Quotes about shine

page 9

Pt. XXII, Hiawatha's Departure, st. 1.
The Song of Hiawatha (1855)

Elmer Gantry (1927)

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 121.

Mary's Song (Oh My My My), written by Taylor Swift, Liz Rose, and Brian Maher.
Song lyrics, Taylor Swift (2006)

No. 14, line 1
Holy Sonnets (1633)

The Problems of Pediatrics in Israel. Child Health in Israel, pp. 9-13, 1971.

Rodin on realism, 1910

Treasure Box (1996)

St. 2
Hymn to Intellectual Beauty (1816)
Context: Spirit of BEAUTY, that dost consecrate
With thine own hues all thou dost shine upon
Of human thought or form, where art thou gone?
Why dost thou pass away and leave our state,
This dim vast vale of tears, vacant and desolate?
Ask why the sunlight not for ever
Weaves rainbows o'er yon mountain-river,
Why aught should fail and fade that once is shown,
Why fear and dream and death and birth
Cast on the daylight of this earth
Such gloom, why man has such a scope
For love and hate, despondency and hope?

The Other World (1657)
Context: Most men judge only by their senses and let themselves be persuaded by what they see. Just as the man whose boat sails from shore to shore thinks he is stationary and that the shore moves, men turn with the earth under the sky and have believed that the sky was turning above them. On top of that, insufferable vanity has convinced humans that nature has been made only for them, as though the sun, a huge body four hundred and thirty-four times as large as the earth, had been lit only to ripen our crab apples and cabbages.
I am not one to give in to the insolence of those brutes. I think the planets are worlds revolving around the sun and that the fixed stars are also suns that have planets revolving around them. We can't see those worlds from here because they are so small and because the light they reflect cannot reach us. How can one honestly think that such spacious globes are only large, deserted fields? And that our world was made to lord it over all of them just because a dozen or so vain wretches like us happen to be crawling around on it? Do people really think that because the sun gives us light every day and year, it was made only to keep us from bumping into walls? No, no, this visible god gives light to man by accident, as a king's torch accidentally shines upon a working man or burglar passing in the street.

Song 20: "Against Idleness and Mischief". Parodied by Lewis Carroll in Alice's Adventures in Wonderland.
1710s, Divine Songs Attempted in the Easy Language of Children (1715)

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

Faliero, Act V. Sc. 2.
Marino Faliero (1885)
Context: Farewell, and peace be with you if it may.
I have lost, ye have won this hazard: yet perchance
My loss may shine yet goodlier than your gain
When time and God give judgment. If there be
Truth, true is this, that I desired the right
And ye with hands as red sustain the wrong
As mine had been in triumph. Have your will:
And God send each no bitterer end than mine.

The Glass Bead Game (1943)
Context: It was lovely, and tempting, to exert power over men and to shine before others, but power also had its perditions and perils. History, after all, consisted of an unbroken succession of rulers, leaders, bosses, and commanders who with extremely rare exceptions had all begun well and ended badly. All of them, at least so they said, had striven for power for the sake of the good; afterward they had become obsessed and numbed by power and loved it for its own sake.

Section 4 : Moral Ideals
Founding Address (1876), Life and Destiny (1913)
Context: The moral ideal would embrace the whole of life. In its sight nothing is petty or indifferent. It touches the veriest trifles and turns them into shining gold. We are royal by virtue of it, and like the kings in the fairy tale, we may never lay aside our crowns.
The moral order never is, but is ever becoming. It grows with our growth.

Epigram 5; translation by Jonathan Swift, cited from Anthologia Polyglotta (1849), edited by Henry Wellesley, p. 47
Epigrams

In recognition of van Vogt receiving the Grand Master designation in 1996, in The Nebula Awards Vol. 31, as quoted in SF Authors Remember A.E. van Vogt (2000) http://www.sfrevu.com/ISSUES/2000/ARTICLES/20000128-03.htm#SF%20Authors%20Remeber%20A.E.%20van%20Vogt
Context: Even the brightest star shines dimly when observed-from too far away. And human memory is notoriously unreliable. And we live in ugly times when all respect for that which has gone before suffers crib death beneath the weight of youthful arrogance and ignorance. But a great nobility has at last, been recognized and lauded. Someone less charitable than I might suggest the honor could have been better appreciated had it not been so tardy, naming its race with a foe that blots joy and destroys short-term memory. But I sing the Talent Electric, and like aft the dark smudges of history, everything but the honor and die achievement remains for the myth-makers.
Alfred E. van Vogt has been awarded the Grand Master trophy of the Science Fiction and Fantasy Writers of America. He is not the to first person to receive this singular accolade…given only to those whose right to possess it is beyond argument or mitigation.
Were we in 1946 or even 1956, van Vogt would have already been able to hold the award aloft. Had SFWA existed then and had the greatest living sf authors been polled as to who was the most fecund, the most intriguing, the mast innovative the most influential of their number, Isaac and Arthur and Cyril and Hank Kuttner and Ron Hubbard would all have pointed to the same man, and Bob Heinlein would've given him a thumbs-up. Van Vogt was the pinnacle, the source of power and ideas; the writer to beat. Because he embodied in his astonishing novels and assorted stories what we always say is of prime importance to us in this genre-the much vaunted Sense of Wonder.
Van Vogt was the wellspring of wonder. … That's how important he was. … And then came the dark years during which the man was shamefully agented and overlooked; and even the brightest star loses its piercing light if observed through the thickening mists of time and flawed memory.
Now it is lifetimes later, and the great award has, at last, been presented. To some, less charitable than I, something could be said about a day late and a dollar short, but not I. I am here to sing the Talent Electric, and it is better now than never. He is the Grand Master, A. E. can Vogt, weaver of a thousand ideas per plot-line, creator of alien thoughts and impossible dreams that rival the best ever built by our kind.
This dear, gentlemanly writer whose stories can still kill you with a concept or warm you with a character, now joins the special pantheon.

The Sun My Heart (1996)
Context: We have to remember that our body is not limited to what lies within the boundary of our skin. Our body is much more immense. We know that if our heart stops beating, the flow of our life will stop, but we do not take the time to notice the many things outside of our bodies that are equally essential for our survival. If the ozone layer around our Earth were to disappear for even an instant, we would die. If the sun were to stop shining, the flow of our life would stop. The sun is our second heart, our heart outside of our body. It gives all life on Earth the warmth necessary for existence. Plants live thanks to the sun. Their leaves absorb the sun's energy, along with carbon dioxide from the air, to produce food for the tree, the flower, the plankton. And thanks to plants, we and other animals can live. All of us—people, animals, plants, and minerals—"consume" the sun, directly and indirectly. We cannot begin to describe all the effects of the sun, that great heart outside of our body.
When we look at green vegetables, we should know that it is the sun that is green and not just the vegetables. The green color in the leaves of the vegetables is due to the presence of the sun. Without the sun, no living being could survive. Without sun, water, air, and soil, there would be no vegetables. The vegetables are the coming-together of many conditions near and far.

"Foreword to an Exhibit: I" (1944)

We Are Still Married : Stories & Letters (1989),, "The Meaning of Life", p. 217 <!-- Viking -->
Context: To know and to serve God, of course, is why we're here, a clear truth, that, like the nose on your face, is near at hand and easily discernible but can make you dizzy if you try to focus on it hard. But a little faith will see you through. What else will do except faith in such a cynical, corrupt time? When the country goes temporarily to the dogs, cats must learn to be circumspect, walk on fences, sleep in trees, and have faith that all this woofing is not the last word. What is the last word, then? Gentleness is everywhere in daily life, a sign that faith rules through ordinary things: through cooking and small talk, through storytelling, making love, fishing, tending animals and sweet corn and flowers, through sports, music and books, raising kids — all the places where the gravy soaks in and grace shines through. Even in a time of elephantine vanity and greed, one never has to look far to see the campfires of gentle people.

The "Camelot" interview (29 November 1963)
Context: But there's this one thing I wanted to say... I'm so ashamed of myself... When Jack quoted something, it was usually classical... no, don't protect me now... I kept saying to Bobby, I've got to talk to somebody, I've got to see somebody, I want to say this one thing, it's been almost an obsession with me, all I keep thinking of is this line from a musical comedy, it's been an obsession with me... At night before we'd go to sleep... we had an old Victrola. Jack liked to play some records. His back hurt, the floor was so cold. I'd get out of bed at night and play it for him, when it was so cold getting out of bed... on a Victrola ten years old — and the song he loved most came at the very end of this record, the last side of Camelot, sad Camelot... "Don't let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot."... There'll never be another Camelot again...

"On Reading Fawcett's Lines On Revisiting Scenes Of Early Life" in Poems of the Late Francis Scott Key, Esq. (1857), p. 87.
Context: p>So sings the world's fond slave! so flies the dream
Of life's gay morn; so sinks the meteor ray
Of fancy into darkness; and no beam
Of purer light shines on the wanderer's way.So sings not he who soars on other wings
Than fancy lends him; whom a cheering faith
Warms and sustains, and whose freed spirit springs
To joys that bloom beyond the reach of death.And thou would'st live again! again dream o'er
The wild and feverish visions of thy youth
Again to wake in sorrow, and deplore
Thy wanderings from the peaceful paths of truth! Yet yield not to despair! be born again,
And thou shalt live a life of joy and peace,
Shall die a death of triumph, and thy strain
Be changed to notes of rapture ne'er to cease.</p

Source: Ulysses (1842), l. 22-32
Context: How dull it is to pause, to make an end,
To rust unburnish'd, not to shine in use!
As tho' to breath were life. Life piled on life
Were all too little, and of one to me
Little remains: but every hour is saved
From that eternal silence, something more,
A bringer of new things; and vile it were
For some three suns to store and hoard myself,
And this gray spirit yearning in desire
To follow knowledge like a sinking star,
Beyond the utmost bound of human thought.

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 514.
Context: I cannot speak
In happy tones; the tear drops on my cheek
Show I am sad;
But I can speak
Of grace to suffer with submission meek,
Until made glad.
I cannot feel
That all is well, when dark'ning clouds conceal
The shining sun;
But then I know
God lives and loves; and say, since it is so,
"Thy will be done."

A World Without Objects is a Sensible Emptiness

Song lyrics, The Kick Inside (1978)
Context: There's something very special indeed,
In all the places where I've seen you shine, boy.
There's something very real in how I feel, honey.
It's in me.
It's in me,
And you know it's for real.
Tuning in on your saxophone…

The Caesars (c. 361)
Context: As for the beauty of the gods, not even Hermes tried to describe it in his tale; he said that it transcended description, and must be comprehended by the eye of the mind; for in words it was hard to portray and impossible to convey to mortal ears. Never indeed will there be or appear an orator so gifted that he could describe such surpassing beauty as shines forth on the countenance of the gods.

"Tomorrow" <!-- p. 41 -->
The Janitor's Boy And Other Poems (1924)

1840s, Heroes and Hero-Worship (1840), The Hero As King
Context: To me, in these circumstances, that of "Hero-worship" becomes a fact inexpressibly precious; the most solacing fact one sees in the world at present. There is an everlasting hope in it for the management of the world. Had all traditions, arrangements, creeds, societies that men ever instituted, sunk away, this would remain. The certainty of Heroes being sent us; our faculty, our necessity, to reverence Heroes when sent: it shines like a polestar through smoke-clouds, dust-clouds, and all manner of down-rushing and conflagration.

"Estimated Prophet" on the Grateful Dead album Terrapin Station (1977); lyrics by Barlow http://artsites.ucsc.edu/GDead/agdl/estimate.html, music by Bob Weir ·  Grateful Dead performance at Capitol Theatre, Passaic, NJ (27 April 1977) https://www.youtube.com/watch?v=-WAK2vihBdw · JFK Stadium, Philadelphia, PA (7 July 1989) https://www.youtube.com/watch?v=CR5iB3ITGIU
Context: p>My time coming, any day, don't worry about me, no
Been so long I felt this way, I'm in no hurry, no.
Rainbows end down that highway where ocean breezes blow
My time coming, voices saying, they tell me where to go.
Don't worry 'bout me, no no, don't worry 'bout me, no
And I'm in no hurry, no no no, I know where to go. California, preaching on the burning shore
California, I'll be knocking on the golden door
Like an angel, standing in a shaft of light
Rising up to paradise, I know I'm going to shine.</p

"The Syntax of Sorcery: An Interview with Tom Robbins" (2012) http://realitysandwich.com/150587/syntax_sorcery_interview_tom_robbins/ in Reality Sandwich.
Context: Forty-odd years ago, there was a countercultural moment, a brief, shining moment, as it were, when the eyes of a generation glimpsed the Eden beneath the veil.  However fleeting was this paradise, or however harsh has been its repression, its light nonetheless inspired a rowdy cohort of artists to carry its torch into the future. Tom Robbins is one of these unruly pioneers, and his frequently bestselling novels are so saturated in an uncontainable joie de vivre that they have remained virtually required reading throughout the years and decades since their initial publication.

Draft for a Statement of Human Obligation (1943)
Context: There is a reality outside the world, that is to say, outside space and time, outside man's mental universe, outside any sphere whatsoever that is accessible to human faculties.
Corresponding to this reality, at the centre of the human heart, is the longing for an absolute good, a longing which is always there and is never appeased by any object in this world.
Another terrestrial manifestation of this reality lies in the absurd and insoluble contradictions which are always the terminus of human thought when it moves exclusively in this world.
Just as the reality of this world is the sole foundation of facts, so that other reality is the sole foundation of good.
That reality is the unique source of all the good that can exist in this world: that is to say, all beauty, all truth, all justice, all legitimacy, all order, and all human behaviour that is mindful of obligations.
Those minds whose attention and love are turned towards that reality are the sole intermediary through which good can descend from there and come among men.
Although it is beyond the reach of any human faculties, man has the power of turning his attention and love towards it.
Nothing can ever justify the assumption that any man, whoever he may be, has been deprived of this power.
It is a power which is only real in this world in so far as it is exercised. The sole condition for exercising it is consent.
This act of consent may be expressed, or it may not be, even tacitly; it may not be clearly conscious, although it has really taken place in the soul. Very often it is verbally expressed although it has not in fact taken place. But whether expressed or not, the one condition suffices: that it shall in fact have taken place.
To anyone who does actually consent to directing his attention and love beyond the world, towards the reality that exists outside the reach of all human faculties, it is given to succeed in doing so. In that case, sooner or later, there descends upon him a part of the good, which shines through him upon all that surrounds him.

Astræa
1840s, Poems (1847)
Context: p>Each to each a looking-glass,
Reflects his figure that doth pass.
Every wayfarer he meets
What himself declared repeats,
What himself confessed records,
Sentences him in his words;
The form is his own corporal form,
And his thought the penal worm. Yet shine forever virgin minds,
Loved by stars and the purest winds,
Which, o'er passion throned sedate,
Have not hazarded their state;
Disconcert the searching spy,
Rendering to a curious eye
The durance of a granite ledge
To those who gaze from the sea's edge.
It is there for benefit;
It is there for purging light;
There for purifying storms;
And its depths reflect all forms;
It cannot parley with the mean,—
Pure by impure is not seen.
For there's no sequestered grot,
Lone mountain tarn, or isle forgot,
But Justice, journeying in the sphere,
Daily stoops to harbour there.</p

1860s, The Good Fight (1865)
Context: Yes, yes, caste is a glacier, cold, towering, apparently as eternal as the sea itself. But at last that glittering mountain of ice touches the edge of the Gulf Stream. Down come pinnacle and peak, frosty spire and shining cliff. Like a living monster of shifting hues, a huge chameleon of the sea, the vast mass silently rolls and plunges and shrinks, and at last utterly disappears in that inexorable warmth of water. So with us the glacier has touched the Gulf Stream. On Palm Sunday, at Appomattox Court House, the spirit of feudalism, of aristocracy, of injustice in this country, surrendered, in the person of Robert E. Lee, the Virginian slave-holder, to the spirit of the Declaration of Independence and of equal rights, in the person of Ulysses S. Grant, the Illinois tanner. So closed this great campaign in the 'Good Fight of Liberty'. So the Army of the Potomac, often baffled, struck an immortal blow, and gave the right hand of heroic fellowship to their brethren of the West. So the silent captain, when all his lieutenants had secured their separate fame, put on the crown of victory and ended civil war. As fought the Lieutenant-General of the United States, so fight the United States themselves, in the 'Good Fight of Man'. With Grant's tenacity, his patience, his promptness, his tranquil faith, let us assault the new front of the old enemy. We, too, must push through the enemy's Wilderness, holding every point we gain. We, too, must charge at daybreak upon his Spottsylvania Heights. We, too, must flank his angry lines and push them steadily back. We, too, must fling ourselves against the baffling flames of Cold Harbor. We, too, outwitting him by night, must throw our whole force across swamp and river, and stand entrenched before his capital. And we, too, at last, on some soft, auspicious day of spring, loosening all our shining lines, and bursting with wild battle music and universal shout of victory over the last desperate defense, must occupy the very citadel of caste, force the old enemy to final and unconditional surrender, and bring Boston and Charleston to sing Te Deum together for the triumphant equal rights of man.

Elmer Gantry, paraphrasing the eloquence of the "atheist" Robert G. Ingersoll in his sermon.
Elmer Gantry (1927)
Context: His text was from Proverbs: "Hatred stirreth up strifes: but love covereth all sins."
He seized the sides of the pulpit with his powerful hands, glared at the congregation, decided to look benevolent after all, and exploded: "In the hustle and bustle of daily life I wonder how many of us stop to think that in all that is highest and best we are ruled not by even our most up-and-coming efforts but by Love? What is Love—the divine Love of which the—the great singer teaches us in Proverbs? It is the rainbow that comes after the dark cloud. It is the morning star and it is also the evening star, those being, as you all so well know, the brightest stars we know. It shines upon the cradle of the little one and when life has, alas, departed, to come no more, you find it still around the quiet tomb. What is it inspires all great men—be they preachers or patriots or great business men? What is it, my brethren, but Love? Ah, it fills the world with melody, with such sacred melodies as we have just indulged in together, for what is music? What, my friends, is music? Ah, what indeed is music but the voice of Love!"

Interview by John C. Snider (2003) at SciFiDimensions.com http://www.scifidimensions.com/Aug03/terrygoodkind.htm
Context: Fantasy allows you to shine a different kind of light on human beings. I believe the only valid use of fantasy is to illustrate important human themes. Magic in my novels is used in three ways: the simplest is as a metaphor for technology. A good example is a magic carpet. There's no magic carpet in my novels, but if someone needs to travel a great distance, they could use a magic carpet, while in a contemporary novel they'd use a car. The second way, and I think the most important, is as a metaphor for individuality and individual ability. The mediocre world doesn't want individuals to rise above what everyone else is doing. The third way I use magic is as a metaphor for coming out of an age of mysticism into a Renaissance. So, in a way it's the struggle between the Dark Ages and the Renaissance. … I never allow my characters to use magic to solve their problems. Some of their peripheral problems are solved through their magical abilities, but it's couched in terms of overcoming those problems in a thinking way. The major conflicts in the books are always solved through human intellect, through thinking out the problem and coming up with a solution. It's never "I'll just wave my magic wand over the bad guys and have them all fall down dead!"

By Still Waters (1906)
Context: I am the tender voice calling 'Away,'
Whispering between the beatings of the heart,
And inaccessible in dewy eyes
I dwell, and all unkissed on lovely lips,
Lingering between white breasts inviolate,
And fleeting ever from the passionate touch,
I shine afar, till men may not divine
Whether it is the stars or the beloved
They follow with wrapt spirit.

Address at Illinois College (1881)
Context: Character is the entity, the individuality of the person, shining from every window of the soul, either as a beam of purity, or as a clouded ray that betrays the impurity within. The contest between light and darkness, right and wrong, goes on; day by day, hour by hour, moment by moment, our characters are being formed, and this is the all-important question which comes to us in accents ever growing fainter as we journey from the cradle to the grave, "Shall those characters be good or bad?"

Preface
His Master's Voice (1968)
Context: Clarity of thought is a shining point in a vast expanse of unrelieved darkness. Genius is not so much a light as it is a constant awareness of the surrounding gloom, and its typical cowardice is to bathe in its own glow and avoid, as much as possible, looking out beyond its boundary. No matter how much genuine strength it may contain, there is also, inevitably, a considerable part that is only the pretense of that strength.

Molloy (1951)
Context: I was not made for the great light that devours, a dim lamp was all I had been given, and patience without end, to shine it on the empty shadows. I was a solid in the midst of other solids.

"Memorial Day"; this poem was later published in The Army and Navy Hymnal (1920)
Trees and Other Poems (1914)
Context: The bugle echoes shrill and sweet,
But not of war it sings to-day.
The road is rhythmic with the feet
⁠Of men-at-arms who come to pray. The roses blossom white and red
⁠On tombs where weary soldiers lie;
Flags wave above the honored dead
⁠And martial music cleaves the sky. Above their wreath-strewn graves we kneel,
⁠They kept the faith and fought the fight.
Through flying lead and crimson steel
⁠They plunged for Freedom and the Right. May we, their grateful children, learn
⁠Their strength, who lie beneath this sod,
Who went through fire and death to earn
⁠At last the accolade of God.In shining rank on rank arrayed
They march, the legions of the Lord;
He is their Captain unafraid,
The Prince of Peace... Who brought a sword.</p

"Kiss from a Rose" - Lyrics online http://www.songfacts.com/detail.php?id=3821
Seal (1994)

1840s, The Conservative (1841)
Context: It will never make any difference to a hero what the laws are. His greatness will shine and accomplish itself unto the end, whether they second him or not. If he have earned his bread by drudgery, and in the narrow and crooked ways which were all an evil law had left him, he will make it at least honorable by his expenditure. Of the past he will take no heed; for its wrongs he will not hold himself responsible: he will say, All the meanness of my progenitors shall not bereave me of the power to make this hour and company fair and fortunate. Whatsoever streams of power and commodity flow to me, shall of me acquire healing virtue, and become fountains of safety. Cannot I too descend a Redeemer into nature? Whosoever hereafter shall name my name, shall not record a malefactor, but a benefactor in the earth. If there be power in good intention, in fidelity, and in toil, the north wind shall be purer, the stars in heaven shall glow with a kindlier beam, that I have lived. I am primarily engaged to myself to be a public servant of all the gods, to demonstrate to all men that there is intelligence and good will at the heart of things, and ever higher and yet higher leadings. These are my engagements; how can your law further or hinder me in what I shall do to men? On the other hand, these dispositions establish their relations to me. Wherever there is worth, I shall be greeted. Wherever there are men, are the objects of my study and love. Sooner of later all men will be my friends, and will testify in all methods the energy of their regard. I cannot thank your law for my protection. I protect it. It is not in its power to protect me. It is my business to make myself revered. I depend on my honor, my labor, and my dispositions for my place in the affections of mankind, and not on any conventions or parchments of yours.

Innkeeper's wife
Source: A Child is Born (1942)
Context: God pity us indeed, for we are human,
And do not always see
The vision when it comes, the shining change,
Or, if we see it, do not follow it,
Because it is too hard, too strange, too new,
Too unbelievable, too difficult,
Warring too much with common, easy ways,
And now I know this, standing in this light,
Who have been half alive these many years,
Brooding on my own sorrow, my own pain,
Saying "I am a barren bough. Expect
Nor fruit nor blossom from a barren bough."

Section 8 : Suffering and Consolation
Founding Address (1876), Life and Destiny (1913)
Context: When the light of the sun shines through a prism it is broken into beautiful colours, and when the prism is shattered, still the light remains. So does the life of life shine resplendent in the forms of our friends, and so, when their forms are broken, still their life remains; and in that life we are united with them; for the life of their life is also our life, and we are one with them by ties indissoluble.

Source: A Soldier Reports (1976), p. 21.
Context: I first met George S. Patton, Jr., before World War II when he was a lieutenant colonel at Fort Sill, and in North Africa, when he was a general, I saw him often. Almost every day he would head for the front, standing erect in his jeep, helmet and brass shining, a pistol on each hip, a siren blaring. For the return trip, either a light plane would pick him up or he would sit huddled, unrecognizable, in the jeep in his raincoat. His image with the troops was foremost with General Patton, and that meant always going forward, never backward. General Patton had two fetishes that to my mind did little for his image with the troops. First, he apparently loathed the olive drab wool cap that the soldier wore under his helmet for warmth and insisted that it be covered; woe be the soldier whom the general caught wearing the cap without the helmet. Second, he insisted that every soldier under his command always wear a necktie with shirt collar buttoned, even in combat action.

Main Street and Other Poems (1917), A Blue Valentine
Context: Her soul's light shines through,
But her soul cannot be seen.
It is something elusive, whimsical, tender, wanton, infantile, wise
And noble.

Section 3.13 <!-- p. 183 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: St. John said, "And the light shineth in the darkness; and the darkness comprehended it not." The light shines in the darkness and the darkness does not understand it, and cannot extinguish it ( I need the double meaning here of comprehend). This is the great cry of affirmation that is heard over and over again in our imaginative literature, in all art. It is a light to lighten our darkness, to guide us, and we do not need to know, in the realm of provable fact, exactly where it is going to take us.

"Psalm"
Poems New and Collected (1998), A Large Number (1976)
Context: And how can we talk of order overall
when the very placement of the stars
leaves us doubting just what shines for whom?Not to speak of the fog's reprehensible drifting!
And dust blowing all over the steppes
as if they hadn't been partitioned!
And the voices coasting on obliging airwaves,
that conspiratorial squeaking, those indecipherable mutters!
Only what is human can truly be foreign.

Father and Daughter
Song lyrics, Surprise (2006)

The Clerk's Vision (1949)
Context: No use going out or staying at home. No use erecting walls against the impalpable. A mouth will extinguish all the fires, a doubt will root up all the decisions. It will be everywhere without being anywhere. It will blur all the. mirrors. Penetrating walls and convictions, vestments and well-tempered souls, it will install itself in the marrow of everyone. Whistling between body and body, crouching between soul and soul. And all the wounds will open because, with expert and delicate, although somewhat cold, hands, it will irritate sores and pimples, will burst pustules and swellings and dig into the old, badly healed wounds. Oh fountain of blood, forever inexhaustible! Life will be a knife, a gray and agile and cutting and exact and arbitrary blade that falls and slashes and divides. To crack, to claw, to quarter, the verbs that move with giant steps against us!
It is not the sword that shines in the confusion of what will be. It is not the saber, but fear and the whip. I speak of what is already among us. Everywhere there are trembling and whispers, insinuations and murmurs. Everywhere the light wind blows, the breeze that provokes the immense Whiplash each time it unwinds in the air. Already many carry the purple insignia in their flesh. The light wind rises from the meadows of the past, and hurries closer to our time.

Song lyrics, Hounds of Love (1985), The Ninth Wave
Context: Little light shining,
Little light will guide them to me.
My face is all lit up,
My face is all lit up.

The Spiritual Espousals (c. 1340)
Context: You should watch the wise bee and do as it does. It dwells in unity, in the congregation of its fellows, and goes forth, not in the storm, but in calm and still weather, in the sunshine, towards all those flowers in which sweetness may be found. It does not rest on any flower, neither on any beauty nor on any sweetness; but it draws from them honey and wax, that is to say, sweetness and light-giving matter, and brings both to the unity of the hive, that therewith it may produce fruits, and be greatly profitable. Christ, the Eternal Sun, shining into the open heart, causes that heart to grow and to bloom, and it overflows with all the inward powers with joy and sweetness. So the wise man will do like the bee, and he will fly forth with attention and with reason and with discretion, towards all those gifts and towards all that sweetness which he has ever experienced, and towards all the good which God has ever done to him. And in the light of love and with inward observation, he will taste of the multitude of consolations and good things; and will not rest upon any flower of the gifts of God, but, laden with gratitude and praise, will fly back into the unity, wherein he wishes to rest and to dwell eternally with God.

Part I, section xxii, stanza 9
Maud; A Monodrama (1855)

Poems and Ballads (1866-89), The Triumph of Time
Context: p>The pulse of war and passion of wonder,
The heavens that murmur, the sounds that shine,
The stars that sing and the loves that thunder,
The music burning at heart like wine,
An armed archangel whose hands raise up
All senses mixed in the spirit's cup
Till flesh and spirit are molten in sunder —
These things are over, and no more mine. These were a part of the playing I heard
Once, ere my love and my heart were at strife;
Love that sings and hath wings as a bird,
Balm of the wound and heft of the knife.
Fairer than earth is the sea, and sleep
Than overwatching of eyes that weep,
Now time has done with his one sweet word,
The wine and leaven of lovely life.</p

Source: The Shoes of Happiness, and Other Poems (1913), The Crowning Hour, II
Context: p>If this is a dream, then perhaps our dreaming
Can touch life's height to a finer fire:
Who knows but the heavens and all their seeming
Were made by the heart's desire?One thing shines clear in the heart's sweet reason,
One lightning over the chasm runs —
That to turn from love is the world's one treason
That darkens all the suns.</p

Source: To the Memory of My Beloved, the Author, Mr. William Shakespeare (1618), Lines 71 - 80
Context: Sweet swan of Avon! what a sight it were
To see thee in our water yet appear,
And make those flights upon the banks of Thames,
That so did take Eliza, and our James.
But stay, I see thee in the hemisphere
Advanc'd, and made a constellation there!
Shine forth, thou star of poets, and with rage,
Or influence, chide, or cheer the drooping stage,
Which, since thy flight from hence, hath mourn'd like night,
And despairs day, but for thy volumes light.

First Ennead, Sixth Tractate, Section 9
The First Ennead (c. 250)

" The Beggar Maid http://home.att.net/%7ETennysonPoetry/tbm.htm", st. 2 (1842)

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

Fragment xxii.
Golden Sayings of Epictetus, Fragments

Orthodoxy (1884).
Context: Love is the only bow on Life's dark cloud. It is the morning and the evening star. It shines upon the babe, and sheds its radiance on the quiet tomb. It is the mother of art, inspirer of poet, patriot and philosopher. It is the air and light of every heart — builder of every home, kindler of every fire on every hearth. It was the first to dream of immortality. It fills the world with melody — for music is the voice of love. Love is the magician, the enchanter, that changes worthless things to Joy, and makes royal kings and queens of common clay. It is the perfume of that wondrous flower, the heart, and without that sacred passion, that divine swoon, we are less than beasts; but with it, earth is heaven, and we are gods.

1880s, Speech to the 'Boys in Blue' (1880)
Context: And it did gentle the condition and elevate the heart of every worthy soldier who fought for the Union, [applause, ] and he shall be our brother forevermore. Another thing we will remember: we will remember our allies who fought with us. Soon after the great struggle began, we looked behind the army of white rebels, and saw 4,000,000 of black people condemned to toil as slaves for our enemies; and we found that the hearts of these 4,000,000 were God-inspired with the spirit of Liberty, and that they were all our friends. [Applause. ] We have seen the white men betray the flag and fight to kill the Union; but in all that long, dreary war we never saw a traitor in a black skin. [Great cheers. ] Our comrades escaping from the starvation of prison, fleeing to our lines by the light of the North star, never feared to enter the black man's cabin and ask for bread. ["Good, good," "That's so," and loud cheers. ] In all that period of suffering and danger, no Union soldier was ever betrayed by a black man or woman. [Applause. ] And now that we have made them free, so long as we live we will stand by these black allies. [Renewed applause. ] We will stand by them until the sun of liberty, fixed in the firmament of our Constitution, shall shine with equal ray upon every man, black or white, throughout the Union. [Cheers. ] Fellow-citizens, fellow-soldiers, in this there is the beneficence of eternal justice, and by it we will stand forever. [Great applause. ] A poet has said that in individual life we rise, "On stepping-stones of our dead selves to higher things," and the Republic rises on the glorious achievements of its dead and living heroes to a higher and nobler national life. [Applause. ] We must stand guard over our past as soldiers, and over our country as the common heritage of all. [Applause. ]

Heretics and Heresies (1874)
Context: By this time the whole world should know that the real Bible has not yet been written, but is being written, and that it will never be finished until the race begins its downward march, or ceases to exist.
The real Bible is not the work of inspired men, nor prophets, nor apostles, nor evangelists, nor of Christs. Every man who finds a fact, adds, as it were, a word to this great book. It is not attested by prophecy, by miracles or signs. It makes no appeal to faith, to ignorance, to credulity or fear. It has no punishment for unbelief, and no reward for hypocrisy. It appeals to man in the name of demonstration. It has nothing to conceal. It has no fear of being read, of being contradicted, of being investigated and understood. It does not pretend to be holy, or sacred; it simply claims to be true. It challenges the scrutiny of all, and implores every reader to verify every line for himself. It is incapable of being blasphemed. This book appeals to all the surroundings of man. Each thing that exists testifies of its perfection. The earth, with its heart of fire and crowns of snow; with its forests and plains, its rocks and seas; with its every wave and cloud; with its every leaf and bud and flower, confirms its every word, and the solemn stars, shining in the infinite abysses, are the eternal witnesses of its truth.

Trees and Other Poems (1914), Delicatessen
Context: Perhaps he lives and dies unpraised,
This trafficker in humble sweets,
Because his little shops are raised
By thousands in the city streets.
Yet stars in greater numbers shine,
And violets in millions grow,
And they in many a golden line
Are sung, as every child must know.

The Conspiracy of Kings (1792)
Context: See the long pomp in gorgeous glare display'd,
The tinsel'd guards, the squadron'd horse parade;
See heralds gay, with emblems on their vest,
In tissu'd robes, tall, beauteous pages drest;
Amid superior ranks of splendid slaves,
Lords, Dukes and Princes, titulary knaves,
Confus'dly shine their crosses, gems and stars,
Sceptres and globes and crowns and spoils of wars.

Middlebury College Address (2004)
Context: I know that you’ve heard this before ad nauseam, but twenty years do go by at lightning speed, and that is my first pearl of wisdom. And, now, the others in this pocket pack of precepts to live by...
Take care of yourself and be caring with others. Nurture a sense of gratitude, and be grateful for a sense of humor. Be sure to thank your parents and mentors for all they’ve given you, but give love to your future children and mentees freely without any expectation of thanks in return. Look for ways to let your light shine, but don’t be afraid occasionally to be in the dark. Strive to make your behavior above reproach, but be careful not to cast judgment on others whose behavior may reflect a different form of reality. The more you give, the richer you will become. Let your life be enhanced by the company you keep.

Franny and Zooey (1961), Zooey (1957)
Context: Seymour'd told me to shine my shoes just as I was going out the door with Waker. I was furious. The studio audience were all morons, the announcer was a moron, the sponsors were morons, and I just damn well wasn't going to shine my shoes for them, I told Seymour. I said they couldn't see them anyway, where we sat. He said to shine them anyway. He said to shine them for the Fat Lady. I didn't know what the hell he was talking about, but he had a very Seymour look on his face, and so I did it. He never did tell me who the Fat Lady was, but I shined my shoes for the Fat Lady every time I ever went on the air again — all the years you and I were on the program together, if you remember. I don't think I missed more than just a couple of times. This terribly clear, clear picture of the Fat Lady formed in my mind. I had her sitting on this porch all day, swatting flies, with her radio going full-blast from morning till night. I figured the heat was terrible, and she probably had cancer, and — I don't know. Anyway, it seemed goddam clear why Seymour wanted me to shine my shoes when I went on the air. It made sense.

XIV. In what sense, though the Gods never change, they are said to be made angry and appeased.
On the Gods and the Cosmos
Context: If any one thinks the doctrine of the unchangeableness of the Gods is reasonable and true, and then wonders how it is that they rejoice in the good and reject the bad, are angry with sinners and become propitious when appeased, the answer is as follows: God does not rejoice — for that which rejoices also grieves; nor is he angered — for to be angered is a passion; nor is he appeased by gifts — if he were, he would be conquered by pleasure.
It is impious to suppose that the divine is affected for good or ill by human things. The Gods are always good and always do good and never harm, being always in the same state and like themselves. The truth simply is that, when we are good, we are joined to the Gods by our likeness to live according to virtue we cling to the Gods, and when we become evil we make the Gods our enemies — not because they are angered against us, but because our sins prevent the light of the Gods from shining upon us, and put us in communion with spirits of punishment. And if by prayers and sacrifices we find forgiveness of sins, we do not appease or change the Gods, but by what we do and by our turning toward the divine we heal our own badness and so enjoy again the goodness of the Gods. To say that God turns away from the evil is like saying that the sun hides himself from the blind.

No. 225
The Tatler (1711–1714)

"On Revolutionary Morality" (1958)
1950's, On Revolutionary Morality (1958)

On staying the course as a leading lady in “Jane Seymour: 'I try not to let anyone upstage me'” https://www.telegraph.co.uk/women/life/jane-seymour-i-try-not-to-let-anyone-upstage-me/ in The Telegraph (2016 Apr 10)

The Transhumanism Handbook, 2019

Letter to Aurangzeb

Source: The New Ethics (1907), Conclusion, p. 215

Source: The New Ethics (1907), Flashlights on Human Progress, p. 198

1840s, Essays: Second Series (1844), Nominalist and Realist

Source: Invisible Helpers (1915), Ch. 17

About, Pride Of The Nation: Dr. A.P.J. Abdul Kalam

Source: The Characteristics of the Present Age (1806), p. 264

Manmohan Singh in: PM's Speech on Presentation of Fakhruddin Ali Ahmed Memorial Award 2008 & 2009 and Unveiling of Plaque of Jica Assisted Water Supply Project for Guwahati City http://www.pib.nic.in/newsite/erelease.aspx?relid=69905, Prime Minister's Office, 8-February, 2011

Said by the Dewan. Modern_Mysore, Dr. B. R. Ambedkar Open University, 26 November 2013, archive.org, 201 http://archive.org/stream/modernmysore035292mbp/modernmysore035292mbp_djvu.txt,
From Modern Mysore

Gavin Friday, [July 16, 2012, http://www.independent.ie/lifestyle/everybody-loves-rufus-3168433.html, everybody loves rufus]

Astronomical Observations relating to the Construction of the Heavens... (1811)

Revolution (2014)

Letter to John Taylor (February 27, 1818)
Letters (1817–1820)

Chap. 5 : Become an Elusive Object of Desire
The Laws of Human Nature (2018)

Source: Nemesis Games (2015), Chapter 13 (p. 140)

Source: Meditations on the Cross (1996), Back to the Cross, p. 3

Colorado Girl

If I Needed You (1972)

Colorado girl

Words (between the lines of age)
Song lyrics, Harvest (1972)

pp, 70-71 https://books.google.com/books?id=WbpvDwAAQBAJ&pg=PA70
Critique of Economic Reason, 1988

mystic poetry and spirituality

awareness and love

"To Juan at the Winter Solstice" from Poems 1938-1945 (1946)
Poems