Quotes about stream
page 4

Mukesh Ambani photo
Bob Dylan photo
William Henry Davies photo
Abraham Cowley photo
Ralph Waldo Emerson photo
Hugh Macmillan, Baron Macmillan photo
James Macpherson photo
Colin Wilson photo

“Time, for Homo economicus, is not “the stream I go a-fishing in.” It is a medium of exchange. We trade our time for money.”

Curtis White (1951) American academic

"The spirit of disobedience: an invitation to resistance"

Ze Frank photo

“Don't swim up stream, baby. The future was right where you were.”

Ze Frank (1972) American online performance artist

http://www.zefrank.com/theshow/archives/2006/04/040506.html
"The Show" (www.zefrank.com/theshow/)

Swami Vivekananda photo
Arlo Guthrie photo
Ayn Rand photo
Matteo Maria Boiardo photo

“And I'll pursue, as always, strange
Adventures, battles fought for love
When virtue prospered long ago
And ladies fair and barons bold
Faced trials in forests or by streams,
As Turpin in his book reveals.
I only ask, as I pursue,
That hearing may bring joy to you.”

E seguirovi, sì come io suoliva,
Strane aventure e battaglie amorose,
Quando virtute al bon tempo fioriva
Tra cavallieri e dame grazïose,
Facendo prove in boschi ed ogni riva,
Come Turpino al suo libro ce espose.
Ciò vo' seguire, e sol chiedo di graccia
Che con diletto lo ascoltar vi piaccia.
Bk. 3, Canto 1, st. 4
Orlando Innamorato

Jim Steinman photo
Han-shan photo
Hillary Clinton photo
Jerome K. Jerome photo
Wang Wei photo
Jagadish Chandra Bose photo
Eric Holder photo

“Their fear deepened with the night as they beheld the face of the heavens turning and the mountains and all places rapt from view and all around thick darkness. The very stillness of Nature, the silent constellations in the heavens, the firmament starred with streaming meteors filled them with fear. And as a traveller by night overtaken in some unknown spot upon the road keeps ear and eye alert, while the darkening landscape to left and right and trees looming up with shadows strangely huge do but make heavier the terrors of night, even so the heroes quailed.”
Auxerat hora metus, iam se vertentis Olympi ut faciem raptosque simul montesque locosque ex oculis circumque graves videre tenebras. ipsa quies rerum mundique silentia terrent astraque et effusis stellatus crinibus aether; ac velut ignota captus regione viarum noctivagum qui carpit iter non aure quiescit, non oculis, noctisque metus niger auget utrimque campus et occurrens umbris maioribus arbor, haud aliter trepidare viri.

Auxerat hora metus, iam se vertentis Olympi
ut faciem raptosque simul montesque locosque
ex oculis circumque graves videre tenebras.
ipsa quies rerum mundique silentia terrent
astraque et effusis stellatus crinibus aether;
ac velut ignota captus regione viarum
noctivagum qui carpit iter non aure quiescit,
non oculis, noctisque metus niger auget utrimque
campus et occurrens umbris maioribus arbor,
haud aliter trepidare viri.
Source: Argonautica, Book II, Lines 38–47

Woody Guthrie photo

“This land is your land, this land is my land
From California to the New York Island
From the Redwood Forest to the Gulf Stream waters
This land is made for you and me.”

Woody Guthrie (1912–1967) American singer-songwriter and folk musician

This Land Is Your Land (1940; 1944)

Bill Mollison photo
Daniel Webster photo
Dylan Thomas photo

“And the sabbath rang slowly
In the pebbles of the holy streams.”

St. 2
Fern Hill (1946)

Gary Snyder photo
Jean Paul photo
James Macpherson photo
Herbert Hoover photo
John Ross Macduff photo
Charles Wesley photo

“One family — we dwell in Him,
One church above, beneath,
Though now divided by the stream,
The narrow stream of death.”

Charles Wesley (1707–1788) English Methodist and hymn writer

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 150.

Du Fu photo

“Birds the more white, against green stream
Blooms burst to flame, against blue hills
I glance, the spring is gone again.
What day, what day, can I go home?”

Du Fu (712–770) Chinese poet of the Tang Dynasty

"A Quatrain" (trans. Jerome P. Seaton), in Sunflower Splendor: Three Thousand Years of Chinese Poetry, eds. Wu-chi Liu and Irving Yucheng Lo (1975), p. 142

Matthew Arnold photo
Silius Italicus photo

“That crystal river keeps its pools of blue water free from all stain above its shallow bed, and slowly draws along its fair stream of greenish hue. One would scarce believe it was moving; so softly along its shady banks, while the birds sing sweet in rivalry, it leads along in a shining flood its waters that tempt to sleep.”
Caeruleas Ticinus aquas et stagna uadoso perspicuus seruat turbari nescia fundo ac nitidum uiridi lente trahit amne liquorem. uix credas labi: ripis tam mitis opacis argutos inter uolucrum certamine cantus somniferam ducit lucenti gurgite lympham.

Book IV, lines 82–87
Punica

James Russell Lowell photo

“Truly there is a tide in the affairs of men; but there is no gulf-stream setting forever in one direction.”

James Russell Lowell (1819–1891) American poet, critic, editor, and diplomat

Literary Essays, vol. II (1870–1890), New England Two Centuries Ago

“We hoped to join like fish and water once:
instead, we're split apart—a stream, a cloud.”

Đặng Trần Côn (1710–1745) writer

Source: Chinh phụ ngâm, Lines 115–116

Conrad Aiken photo
Joseph Rodman Drake photo
John Muir photo

“I wish I had space to write more of the surpassing beauty of this favorite spruce. … The deer love to lie down beneath its spreading branches; bright streams from the snow that is always near ripple through its groves, and bryanthus spreads precious carpets in its shade. But the best words only hint its charms. Come to the mountains and see.”

John Muir (1838–1914) Scottish-born American naturalist and author

[Concerning the Hemlock Spruce, now called Mountain Hemlock http://plants.usda.gov/java/profile?symbol=TSME:]
Source: 1890s, The Mountains of California (1894), chapter 8: The Forests

Samuel Johnson photo

“Fears of the brave, and follies of the wise!
From Marlb'rough's eyes the streams of dotage flow,
And Swift expires, a driv'ler and a show.”

Samuel Johnson (1709–1784) English writer

Source: Vanity of Human Wishes (1749), Line 316

John Muir photo
Bertolt Brecht photo

“The headlong stream is termed violent
But the river bed hemming it in is
Termed violent by no one.”

Bertolt Brecht (1898–1956) German poet, playwright, theatre director

"On Violence" [Über die Gewalt] (1930s), trans. John Willett in Poems, 1913-1956, p. 276
Poems, 1913-1956 (1976)

John Constable photo
Jeff Hawkins photo

“The key to artificial intelligence has always been the representation. You and I are streaming data engines.”

Jeff Hawkins (1957) American entrepreneur and neuroscientist; founder of Palm Computing

The New York Times: Jeff Hawkins Develops a Brainy Big Data Company https://bits.blogs.nytimes.com/2012/11/28/jeff-hawkins-develops-a-brainy-big-data-company/ (28 November 2012)

Tobias Smollett photo

“And now the high crest sinks, now the head is nodding overpowered and the huge neck has slipped from around the fleece it guarded, like refluent Po or Nile that sprawls in seven streams or Alpheus when his waters enter the Hesperian world.”
Iamque altae cecidere iubae nutatque coactum iam caput atque ingens extra sua vellera cervix ceu refluens Padus aut septem proiectus in amnes Nilus et Hesperium veniens Alpheos in orbem.

Source: Argonautica, Book VIII, Lines 88–91

Theodor Mommsen photo

“The fall of the patriciate by no means divested the Roman commonwealth of its aristocratic character. We have already indicated that the plebeian party carried within it that character from the first as well as, and in some sense still more decidedly than, the patriciate; for, while in the old body of burgesses an absolute equality of rights prevailed, the new constitution set out from a distinction between the senatorial houses who were privileged in point of burgess rights and of burgess usufructs, and the mass of the other citizens. Immediately, therefore, on the abolition of the patriciate and the formal establishment of civic equality, a new aristocracy and a corresponding opposition were formed; and we have already shown how the former engrafted itself as it were on the fallen patriciate, and how, accordingly, the first movements of the new party of progress were mixed up with the last movements of the old opposition between the orders. The formation of these new parties began in the fifth century, but they assumed their definite shape only in the century which followed. The development of this internal change is, as it were, drowned amidst the noise of the great wars and victories, and not merely so, but the process of formation is in this case more withdrawn from view than any other in Roman history. Like a crust of ice gathering imperceptibly over the surface of a stream and imperceptibly confining it more and more, this new Roman aristocracy silently arose; and not less imperceptibly, like the current concealing itself beneath and slowly extending, there arose in opposition to it the new party of progress. It is very difficult to sum up in a general historical view the several, individually insignificant, traces of these two antagonistic movements, which do not for the present yield their historical product in any distinct actual catastrophe. But the freedom hitherto enjoyed in the commonwealth was undermined, and the foundation for future revolutions was laid, during this epoch; and the delineation of these as well as of the development of Rome in general would remain imperfect, if we should fail to give some idea of the strength of that encrusting ice, of the growth of the current beneath, and of the fearful moaning and cracking that foretold the mighty breaking up which was at hand. The Roman nobility attached itself, in form, to earlier institutions belonging to the times of the patriciate. Persons who once had filled the highest ordinary magistracies of the state not only, as a matter of course, practically enjoyed all along a higher honour, but also had at an early period certain honorary privileges associated with their position. The most ancient of these was doubtless the permission given to the descendants of such magistrates to place the wax images of these illustrious ancestors after their death in the family hall, along the wall where the pedigree was painted, and to have these images carried, on occasion of the death of members of the family, in the funeral procession.. the honouring of images was regarded in the Italo-Hellenic view as unrepublican, and on that account the Roman state-police did not at all tolerate the exhibition of effigies of the living, and strictly superintended that of effigies of the dead. With this privilege were associated various external insignia, reserved by law or custom for such magistrates and their descendants:--the golden finger-ring of the men, the silver-mounted trappings of the youths, the purple border on the toga and the golden amulet-case of the boys--trifling matters, but still important in a community where civic equality even in external appearance was so strictly adhered to, and where, even during the second Punic war, a burgess was arrested and kept for years in prison because he had appeared in public, in a manner not sanctioned by law, with a garland of roses upon his head.(6) These distinctions may perhaps have already existed partially in the time of the patrician government, and, so long as families of higher and humbler rank were distinguished within the patriciate, may have served as external insignia for the former; but they certainly only acquired political importance in consequence of the change of constitution in 387, by which the plebeian families that attained the consulate were placed on a footing of equal privilege with the patrician families, all of whom were now probably entitled to carry images of their ancestors. Moreover, it was now settled that the offices of state to which these hereditary privileges were attached should include neither the lower nor the extraordinary magistracies nor the tribunate of the plebs, but merely the consulship, the praetorship which stood on the same level with it,(7) and the curule aedileship, which bore a part in the administration of public justice and consequently in the exercise of the sovereign powers of the state.(8) Although this plebeian nobility, in the strict sense of the term, could only be formed after the curule offices were opened to plebeians, yet it exhibited in a short time, if not at the very first, a certain compactness of organization--doubtless because such a nobility had long been prefigured in the old senatorial plebeian families. The result of the Licinian laws in reality therefore amounted nearly to what we should now call the creation of a batch of peers. Now that the plebeian families ennobled by their curule ancestors were united into one body with the patrician families and acquired a distinctive position and distinguished power in the commonwealth, the Romans had again arrived at the point whence they had started; there was once more not merely a governing aristocracy and a hereditary nobility--both of which in fact had never disappeared--but there was a governing hereditary nobility, and the feud between the gentes in possession of the government and the commons rising in revolt against the gentes could not but begin afresh. And matters very soon reached that stage. The nobility was not content with its honorary privileges which were matters of comparative indifference, but strove after separate and sole political power, and sought to convert the most important institutions of the state--the senate and the equestrian order--from organs of the commonwealth into organs of the plebeio-patrician aristocracy.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

The History of Rome - Volume 2

Wang Wei photo

“The bright moon shines between the pines.
The crystal stream flows over the pebbles.”

Wang Wei (699–759) a Tang dynasty Chinese poet, musician, painter, and statesman

"Autumn Twilight in the Mountains" (山居秋暝), trans. Kenneth Rexroth

Francis Thompson photo
Francis Bacon photo

“Touching the secrets of the heart and the successions of time, doth make a just and sound difference between the manner of the exposition of the Scriptures and all other books. For it is an excellent observation which hath been made upon the answers of our Saviour Christ to many of the questions which were propounded to Him, how that they are impertinent to the state of the question demanded: the reason whereof is, because not being like man, which knows man’s thoughts by his words, but knowing man’s thoughts immediately, He never answered their words, but their thoughts. Much in the like manner it is with the Scriptures, which being written to the thoughts of men, and to the succession of all ages, with a foresight of all heresies, contradictions, differing estates of the Church, yea, and particularly of the elect, are not to be interpreted only according to the latitude of the proper sense of the place, and respectively towards that present occasion whereupon the words were uttered, or in precise congruity or contexture with the words before or after, or in contemplation of the principal scope of the place; but have in themselves, not only totally or collectively, but distributively in clauses and words, infinite springs and streams of doctrine to water the Church in every part. And therefore as the literal sense is, as it were, the main stream or river, so the moral sense chiefly, and sometimes the allegorical or typical, are they whereof the Church hath most use; not that I wish men to be bold in allegories, or indulgent or light in allusions: but that I do much condemn that interpretation of the Scripture which is only after the manner as men use to interpret a profane book.”

XXV. (17)
The Advancement of Learning (1605)

Letitia Elizabeth Landon photo
Percy Bysshe Shelley photo
John Muir photo
Alexander Maclaren photo
James Montgomery photo

“Bliss in possession will not last;
Remembered joys are never past;
At once the fountain, stream, and sea,
They were, they are, they yet shall be.”

James Montgomery (1771–1854) British editor, hymn writer, and poet

The Little Cloud.
Bartlett's Familiar Quotations, 10th ed. (1919).

Natacha Rambova photo
Charles Krauthammer photo
Alexander Hamilton photo
Ernest Hemingway photo
James Montgomery photo

“Gashed with honourable scars,
Low in Glory's lap they lie;
Though they fell, they fell like stars,
Streaming splendour through the sky.”

James Montgomery (1771–1854) British editor, hymn writer, and poet

The Battle of Alexandria.
Bartlett's Familiar Quotations, 10th ed. (1919).

Mark Wahlberg photo
William Hazlitt photo
Rachel Carson photo
Christian Scriver photo
Felicia Hemans photo

“They grew in beauty side by side,
They filled one home with glee:
Their graves are severed far and wide
By mount and stream and sea.”

Felicia Hemans (1793–1835) English poet

The Graves of a Household http://digital.library.upenn.edu/women/hemans/records/graves.html, st. 1.

Francis Thompson photo
Arundhati Roy photo

“To the Kathakali Man these stories are his children and his childhood. He has grown up within them. They are the house he was raised in, the meadows he played in. They are his windows and his way of seeing. So when he tells a story, he handles it as he would a child of his own. He teases it. He punishes it. He sends it up like a bubble. He wrestles it to the ground and lets it go again. He laughs at it because he loves it. He can fly you across whole worlds in minutes, he can stop for hours to examine a wilting leaf. Or play with a sleeping monkey's tail. He can turn effortlessly from the carnage of war into the felicity of a woman washing her hair in a mountain stream. From the crafty ebullience of a rakshasa with a new idea into a gossipy Malayali with a scandal to spread. From the sensuousness of a woman with a baby at her breast into the seductive mischief of Krishna's smile. He can reveal the nugget of sorrow that happiness contains. The hidden fish of shame in a sea of glory.
He tells stories of the gods, but his yarn is spun from the ungodly, human heart.
The Kathakali Man is the most beautiful of men. Because his body is his soul. His only instrument. From the age of three he has been planed and polished, pared down, harnessed wholly to the task of story-telling. He has magic in him, this man within the painted mark and swirling skirts.
But these days he has become unviable. Unfeasible. Condemned goods. His children deride him. They long to be everything that he is not. He has watched them grow up to become clerks and bus conductors. Class IV non-gazetted officers. With unions of their own.
But he himself, left dangling somewhere between heaven and earth, cannot do what they do. He cannot slide down the aisles of buses, counting change and selling tickets. He cannot answer bells that summon him. He cannot stoop behind trays of tea and Marie biscuits.
In despair he turns to tourism. He enters the market. He hawks the only thing he owns. The stories that his body can tell.
He becomes a Regional Flavour.”

page 230-231.
The God of Small Things (1997)

Han-shan photo
Han-shan photo
James Jeans photo
Alphonse de Lamartine photo
Robert Mayer photo

“Nature has put itself the problem of how to catch in flight light streaming to the Earth and to store the most elusive of all powers in rigid form. The plants take in one form of power, light; and produce another power, chemical difference.”

Robert Mayer (1814–1878) German physicist

in Die organische Bewegung in ihrem Zusammenhange mit dem Stoffwechsel, [Julius Robert von Mayer, Die Mechanik der Wärme in gesammelten Schriften, Cotta, 1867, 53-54]
Original: Die Natur hat sich die Aufgabe gestellt, das der Erde zuströmende Licht im Fluge zu erhaschen, und die beweglichste aller Kräfte, in starre Form umgewandelt, aufzuspeichern. Zur Erreichung dieses Zweckes hat sie die Erdkruste mit Organismen überzogen, welche lebend das Sonnenlicht in sich aufnehmen und unter Verwendung dieser Kraft eine fortlaufende Summe chemischer Differenzen erzeugen.

Edgar Degas photo
George William Russell photo
Ausonius photo

“They wander in deep woods, in mournful light,
Amid long reeds and drowsy headed poppies
And lakes where no wave laps, and voiceless streams,
Upon whose banks in the dim light grow old
Flowers that were once bewailèd names of kings.”

Errantes silva in magna et sub luce maligna<br/>inter harundineasque comas gravidumque papaver<br/>et tacitos sine labe lacus, sine murmure rivos,<br/>quorum per ripas nebuloso lumine marcent<br/>fleti, olim regum et puerorum nomina, flores.

Ausonius (310–395) poet

Errantes silva in magna et sub luce maligna
inter harundineasque comas gravidumque papaver
et tacitos sine labe lacus, sine murmure rivos,
quorum per ripas nebuloso lumine marcent
fleti, olim regum et puerorum nomina, flores.
"Cupido Cruciator", line 5; translation from Helen Waddell Mediaeval Latin Lyrics ([1929] 1943) p. 31.

Thomas Carew photo
Emma Lazarus photo

“Alas! we wake: one scene alone remains, —
The exiles by the streams of Babylon.”

Emma Lazarus (1849–1887) American poet

In the Jewish Synagogue at Newport

Gautama Buddha photo
Martin Farquhar Tupper photo
Thomas Hughes photo
Letitia Elizabeth Landon photo

“Ah! love and song are but a dream,
A flower's faint shade on life's dark stream.”

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

All from The Vow of the Peacock (Title Poem - Introduction)
The Vow of the Peacock (1835)

Caroline Elizabeth Sarah Norton photo
Neal A. Maxwell photo
Chief Seattle photo
Percy Bysshe Shelley photo
Nicholas Carr photo