Quotes about still
page 39

Jiddu Krishnamurti photo

“When I first made a grid I happened to be thinking of the innocence of trees and then this grid came into my mind and I thought it represented innocence, and I still do, and so I painted it and then I was satisfied. I thought, this is my vision.”

Agnes Martin (1912–2004) American artist

interview by Suzan Campbell, May 15, 1989; transcript in 'Archives of American Art', The Smithsonian Institution, Washington, D.C.
One of her first grid paintings she made in New York in 1964, it was [ https://www.moma.org/collection/works/78361 titled 'The Tree']. Martin often described this painting as her first grid. In fact, she had been making them since at least the beginning of 1960's
1980 - 2000

Stéphane Mallarmé photo
William Burges photo

“Nothing is more perishable than worn-out apparel, yet, thanks to documentary evidence, to the custom of burying people of high rank in their robes, and to the practice of wrapping up relics of saints in pieces of precious stuffs, we are enabled to form a veiy good idea of what these stuffs were like and where they came from. In the first instance they appear to have come from Byzantium, and from the East generally; but the manufacture afterwards extended to Sicily, and received great impetus at the Norman conquest of that island; Roger I. even transplanting Greek workmen from the towns sacked by his army, and settling them in Sicily. Of course many of the workers would be Mohammedans, and the old patterns, perhaps with the addition of sundry animals, would still continue in use; hence the frequency of Arabic inscriptions in the borders, the Cufic character being one of the most ornamental ever used. In the Hotel de Clu^ny at Paris are preserved the remains of the vestments of a bishop of Bayonne, found when his sepulchre was opened in 1853, the date of the entombment being the twelfth century. Some of these remains are cloth of gold, but the most remarkable is a very deep border ornamented with blue Cufic letters on a gold ground; the letters are fimbriated with white, and from them issue delicate red scrolls, which end in Arabic sort of flowers: this tissue probably is pure Eastern work. On the contrary, the coronation robes of the German emperors, although of an Eastern pattern, bear inscriptions which tell us very clearly where they were manufactured: thus the Cufic characters on the cope inform us that it was made in the city of Palermo in the year 1133, while the tunic has the date of 1181, but then the inscription is in the Latin language. The practice of putting Cufic inscriptions on precious stuffs was not confined to the Eastern and Sicilian manufactures; in process of time other Italian cities took up the art, and, either because it was the fashion, or because they wished to pass off" their own work as Sicilian or Eastern manufacture, imitations of Arabic characters are continually met with, both on the few examples that have come down to us of the stuffs themselves, or on painted statues or sculptured effigies. These are the inscriptions which used to be the despair of antiquaries, who vainly searched out their meaning until it was discovered that they had no meaning at all, and that they were mere ornaments. Sometimes the inscriptions appear to be imitations of the Greek, and sometimes even of the Hebrew. The celebrated ciborium of Limoges work in the Louvre, known as the work of Magister G. Alpais, bears an ornament around its rim which a French antiquary has discovered to be nothing more than the upper part of a Cufic word repeated and made into a decoration.”

William Burges (1827–1881) English architect

Quote was introduced with the phrase:
In the lecture on the weaver's art, we are reminded of the superiority of Indian muslins and Chinese and Persian carpets, and the gorgeous costumes of the middle ages are contrasted with our own dark ungraceful garments. The Cufic inscriptions that have so perplexed antiquaries, were introduced with the rich Eastern stuffs so much sought after by the wealthy class, and though, as Mr. Burges observes
Source: Art applied to industry: a series of lectures, 1865, p. 85; Cited in: " Belles Lettres http://books.google.com/books?id=0EegAAAAMAAJ&pg=PA143" in: The Westminster Review, Vol. 84-85. Baldwin, Cradock, and Joy, 1865. p. 143

Alexander Blok photo
Elton John photo
Peter F. Drucker photo
Mike Huckabee photo

“I didn't major in math. I majored in miracles, and I still believe in them, too.”

Mike Huckabee (1955) Arkansas politician

[Kate, Zernike, Katherine Q., Seelye, Obama Defeats Clinton in 3-State Sweep, 2008-02-09, New York Times, http://www.nytimes.com/2008/02/09/us/politics/09cnd-campaign.html]

Edgar Degas photo

“I put it [a still life of a pear, made by Manet there [on the wall, next to Ingres' painting 'Jupiter'], for a pear like that would overthrow any god.”

Edgar Degas (1834–1917) French artist

remark in a conversation with the writer Moore, ca. 1875; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 117
1855 - 1875

Fanny J. Crosby photo

“Give,” said the little stream,
“Give, oh give, give, oh give,”
As it hurried down the hill.
“I am small, I know, but wherever I go
The fields grow greener still.”

Fanny J. Crosby (1820–1915) American poet, lyricist and composer

”Give,” said the little Stream, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Kurt Lewin photo
Nancy Peters photo

“During the '70s, when the Cold War was still on, we invited Voznesensky and Yevtushenko to come here. We had very large readings for them. It was a way of kind of culturally thawing the Cold War.”

Nancy Peters (1936) American writer and publisher

"And the beat goes on", http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2003/06/09/DD158147.DTL San Francisco Chronicle, 2003-06-09.
2000s

Woody Allen photo
Anton Mauve photo

“Dear friend! I am still staying in Oosterbeek as you can see but I will now leave in 2 days. The last days I spent on two small paintings ordered by Mr. de Visser. I painted them in a happy atmosphere... I send them to you because they were still wet when I sent them away and I could hardly do that to Mr. de Visser. Please, do you want to give them a layer of egg-varnish and when you discover here or there a badly seen dash, or you see a chance to make a witty thing in the paintings, oh chap, I pray you do so, because if he doesn't like them, I'll get no bread and have nasty problems, because I need the money so badly..”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

translation from the original Dutch, Fons Heijnsbroek, 2018
(version in original Dutch / origineel citaat van Anton Mauve's brief, in het Nederlands:) Waarde Vriend! Ik zit zoo als gij ziet nog altijd te Oosterbeek doch zal nu over 2 dagen vertrekken de laatste tijd heb ik aan twee kleine schilderijtjes besteed voor den Heer de Visser, ik heb ze onder een gelukkige atmosfeer geschilderd.. ..ik zend ze jou omdat ze nat waren toen ik ze afzond en ik dat moeyelijk aan den Heer de Visser kon doen, wilt gij ze s.v.p. met een eivernisje bestrijken en vindt gij ze hier of daar eene slecht geziene greep, of ziet gij gemakkelijk kans er nog eene geestige zet in te doen, och kerel ik bid je doe het, want als ze hem niet bevielen en ik krijg geen duiten dan zit ik er leelijk mee in, ik heb ze hoog noodig..
In a letter of Mauve from Oosterbeek 4 Nov. 1867, to Willem Maris in The Hague; from the original letter https://rkd.nl/explore/excerpts/109, RKD Archive, The Hague
1860's

Alfred Denning, Baron Denning photo
Gerard Bilders photo

“I agree completely with your remark that in the struggle against nature lies already a part of art, and really pleasant is for me already the feeling of returning as a victor from small skirmishes, although in the great battle one always feels still defeated. As you advised me, I have made sketches of skies, indicating the effect in them, and making a note for the important colors; I also did better in making a small sky; at least people think so.”

Gerard Bilders (1838–1865) painter from the Netherlands

translation from the Dutch original: Fons Heijnsbroek
version in original Dutch / citaat van Gerard Bilders' brief, in het Nederlands: Uwe opmerking, dat in den strijd tegen de natuur reeds een gedeelte der kunst ligt, vind ik volkomen juist, en regt aangenaam is reeds het gevoel, waarmede men als overwinnaar terugkeert uit kleine schermutselingen, hoewel men zich in den grooten slag toch steeds als verslagen gevoelt. Zoo als u mij aanraadt, heb ik schetsen van luchten gemaakt, het effect er in aangeduid en de voornaamste kleuren er bij geschreven; ik ben dan nu ook in een klein luchtje wat beter geslaagd; men vindt het ten minste.
Quote of Gerard Bilders, in a letter to his maecenas Johannes Kneppelhout, 5 Feb. 1858; from an excerpt of this letter https://rkd.nl/nl/explore/excerpts/526, in the RKD-Archive, The Hague
1850's

George Canning photo

“I for my part still conceive it to be the paramount duty of a British member of parliament to consider what is good for Great Britain…I do not envy that man's feelings, who can behold the sufferings of Switzerland, and who derives from that sight no idea of what is meant by the deliverance of Europe. I do not envy the feelings of that man, who can look without emotion at Italy – plundered, insulted, trampled upon, exhausted, covered with ridicule, and horror, and devastation – who can look at all this, and be at a loss to guess what is meant by the deliverance of Europe? As little do I envy the feelings of that man, who can view the peoples of the Netherlands driven into insurrection, and struggling for their freedom against the heavy hand of a merciless tyranny, without entertaining any suspicion of what may be the sense of the word deliverance. Does such a man contemplate Holland groaning under arbitrary oppressions and exactions? Does he turn his eyes to Spain trembling at the nod of a foreign master? And does the word deliverance still sound unintelligibly in his ear? Has he heard of the rescue and salvation of Naples, by the appearance and the triumphs of the British fleet? Does he know that the monarchy of Naples maintains its existence at the sword's point? And is his understanding, and his heart, still impenetrable to the sense and meaning of the deliverance of Europe?”

George Canning (1770–1827) British statesman and politician

Speech in 1798, quoted in Wendy Hinde, George Canning (London: Purnell Books Services, 1973), p. 66.

Marshall McLuhan photo

“Every innovation scraps its immediate predecessor and retrieves still older figures – it causes floods of antiques or nostalgic art forms and stimulates the search for museum pieces.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

1970s, The argument: causality in the electric world (1973)

Henry John Stephen Smith photo

“If we except the great name of Newton (and the exception is one that the great Gauss himself would have been delighted to make) it is probable that no mathematician of any age or country has ever surpassed Gauss in the combination of an abundant fertility of invention with an absolute vigorousness in demonstration, which the ancient Greeks themselves might have envied. It may be admitted, without any disparagement to the eminence of such great mathematicians as Euler and Cauchy that they were so overwhelmed with the exuberant wealth of their own creations, and so fascinated by the interest attaching to the results at which they arrived, that they did not greatly care to expend their time in arranging their ideas in a strictly logical order, or even in establishing by irrefragable proof propositions which they instinctively felt, and could almost see to be true. With Gauss the case was otherwise. It may seem paradoxical, but it is probably nevertheless true that it is precisely the effort after a logical perfection of form which has rendered the writings of Gauss open to the charge of obscurity and unnecessary difficulty. The fact is that there is neither obscurity nor difficulty in his writings, as long as we read them in the submissive spirit in which an intelligent schoolboy is made to read his Euclid. Every assertion that is made is fully proved, and the assertions succeed one another in a perfectly just analogical order… But when we have finished the perusal, we soon begin to feel that our work is but begun, that we are still standing on the threshold of the temple, and that there is a secret which lies behind the veil and is as yet concealed from us. No vestige appears of the process by which the result itself was obtained, perhaps not even a trace of the considerations which suggested the successive steps of the demonstration. Gauss says more than once that for brevity, he gives only the synthesis, and suppresses the analysis of his propositions. Pauca sed matura—few but well matured… If, on the other hand, we turn to a memoir of Euler's, there is a sort of free and luxuriant gracefulness about the whole performance, which tells of the quiet pleasure which Euler must have taken in each step of his work; but we are conscious nevertheless that we are at an immense distance from the severe grandeur of design which is characteristic of all Gauss's greater efforts.”

Henry John Stephen Smith (1826–1883) mathematician

As quoted by Alexander Macfarlane, Lectures on Ten British Physicists of the Nineteenth Century (1916) p. 95, https://books.google.com/books?id=43SBAAAAIAAJ&pg=PA95 "Henry John Stephen Smith (1826-1883) A Lecture delivered March 15, 1902"

Henry Wadsworth Longfellow photo

“This is the place. Stand still, my steed,—
Let me review the scene,
And summon from the shadowy past
The forms that once have been.”

Henry Wadsworth Longfellow (1807–1882) American poet

A Gleam of Sunshine, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Albert Speer photo
Gerald James Whitrow photo
Joseph Addison photo

“For wheresoe'er I turn my ravished eyes,
Gay gilded scenes and shining prospects rise,
Poetic fields encompass me around,
And still I seem to tread on classic ground.”

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

A Letter from Italy, to the Right Honourable Charles, Lord Halifax. 1701.

Frances Farmer photo
Javier Marías photo

“…and what gets me out of bed in the mornings continues to be the expectation of what might happen, all unannounced. I'm always expecting the unexpected, and I still fantasise about what might still be.”

Javier Marías (1951) Spanish writer

...y lo que me hace levantarme por las mañanas sigue siendo la espera de lo que está por llegar y no se anuncia, es la espera de lo inesperado, y no ceso de fantasear con lo que ha de venir.
Source: Todas las Almas [All Souls] (1989), p. 137

“If I can rejoice for a moment,
Death at an early age would still be a long life.”

"Miscellaneous Poems" III, quoted in Albert Davis (ed.), The Penguin Book of Chinese Verse (1962), p. 67

André Maurois photo
Winston S. Churchill photo

“Bessie Braddock: Winston, you are drunk, and what's more you are disgustingly drunk.
Churchill: Bessie, my dear, you are ugly, and, what's more, you are disgustingly ugly. But tomorrow I shall be sober and you will still be disgustingly ugly.”

Winston S. Churchill (1874–1965) Prime Minister of the United Kingdom

Churchill's bodyguard Ronald Golding claims that he witnessed Churchill say this in 1946 to Labour MP w:Bessie Braddock. Golding's claim, made to Churchill expert Richard Langworth, was reported in Langworth's collection Churchill by himself https://books.google.com/books?id=vbsU21fEhLAC&q=braddock#v=snippet&q=braddock&f=false. Langworth adds that Churchill's daughter Lady Soames doubted the story.
The basic idea of this joke was published as early as 1882, although it was used to ridicule the critic's foolishness rather than ugliness: " ... are you Mr. —-, the greatest fool in the House of Commons?" "You are drunk," exclaimed the M.P. "Even if I am,” replied the man, "I have the advantage over you – I shall be sober to-morrow, whereas you will remain the fool you are to-day." (1882 August 05, The Daily Republican-Sentinel, His Advantage, p. 5, col. 2, Milwaukee, Wisconsin, cited by Quote Investigator http://quoteinvestigator.com/2011/08/17/sober-tomorrow/).
Reported as false by George Thayer, The Washington Post (April 27, 1971), p. B6.
Often given in a shorter form, e.g " Winston, you are drunk." "Indeed, Madam, and you are ugly—but tomorrow I'll be sober."
Churchill's interlocutor may be given as Lady Astor rather than Braddock.
Disputed

Georgia O'Keeffe photo
George Eliot photo
Burkard Schliessmann photo
Friedrich Engels photo

“The Mercantile System still had a certain artless Catholic candour and did not in the least conceal the immoral nature of trade. … But when the economic Luther, Adam Smith, criticised past economics things had changed considerably. … Protestant hypocrisy took the place of Catholic candour.”

Friedrich Engels (1820–1895) German social scientist, author, political theorist, and philosopher

Das Merkantilsystem hatte noch eine gewisse unbefangene, katholische Geradheit und verdeckte das unsittliche Wesen des Handels nicht im mindesten. ... Als aber der ökonomische Luther, Adam Smith, die bisherige Ökonomie kritisierte, hatten sich die Sachen sehr geändert. ... An die Stelle der katholischen Geradheit trat protestantische Gleisnerei.
Outlines of a Critique of Political Economy (1844)

Julian Huxley photo
Ilana Mercer photo

“Neoconservatives are still in the business of creating their own parallel reality and forcing ordinary Americans, Europeans and Middle-Easterners to inhabit the ruins.”

Ilana Mercer South African writer

“Donald, Don’t Let Fox News Roger America… Again,” https://www.lewrockwell.com/2015/09/ilana-mercer/finally-a-just-war/ LewRockwell.com, September 25, 2015.
2010s, 2015

Frederick William Robertson photo
Anastacia photo
Nigella Lawson photo
Herbert Marcuse photo

“The world of their [the bourgeois’] predecessors was a backward, pre-technological world, a world with the good conscience of inequality and toil, in which labor was still a fated misfortune; but a world in which man and nature were not yet organized as things and instrumentalities. With its code of forms and manners. with the style and vocabulary of its literature and philosophy. this past culture expressed the rhythm and content of a universe in which valleys and forests, villages and inns, nobles and villains, salons and courts were a part of the experienced reality. In the verse and prose of this pre-technological culture is the rhythm of those who wander or ride in carriages. who have the time and the pleasure to think, contemplate, feel and narrate. It is an outdated and surpassed culture, and only dreams and childlike regressions can recapture it. But this culture is, in some of its decisive elements. also a post-technological one. Its most advanced images and positions seem to survive their absorption into administered comforts and stimuli; they continue to haunt the consciousness with the possibility of their rebirth in the consummation of technical progress. They are the expression of that free and conscious alienation from the established forms of life with which literature and the arts opposed these forms even where they adorned them. In contrast to the Marxian concept, which denotes man's relation to himself and to his work in capitalist society, the artistic alienation is the conscious transcendence of the alienated existence—a “higher level” or mediated alienation. The conflict with the world of progress, the negation of the order of business, the anti-bourgeois elements in bourgeois literature and art are neither due to the aesthetic lowliness of this order nor to romantic reaction—nostalgic consecration of a disappearing stage of civilization. “Romantic” is a term of condescending defamation which is easily applied to disparaging avant-garde positions, just as the term “decadent” far more often denounces the genuinely progressive traits of a dying culture than the real factors of decay. The traditional images of artistic alienation are indeed romantic in as much as they are in aesthetic incompatibility with the developing society. This incompatibility is the token of their truth. What they recall and preserve in memory pertains to the future: images of a gratification that would dissolve the society which suppresses it”

Source: One-Dimensional Man (1964), pp. 59-60

Percy Bysshe Shelley photo

“Good-night? ah! no; the hour is ill
Which severs those it should unite;
Let us remain together still,
Then it will be good night.”

Percy Bysshe Shelley (1792–1822) English Romantic poet

Good-Night http://www.online-literature.com/shelley_percy/complete-works-of-shelley/133/ (1819)

Julius Streicher photo

“Common sense still lingers in Westminster Hall.”

William Henry Maule (1788–1858) British politician

Crosse v. Seaman (1851), 11 C. B. 525.

Philip Roth photo
Christian Dior photo

“If my poor maman had still been alive, I would never have tried”

Christian Dior (1905–1957) French fashion designer

After his applauded success at the "House of Dior" on Avenue Montaigne, in Paris", p. 41
Source: Marie France Pochna [ Christian Dior: The Man who Made the World Look New http://books.google.co.in/books?id=ffkK4dy00SoC&pg=PA170-IA16, Arcade Publishing, 1996

“"[Relationships] never seem to work out, I mean it gets to the point where I have to be extremely cautious. You have to understand, this stardom thing is still new to me, I don't even consider myself "famous". It's 2008: if you have a blog, a mixtape and two pairs of skinny jeans you, too, can be 'famous'."”

Danny! (1983) American rapper

On fame and its effect on finding love, (Rolling Stone interview http://www.rollingstone.com/rockdaily/index.php/2008/02/13/hoopla-dreams-danny-plays-hard-loves-harder/, 2008)
Interviews

Cesare Pavese photo
Gerald Durrell photo

“Halfway up the slope, guarded by a group of tall, slim, cypress-trees, nestled a small strawberry-pink villa, like some exotic fruit lying in the greenery. The cypress-trees undulated gently in the breeze, as if they were busily painting the sky a still brighter blue for our arrival.
The villa was small and square, standing in its tiny garden with an air of pink-faced determination. Its shutters had been faded by the sun to a delicate creamy-green, cracked and bubbled in places. The garden, surrounded by tall fuschia hedges, had the flower beds worked in complicated geometrical patterns, marked with smooth white stones. The white cobbled paths, scarcely as wide as a rake's head, wound laboriously round beds hardly larger than a big straw hat, beds in the shape of stars, half-moons, triangles, and circles all overgrown with a shaggy tangle of flowers run wild. Roses dropped petals that seemed as big and smooth as saucers, flame-red, moon-white, glossy, and unwrinkled; marigolds like broods of shaggy suns stood watching their parent's progress through the sky. In the low growth the pansies pushed their velvety, innocent faces through the leaves, and the violets drooped sorrowfully under their heart-shaped leaves. The bougainvillaea that sprawled luxuriously over the tiny iron balcony was hung, as though for a carnival, with its lantern-shaped magenta flowers. In the darkness of the fuschia-hedge a thousand ballerina-like blooms quivered expectantly. The warm air was thick with the scent of a hundred dying flowers, and full of the gentle, soothing whisper and murmur of insects.”

My Family and Other Animals (1956)

Gloria Estefan photo

“I love Gloria Estefan, though -- she is cool. It's always just been about the music with her and they've been really good fun pop songs and really great ballads. And she's still going strong. She's quite classy and true to her Latin roots.”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

comments by Welsh singer Charlotte Church, BBC online news (September 26, 2005)
2007, 2008

Ray Bradbury photo

“Marriage made people old and familiar, while still young.”

Ylla (1950)
The Martian Chronicles (1950)

Yusuf Qaradawi photo
Enoch Powell photo
Will Cuppy photo

“[About experts' disbelief that Egyptians could build pyramids] It hardly seems possible that the ancient Egyptians were as smart as these experts. Still, they went right ahead and did it, and you can draw your own conclusions.”

Will Cuppy (1884–1949) American writer

The Decline and Fall of Practically Everybody (1950), Part I: It Seems There Were Two Egyptians, Cheops, or Khufu

Ron Paul photo
Aron Ra photo
Chaim Soutine photo
Jerome David Salinger photo
Robert Silverberg photo
Kage Baker photo
Kim Jong-il photo
Terry Eagleton photo
Charles Grey, 2nd Earl Grey photo
John Updike photo

“To be President of the United States, sir, is to act as advocate for a blind, venomous, and ungrateful client; still, one must make the best of the case, for the purposes of Providence.”

John Updike (1932–2009) American novelist, poet, short story writer, art critic, and literary critic

Act II
Buchanan Dying (1974)

“The emergence of abstract art is a sign that there are still men of feeling in the world. Men who know how to respect and follow their inner feelings, no matter how irrational or absurd they may first appear. From their perspective, it is the social world that tends to appear irrational and absurd.”

Robert Motherwell (1915–1991) American artist

1951; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory'
from his responding at the 1951 MoMA symposium, in which several artists were asked to respond to the prompt 'What Abstract Art Means to Me'
1950s

Aron Ra photo
Ervin László photo
El Lissitsky photo
Letitia Elizabeth Landon photo

“All the fairest things of earth,
Art's creations have their birth —
Still from love and death.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

(1836-2) (Vol.47) Subjects for Pictures. II. The Banquet of Aspasia and Pericles
The Monthly Magazine

Herbert Marcuse photo
Nisargadatta Maharaj photo
Marshall McLuhan photo
Edmund Blunden photo
Emily St. John Mandel photo
Edward Thomson photo
Victor Davis Hanson photo
Mike Tyson photo
Lalu Prasad Yadav photo

“I do not rule out the possibility of being prime minister of India one day, but there is still time.”

Lalu Prasad Yadav (1948) Indian politician

In an interview to Siddharth Srivastava ( India's man for all seasons, Asia Times, September 29, 2004, 2006-05-29 http://www.atimes.com/atimes/South_Asia/FI29Df02.html,).

Lester B. Pearson photo
John Lehman photo
Ai Weiwei photo
Mitch Fatel photo
Warren Farrell photo
Naomi Wolf photo
Robert Burton photo

“[Desire] is a perpetual rack, or horsemill, according to Austin, still going round as in a ring.”

Section 2, member 3, subsection 11.
The Anatomy of Melancholy (1621), Part I

Lord Randolph Churchill photo

“Your iron industry is dead; dead as mutton. Your coal industries, which depend greatly upon the iron industries, are languishing. Your silk industry is dead, assassinated by the foreigner. Your woollen industry is in articulo mortis, gasping, struggling. Your cotton industry is seriously sick. The shipbuilding industry, which held out longest of all, is come to a standstill. Turn your eyes where you like, survey any branch of British industry you like, you will find signs of mortal disease. The self-satisfied Radical philosophers will tell you it is nothing; they point to the great volume of British trade. Yes, the volume of British trade is still large, but it is a volume which is no longer profitable; it is working and struggling. So do the muscles and nerves of the body of a man who has been hanged twitch and work violently for a short time after the operation. But death is there all the same, life has utterly departed, and suddenly comes the rigot mortis…But what has produced this state of things? Free imports? I am not sure; I should like an inquiry; but I suspect free imports of the murder of our industries much in the same way as if I found a man standing over a corpse and plunging his knife into it I should suspect that man of homicide, and I should recommend a coroner's inquest and a trial by jury…”

Lord Randolph Churchill (1849–1895) British politician

Speech in Blackpool (24 January 1884), quoted in Robert Rhodes James, Lord Randolph Churchill (London: Phoenix, 1994), p. 137

Jacob Bronowski photo
Gordon Lightfoot photo

“Hail hero, hail hero, child of the sun
All covered with flowers still having your fun”

Gordon Lightfoot (1938) Canadian singer-songwriter

Theme song of Hail, Hero! (1969), co-written with Jerome Moross

“I still haven’t learned to deal with situations like that very well — but I don’t think you should, because then you’re accepting defeat. It’s good to be stubborn, to be hard on yourself.”

Jo Ankier (1982) British athlete and television personality

On leading all the way through a race and being beaten at the finish.
Jewish Chronicle, 17 August 2007, p. 11-12: "The calendar girl who's going for gold"

Murray N. Rothbard photo