Quotes about stage
page 6

Alanis Morissette photo
Robert Owen photo

“The lowest stage of humanity is experienced when the individual must labour for a small pittance of wages from others.”

Robert Owen (1771–1858) Welsh social reformer

Paper Dedicated to the Governments of Great Britain, Austria, Russia, France, Prussia and the United States of America (1841).

Arthur Conan Doyle photo
Herbert Marcuse photo
Bawa Muhaiyaddeen photo
Margaret Cho photo
Camille Paglia photo
Manfred F.R. Kets de Vries photo
Kamisese Mara photo

“The reconciliation that has been undertaken today will be worthless if investigations into the coup do not reveal the truth behind the staging.”

Kamisese Mara (1920–2004) President of Fiji

(Attributed to him by his daughter, Adi Koila Nailatikau in a Senate speech http://www.parliament.gov.fj/hansard/viewhansard.aspx?hansardID=266&viewtype=full, 22 October 2004).
Attributed

Wanda Orlikowski photo
Ringo Starr photo
Calvin Coolidge photo
Vytautas Juozapaitis photo
Leszek Kolakowski photo
Björn Ulvaeus photo

“We will never appear on stage again. There is simply no motivation to re-group. Money is not a factor and we would like people to remember us as we were. Young, exuburent, full of energy and ambition.”

Björn Ulvaeus (1945) Swedish musician

Daily Telegraph, 5 Jul 2008 http://www.telegraph.co.uk/culture/music/3555750/ABBAs-Bjorn-Ulvaeus-and-Benny-Anderson-We-will-never-reform.html

George H. W. Bush photo

“Even though I'm a tranquil guy now at this stage of my life, I have nothing but contempt and anger for those who betray the trust by exposing the identity of our sources. They are, in my view, the most insidious of traitors.”

George H. W. Bush (1924–2018) American politician, 41st President of the United States

Speech at CIA headquarters to Agency employees (26 April 1999) https://www.cia.gov/news-information/speeches-testimony/1999/bush_speech_042699.html

Edmund White photo
Emma Thompson photo
Ai Weiwei photo
Sinclair Lewis photo
Bruce Springsteen photo

“What has caused confusion and misunderstanding about his Hinduism is the concept of sarva-dharma-samabhAva (equal regard for all religions) which he had developed after deep reflection. Christian and Muslim missionaries have interpreted it to mean that a Hindu can go aver to Christianity or Islam without suffering any spiritual loss. They are also using it as a shield against every critique of their closed and aggressive creeds. The new rulers of India, on the other hand, cite it in order to prop up the Nehruvian version of Secularism which is only a euphemism for anti-Hindu animus shared in common by Christians, Muslims, Marxists and those who are Hindus only by accident of birth. For Gandhiji, however, sarva-dharma-samabhAva was only a restatement of the age-old Hindu tradition of tolerance in matters of belief. Hinduism has always adjudged a man’s faith in terms of his AdhAra (receptivity) and adhikAra (aptitude). It has never prescribed a uniform system of belief or behavior for everyone because, according to it, different persons are in different stages of spiritual development and need different prescriptions for further progress. Everyone, says Hinduism, should be left alone to work out one’s own salvation through one’s own inner seeking and evolution. Any imposition of belief or behaviour from the outside is, therefore, a mechanical exercise which can only do injury to one’s spiritual growth. Preaching to those who have not invited it is nothing short of aggression born out of self-righteousness. That is why Gandhiji took a firm and uncompromising stand against proselytisation by preaching and gave no quarters to the Christian mission’s mercenary methods of spreading the gospel.”

Sita Ram Goel (1921–2003) Indian activist

History of Hindu-Christian Encounters (1996)

Arthur Scargill photo
John Crowley photo
Kathy Ireland photo
Richard Brinsley Sheridan photo

“Where they do agree on the stage, their unanimity is wonderful.”

Act II, sc. ii.
The Critic (1779)

Arthur Cecil Pigou photo
Glen Cook photo
Richard Leakey photo

“The question… is whether Upper Paleolithic art bears the telltale signs of Lewis-Williams' three stage neuropsychological model, and could thus be shamanistic art.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Gene Wilder photo
Courtney Love photo

“I wore a dress that was so restricting and shoes that were five inches high, I could barely stage-dive. Then I got the best write-ups, for being feminine, I guess. I couldn’t move well and I was restrained, which equals great review. That’s pretty horrid.”

Courtney Love (1964) American punk singer-songwriter, musician, actress, and artist

On her attire during live performances, Billboard https://books.google.com/books?id=gA0EAAAAMBAJ&pg=PA135&dq=I+wore+a+dress+that+was+so+restricting+and+shoes+that+were+five+inches+high,+I+could+barely+stage-dive,+Then+I+got+the+best+write-ups,+for+being+feminine,+I+guess.+I+couldn’t+move+well+and+I+was+restrained,+which+equals+great+review.+That’s+pretty+horrid+Read+more+at+http://www.nme.com/list/courtney-love-30-of-her-most-candid-quotes-1309%233eCzLehAzLfAYAW2.99&hl=en&sa=X&ved=0ahUKEwiHoYHrgbfSAhUDOSYKHeg-DR8Q6AEIGjAA#v=onepage&q=I%20wore%20a%20dress%20that%20was%20so%20restricting%20and%20shoes%20that%20were%20five%20inches%20high%2C%20I%20could%20barely%20stage-dive%2C%20Then%20I%20got%20the%20best%20write-ups%2C%20for%20being%20feminine%2C%20I%20guess.%20I%20couldn’t%20move%20well%20and%20I%20was%20restrained%2C%20which%20equals%20great%20review.%20That’s%20pretty%20horrid%20Read%20more%20at%20http%3A%2F%2Fwww.nme.com%2Flist%2Fcourtney-love-30-of-her-most-candid-quotes-1309%233eCzLehAzLfAYAW2.99&f=false (30 March 1996)
1996–2005

Aron Ra photo
Fyodor Dostoyevsky photo
Ritchie Blackmore photo

“Listening to as many guitar solos as possible is the best method for someone in the early stages. But saxophone solos can be helpful. They're interesting because they're all single notes, and therefore can be repeated on the guitar. If you can copy a sax solo you're playing very well, because the average saxophonist can play much better than the average guitarist.”

Ritchie Blackmore (1945) British guitarist and songwriter

Ritchie Blackmore, in: Guitar Player. Vol. 7. (1973). p. 235:
Answer to the question Does listening to solos performed on other instruments than the guitar help the beginning guitarist develop a personal style?

Nat Hentoff photo
Vytautas Juozapaitis photo
John Adams photo

“I believe there is no one Principle, which predominates in human Nature so much in every Stage of Life, from the Cradle to the Grave, in Males and females, old and young, black and white, rich and poor, high and low, as this Passion for Superiority.”

John Adams (1735–1826) 2nd President of the United States

Letter to Abigail Adams (22 May 1777), as quoted in And the War Came: The Slavery Quarrel and the American Civil War https://books.google.com/books?id=WbFznb7PSGsC&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false, by Donald J. Meyers
1770s

Ivar Jacobson photo
Charlotte Brontë photo
Vytautas Juozapaitis photo

“For the modernist, in contrast, the past is largely irrelevant. The nation is a modern phenomenon, the product of nationalist ideologies, which themselves are the expression of modern, industrial society. The nationalist is free to use ethnic heritages, but nation-building can proceed without the aid of an ethnic past. Hence, nations are phenomena of a particular stage of history, and embedded in purely modern conditions.”

Anthony D. Smith (1939–2016) British academic

As cited by Eric G.E. Zuelow " Anthony D. Smith, Nationalism and the Reconstruction of Nations http://www.nationalismproject.org/what/smith1.htm" on nationalismproject.org. 1999-2007.
Gastronomy or Geology? The Role of Nationalism in the Reconstruction of Nations. (1994)

Alice Cooper photo

“If you confine it, you're confining a whole thing. If you make it spontaneous, so that anything can happen, like we don't want to confine or restrict anything. What we can do, whatever we can let happen, you just let it happen…. we're taking sex, which is probably another half of American entertainment, sex and violence, and we're projecting it, and we're saying this is the way everything is right now. Biologically, everyone is male and female, so many male genes and so many female. And so what it is is we're saying "OK, what's the big deal. Why is everybody so up tight about sex?" About faggots, queers, things like that. That's the way they are…. People don't accept that they are both male and female, and people are afraid to break out of their sex thing because that's a big insecurity that's doing that. Consequently, people will make fun of us. We don't mind that, that's making them accept more, making fun that we accept that. The thing is this is the way we are. We think it's a gas…. We like reactions — a reaction is walking out on us, a reaction is throwing tomatoes at the stage, that's a healthy psychological reaction. Reaction's applauding, passing out or throwing up, and all of that is a reaction, and as much of that we can get, the better. I don't care how they react, as long as they react.”

Alice Cooper (1948) American rock singer, songwriter and musician

Interview in Poppin (September 1969).
Poppin (1969)

Hendrik Verwoerd photo
Jack McDevitt photo

“The kids were both adolescents, at that happy stage where they could simultaneously make him confident about the future while they were sabotaging the present.”

Jack McDevitt (1935) American novelist, Short story writer

Source: Academy Series - Priscilla "Hutch" Hutchins, Cauldron (2007), Chapter 22 (p. 190)

Paul Karl Feyerabend photo
Choi Jang-jip photo

“Democracy has failed to dampen the right/left ideological schism, which is historically rooted in the early years of separate state creation. And neither the right nor the left is fully able to provide a convincing alternative vision of how democracy in Korean society can robustly develop and thereby enhance its quality. The rightists/conservatives, who continue to retain their predominant power and influence over the state and civil society, still cling to an old-fashioned, outmoded black-and-white ideology derived from the Cold War period. That ideology can no longer provide a political vision and values and norms pertinent to the post-Cold War era as well as a democratized, highly modernized and globalized social environment. Thereby they have failed to play a leading role in enhancing autonomy of civil society vis-à-vis the state, respecting rule of law, and contributing to bringing social integration and inclusiveness.
On the other hand, the leftists have disappointed many people who expected that the entirely new generations which appeared on the political center stage in the course of democratization could play a decisive role in changing Korean politics. In recent years we have witnessed a growing disillusionment with the radical discourses and ideas as well as with their inability to develop a new type of party politics, deal with the socio-economic problems and provide a certain substantive model for ethical life.”

Choi Jang-jip (1943) South Korean political scientist

"The Fragility of Liberalism and its Political Consequences in Democratized Korea" (2009)

Seba Johnson photo
Edward Bellamy photo

“On no other stage are the scenes shifted with a swiftness so like magic as on the great stage of history when once the hour strikes.”

Edward Bellamy (1850–1898) American author and socialist

Author's postscript.
Looking Backward, 2000-1887 http://www.gutenberg.org/dirs/etext96/lkbak10.txt (1888)

Sri Aurobindo photo

“What the Divine wants is for man to embody Him here, in the individual and in the collectivity… to realise God in life. The old system of yoga could not harmonise or unify Spirit and life; it dismissed the world as Maya or a transient play of God. The result has been a diminution of life-power and the decline of India. The Gita says, utsideyur ime loka na kuryam karma cedaham ["These peoples would crumble to pieces if I did not do actions," 3.24]. Truly 'these peoples' of India have gone to ruin. What kind of spiritual perfection is it if a few Sannyasins, Bairagis and Saddhus attain realisation and liberation, if a few Bhaktas dance in a frenzy of love, god-intoxication and Ananda, and an entire race, devoid of life, devoid of intelligence, sinks to the depths of extreme tamas?… But now the time has come to take hold of the substance instead of extending the shadow. We have to awaken the true soul of India and in its image fashion all works…. I believe that the main cause of India's weakness is not subjection, nor poverty, nor a lack of spirituality or Dharma, but a diminution of thought-power, the spread of ignorance in the motherland of Knowledge. Everywhere I see an inability or unwillingness to think… incapacity of thought or 'thought-phobia'…. The mediaeval period was a night, a time of victory for the man of ignorance; the modern world is a time of victory for the man of knowledge. It is the one who can fathom and learn the truth of the world by thinking more, searching more, labouring more, who will gain more Shakti. Look at Europe, and you will see two things: a wide limitless sea of thought and the play of a huge and rapid, yet disciplined force. The whole Shakti of Europe lies there. It is by virtue of this Shakti that she has been able to swallow the world, like our Tapaswins of old, whose might held even the gods of the universe in awe, suspense and subjection. People say that Europe is rushing into the jaws of destruction. I do not think so. All these revolutions, all these upsettings are the initial stages of a new creation….. We, however, are not worshippers of Shakti; we are worshippers of the easy way…. Our civilisation has become ossified, our Dharma a bigotry of externals, our spirituality a faint glimmer of light or a momentary wave of intoxication. So long as this state of things lasts, any permanent resurgence of India is impossible…. We have abandoned the sadhana of Shakti and so the Shakti has abandoned us…. You say what is needed is emotional excitement, to fill the country with enthusiasm. We did all that in the political field during the Swadeshi period; but all we did now lies in the dust…. Therefore I no longer wish to make emotional excitement, feeling and mental enthusiasm the base. I want to make a vast and heroic equality the foundation of my yoga; in all the activities of the being, of the adhar [vessel] based on that equality, I want a complete, firm and unshakable Shakti; over that ocean of Shakti I want the vast radiation of the sun of Knowledge and in that luminous vastness an established ecstasy of infinite love and bliss and oneness. I do not want tens of thousands of disciples; it will be enough if I can get as instruments of God a hundred complete men free from petty egoism. I have no faith in the customary trade of guru. I do not want to be a guru. What I want is that a few, awakened at my touch or at that of another, will manifest from within their sleeping divinity and realise the divine life. It is such men who will raise this country.”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

April, 1920, Letter to Barin Ghose, Sri Aurobindo's brother, Translated from Bengali
India's Rebirth

Jonas Salk photo
John Gray photo
Thomas Middleton photo

“The world's a stage on which all parts are played.”

Thomas Middleton (1580–1627) English playwright and poet

A Game of Chess (1624), Act v. Sc. 1. Compare: "All the world ’s a stage, And all the men and women merely players", Shakespeare, As You Like It, Act ii. Sc. 7.; "The world ’s a theatre, the earth a stage, Which God and Nature do with actors fill", Thomas Heywood, Apology for Actors (1612).

Samuel Johnson photo

“Superfluous lags the vet'ran on the stage.”

Samuel Johnson (1709–1784) English writer

Source: Vanity of Human Wishes (1749), Line 308

Alfred P. Sloan photo
Jane Roberts photo
Robert A. Heinlein photo
Ian McCulloch photo
David Cross photo
Paul Robeson photo
R. H. Tawney photo

“Masculine process has at its foundation externalization. The young boy is focused away from his inner and personal self and into achievement, performance, competition, success, emotional control (being "cool"), autonomy (not being dependent or needy), fearlessness, action, and an ethic that only values time spent in doing. Anything else is suspect and viewed as lazy, worthless, time-wasting, or meaningless.Externalization, or the process of being pushed outside of oneself, amplifies and eventually becomes disconnection. Personal relationships are then objectified and founded on the role another can play in his life. Relationships are based on doing and are therefore fairly readily interchangeable with anyone else who can do.Disconnection leads men to the experience of being loners, where it's "lonely at the top," and freedom, space, and "doing one's thing," are the rationalized values. Disconnection transforms a man into someone who has everything he wanted externally, but has nothing that is bonded or connected on a personal level. He is "out of touch," so he doesn't know why he's unhappy, and may conclude that the cause of his malaise is that he needs "more." He sets out to get it, but when he gets it he feels deader and more isolated than ever.The end stage of this journey of masculine process is personal oblivion, which can occur early in his life or may not appear full blown until he's an older man, depending on how extreme his externalized process is. At this point, personal connection becomes impossible. He doesn't know he rationalizes his personal emptiness with cynical philosophies and escapes painful awareness through non-relationships he can control by buying. In the end state of oblivion, he is beyond personal reach and can only relate in abstract, depersonalized, intellectualized ways. The only way he is "loved" is in return for providing or taking care of others.”

Herb Goldberg (1937–2019) American psychologist

The Personal Journey of Masculinity: From Externalization to Disconnection to Oblivion, pp. 10–11
What Men Still Don't Know About Women, Relationships, and Love (2007)

“I will come through this stage, I will come through this place and smile again”

Ritsuko Okazaki (1959–2004) Japanese singer

空色(Sorairo), Siki
Lyrics

Oswald Spengler photo

“And at that point, too, in Buddhist India as in Babylon, in Rome as in our own cities, a man's choice of the woman who is to be, not mother of his children as amongst peasants and primitives, but his own "companion for life", becomes a problem of mentalities. The Ibsen marriage appears, the "higher spiritual affinity" in which both parties are "free"—free, that is, as intelligences, free from the plantlike urge of the blood to continue itself, and it becomes possible for a Shaw to say "that unless Woman repudiates her womanliness, her duty to her husband, to her children, to society, to the law, and to everyone but herself, she cannot emancipate herself." The primary woman, the peasant woman, is mother. The whole vocation towards which she has yearned from childhood is included in that one word. But now emerges the Ibsen woman, the comrade, the heroine of a whole megalopolitan literature from Northern drama to Parisian novel. Instead of children, she has soul-conflicts; marriage is a craft-art for the achievement of "mutual understanding"….
At this level all Civilizations enter upon a stage, which lasts for centuries, of appalling depopulation. The whole pyramid of cultural man vanishes. It crumbles from the summit, first the world-cities, then the provincial forms, and finally the land itself, whose best blood has incontinently poured into the towns, merely to bolster them up awhile. At the last, only the primitive blood remains, alive, but robbed of its strongest and most promising elements. This residue is the Fellah type.
If anything has demonstrated the fact that Causality has nothing to do with history, it is the familiar "decline" of the Classical, which accomplished itself long before the irruption of Germanic migrants. The Imperium enjoyed the completest peace; it was rich and highly developed; it was well organized; and it possessed in its emperors from Nerva to Marcus Aurelius a series of rulers such as the Caesarism of no other Civilization can show. And yet the population dwindled, quickly and wholesale. The desperate marriage-and-children laws of Augustus—amongst them the Lex de maritandis ordinibus, which dismayed Roman society more than the destruction of Varus's legions—the wholesale adoptions, the incessant plantation of soldiers of barbarian origin to fill the depleted country-side, the immense food-charities of Nerva and Trajan for the children of poor parents—nothing availed to check the process.”

Vol. II, Alfred A. Knopf, 1928, pp. 104–06 https://archive.org/stream/Decline-Of-The-West-Oswald-Spengler/Decline_Of_The_West#page/n573/mode/2up/search/depopulation
The Decline of the West (1918, 1923)

Anton Chekhov photo
Raya Dunayevskaya photo
Mike Patton photo
Robert P. George photo
Grady Booch photo
Karl Pilkington photo
Malcolm Muggeridge photo
Silvia Colloca photo
John Ruskin 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

Rudolph Rummel photo
Henry Adams photo
Otto Weininger photo
Ernst Ludwig Kirchner photo
Roger Manganelli photo
Ehud Barak photo
Morrissey photo

“M: If you cannot impress people simply by being part of the great fat human race, then you really do have to develop other skills. And if you don't impress people by the way you look, then you really do have to develop other skills. And if you are now going to ask is everything I did just a way to gain some form of attention, well that's not entirely true. It is in a small way, but that's in the very nature of being alive.
PM: Wanting to be loved?
M: To be seen, above all else. I wanted to be noticed, and the way I lived and do live has a desperate neurosis about it because of that. All humans need a degree of attention. Some people get it at the right time, when they are 13 or 14, people get loved at the right stages. If this doesn't happen, if the love isn't there, you can quite easily just fade away. … In a sense I always felt that being troubled as a teenager was par for the course. I wasn't sure that I was dramatically unique. I knew other people who were at the time desperate and suicidal. They despised life and detested all other living people. In a way that made me feel a little bit secure. Because I thought, well, maybe I'm not so intense after all. Of course, I was. I despised practically everything about human life, which does limit one's weekend activities”

Morrissey (1959) English singer

From "Wilde child", interview by Paul Morley, Blitz (April 1988).
In interviews etc., About himself and his work

Muhammad bin Qasim photo

“When Muhammad bin Qasim invaded Sind, he took captives wherever he went and sent many prisoners, especially women prisoners, to his homeland. Parimal Devi and Suraj Devi, the two daughters of Raja Dahir, who were sent to Hajjaj to adorn the harem of the Caliph, were part of a large bunch of maidens remitted as one-fifth share of the state (Khums) from the booty of war (Ghanaim). The Chachnama gives the details. After the capture of the fort of Rawar, Muhammad bin Qasim “halted there for three day, during which time he masscered 6,000 …men. Their followers and dependents, as well as their women and children were taken prisoner.” When the (total) number of prisoners was calculated, it was found to amount to thirty thousand persons (Kalichbeg has sixty thousand), amongst whom thirty were the daughters of the chiefs. They were sent to Hajjaj. The head of Dahir and the fifth part of prisoners were forwarded in charge of the Black Slave Kaab, son of Mubarak Rasti.96 In Sind itself female slaves captured after every campaign of the marching army, were married to Arab soldiers who settled down in colonies established in places like Mansura, Kuzdar, Mahfuza and Multan. The standing instructions of Hajjaj to Muhammad bin Qasim were to “give no quarter to infidels, but to cut their throats”, and take the women and children as captives. In the final stages of the conquest of Sind, “when the plunder and the prisoners of war were brought before Qasim… one-fifth of all the prisoners were chosen and set aside; they were counted as amounting to twenty thousand in number… (they belonged to high families) and veils were put on their faces, and the rest were given to the soldiers”.97 Obviously, a few lakhs of women were enslaved and distributed among the elite and the soldiers.”

Muhammad bin Qasim (695–715) Umayyad general

Chachnama, in Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 7

Roger Manganelli photo
Agatha Christie photo
Constance Marie photo
Amitabh Bachchan photo
Burkard Schliessmann photo

“The listener with no preconceptions hears massive waves of sound breaking over him and forms from them the image of a passionate soul seeking and finding the path to faith and peace in God through a life of struggle and a vigorous pursuit of ideals. It is impossible not to hear the confessional tone of this musical language; Liszt’s sonata becomes - perhaps involuntarily on the part of the composer - an autobiographical document and one which reveals an artist in the Faustian mold in the person of its author. As in the Harmonies poétiques et religieuses, the underlying religious concept which dominates and permeates the whole work demands a special kind of approach. Whereas representations of human passions and conflicts force themselves on our understanding with their powerfully suggestive coloring, this concept only becomes manifest to those souls who are prepared to soar to the same heights. The equilibrium of the sonata’s hymnic chordal motif, the transformation of its defiant battle motif (first theme) into a triumphant fanfare, and its appearance in bright, high notes on the harp, together with the devotional atmosphere of the Andante, represent a particular challenge to the listener; he is, after all, also expected to grasp the wide-spanned arcs of sound which, from the first hesitant descending octaves to the radiant final chords, build up a graphic panorama of the various stages of progress of a human spirit filled with faith and hope. As the reflection of a remarkable artistic personality worthy of deep admiration and, by extension, of the whole Romantic period, Liszt’s B minor Sonata deserves lasting recognition.”

Burkard Schliessmann classical pianist

About the Liszt Sonata in B minor

Tawakkol Karman photo
John Pentland Mahaffy photo

“With Alexander the stage of Greek influence spread across the world.”

John Pentland Mahaffy (1839–1919) Irish classicist and polymathic scholar

Alexander's Empire, p. 8