to it.”…
“No, maybe that’s the way the world looks once you’ve already decided to take your path. Or maybe it’s just you’re so jaded, or you’ve bought into your own delusions. I don’t know which, and I don’t care. Those aren’t the only choices: use of be used. There is more than being tyrant or servant. I reject both options and I reject you. You’ve been dead for centuries, Margda, it’s about time you accepted that.””

Lawrence M. Schoen (1959) American writer and klingonist

Source: Barsk: The Elephants' Graveyard (2015), Chapter 38, “Loose Ends” (pp. 362-363; ellipses represent elisions of descriptive sections)