Quotes about tender
page 2

Mitch Albom photo
Mathias Malzieu photo
Orson Scott Card photo
Arthur C. Clarke photo
Ernesto Che Guevara photo

“One has to grow hard but without ever losing tenderness.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

As quoted in Essential Care : An Ethics of Human Nature (2008) by Leonardo Boff, p. 82

George Eliot photo
John Keats photo

“Already with thee! tender is the night.”

Stanza 4
Poems (1820), Ode to a Nightingale

Michel Houellebecq photo
W.C. Fields photo
James Patterson photo
Sylvia Plath photo
David Levithan photo
Gaelen Foley photo
Barbara Kingsolver photo
Chögyam Trungpa photo
Maya Angelou photo
James Joyce photo
Steve Almond photo

“It is in these moments of tender and ridiculous nostalgia that I know something inside me is still broken.”

Steve Almond (1966) American writer

Source: My Life in Heavy Metal: Stories

F. Scott Fitzgerald photo
Laura Ingalls Wilder photo
Frank Herbert photo
Mitch Albom photo
George Gordon Byron photo

“She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that's best of dark and bright
Meet in her aspect and her eyes:
Thus mellow'd to that tender light
Which heaven to gaudy day denies.”

She Walks in Beauty http://readytogoebooks.com/LB-SWB42.htm, st. 1. The subject of these lines was Mrs. R. Wilmot.—Berry Memoirs, vol. iii. p. 7.
Hebrew Melodies (1815)

Victor Hugo photo
Cassandra Clare photo

“Our identity rests in God's relentless tenderness for us revealed in Jesus Christ.”

Brennan Manning (1934–2013) writer, American Roman Catholic priest and United States Marine

Source: Abba's Child: The Cry of the Heart for Intimate Belonging

Thomas Gray photo
Yukteswar Giri photo
Stuart Hall photo
Jorge Luis Borges photo
Letitia Elizabeth Landon photo
Olaudah Equiano photo

“Such a tendency has the slave-trade to debauch men's minds, and harden them to every feeling of humanity! For I will not suppose that the dealers in slaves are born worse than other men—No; it is the fatality of this mistaken avarice, that it corrupts the milk of human kindness and turns it into gall. And, had the pursuits of those men been different, they might have been as generous, as tender-hearted and just, as they are unfeeling, rapacious and cruel. Surely this traffic cannot be good, which spreads like a pestilence, and taints what it touches! which violates that first natural right of mankind, equality and independency, and gives one man a dominion over his fellows which God could never intend! For it raises the owner to a state as far above man as it depresses the slave below it; and, with all the presumption of human pride, sets a distinction between them, immeasurable in extent, and endless in duration! Yet how mistaken is the avarice even of the planters? Are slaves more useful by being thus humbled to the condition of brutes, than they would be if suffered to enjoy the privileges of men? The freedom which diffuses health and prosperity throughout Britain answers you—No. When you make men slaves you deprive them of half their virtue, you set them in your own conduct an example of fraud, rapine, and cruelty, and compel them to live with you in a state of war; and yet you complain that they are not honest or faithful! You stupify them with stripes, and think it necessary to keep them in a state of ignorance; and yet you assert that they are incapable of learning; that their minds are such a barren soil or moor, that culture would be lost on them; and that they come from a climate, where nature, though prodigal of her bounties in a degree unknown to yourselves, has left man alone scant and unfinished, and incapable of enjoying the treasures she has poured out for him!—An assertion at once impious and absurd. Why do you use those instruments of torture? Are they fit to be applied by one rational being to another? And are ye not struck with shame and mortification, to see the partakers of your nature reduced so low? But, above all, are there no dangers attending this mode of treatment? Are you not hourly in dread of an insurrection? […] But by changing your conduct, and treating your slaves as men, every cause of fear would be banished. They would be faithful, honest, intelligent and vigorous; and peace, prosperity, and happiness, would attend you.”

Olaudah Equiano (1745–1797) African abolitionist

Chap. V
The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1789)

Frederick William Robertson photo
Antonio Cocchi photo
Garth Brooks photo
Francois Rabelais photo
Richard Cobden photo
Alexander Maclaren photo
William Morley Punshon photo
Don Marquis photo

“well boss
mehitabel the cat
has reappeared in her old
haunts with a
flock of kittens

archy she said to me
yesterday
the life of a female
artist is continually
hampered what in hell
have i done to deserve
all these kittens
i look back on my life
and it seems to me to be
just one damned kitten
after another
i am a dancer archy
and my only prayer
is to be allowed
to give my best to my art
but just as i feel
that i am succeeding
in my life work
along comes another batch
of these damned kittens
it is not archy
that i am shy on mother love
god knows i care for
the sweet little things
curse them
but am i never to be allowed
to live my own life
i have purposely avoided
matrimony in the interests
of the higher life
but i might just
as well have been a domestic
slave for all the freedom
i have gained
i hope none of them
gets run over by
an automobile
my heart would bleed
if anything happened
to them and i found it out
but it isn t fair archy
it isn t fair
these damned tom cats have all
the fun and freedom
if i was like some of these
green eyed feline vamps i know
i would simply walk out on the
bunch of them and
let them shift for themselves
but i am not that kind
archy i am full of mother love
my kindness has always
been my curse
a tender heart is the cross i bear
self sacrifice always and forever
is my motto damn them
i will make a home
for the sweet innocent
little things
unless of course providence
in his wisdom should remove
them they are living
just now in an abandoned
garbage can just behind
a made over stable in greenwich
village and if it rained
into the can before i could
get back and rescue them
i am afraid the little
dears might drown
it makes me shudder just
to think of it
of course if i were a family cat
they would probably
be drowned anyhow
sometimes i think
the kinder thing would be
for me to carry the
sweet little things
over to the river
and drop them in myself
but a mother s love archy
is so unreasonable
something always prevents me
these terrible
conflicts are always
presenting themselves
to the artist
the eternal struggle
between art and life archy
is something fierce
yes something fierce
my what a dramatic
life i have lived
one moment up the next
moment down again
but always gay archy always gay
and always the lady too
in spite of hell
well boss it will
be interesting to note
just how mehitabel
works out her present problem
a dark mystery still broods
over the manner
in which the former
family of three kittens
disappeared
one day she was talking to me
of the kittens
and the next day when i asked
her about them
she said innocently
what kittens
interrogation point
and that was all
i could ever get out
of her on the subject
we had a heavy rain
right after she spoke to me
but probably that garbage can
leaks so the kittens
have not yet
been drowned”

Don Marquis (1878–1937) American writer

mehitabel and her kittens http://donmarquis.com/reading-room/kittens/
archy and mehitabel (1927)

Yury Dombrovsky photo
Walter Rauschenbusch photo
Vincent Van Gogh photo

“And my aim in my life is to make picture and drawings, as many and as well as I can, then, at the end of my life, I hope to pass away, looking back with love and tender regret, and thinking: "Oh, pictures I might have made!" Theo, I declare I prefer to think how arms, legs, head are attached to the trunk, rather than whether I myself am or am not more or less an artist.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

Quote in his letter to brother Theo, from Drenthe, The Netherlands, Autumn 1883; as quoted in Vincent van Gogh, edited by Alfred H. Barr; Museum of Modern Art, New York, 1935 https://www.moma.org/documents/moma_catalogue_1996_300061887.pdf, (letter 338) p. 21
1880s, 1883

Ingmar Bergman photo
Alexander Maclaren photo
Nathaniel Hawthorne photo
George Eliot photo
Joaquin Miller photo
Jopie Huisman photo

“Just six kilometers – never my world was bigger than that, actually. That starting time [of his painting & drawing, c. 1946], to which I return now; watercolor; I prefer a bit foggy, a small world - and not the cows themselves, but only their traces in the mist. The tenderness... I am currently [1993] deeply immersed in little trees and in the reeds. You have to experience it as mysticism, as a miracle. And afterwards: passing it on..”

Jopie Huisman (1922–2000) Dutch painter

translation, Fons Heijnsbroek, 2018
version in original Dutch / citaat van Jopie Huisman, in het Nederlands: Maar een straal van zes kilometer, groter is mijn wereld eigenlijk nooit geweest. Die begintijd [c. 1946], waar ik nu [1993] weer naar terugkeer; waterverf; het liefst een beetje mistig, een klein wereldje, en dan niet de koeien zelf, maar hun sporen in die damp. De tederheid.. .Ik verdiep me op het moment erg in boompjes, en in het riet. Dat moet je als mystiek, als een wonder ondergaan. En vervolgens doorgeven.
Mens & Gevoelens: Jopie Huisman', 1993

Victoria Legrand photo

“Tender is the night
For a broken heart
Who will dry your eyes
When it falls apart”

Victoria Legrand (1981) singer

Space Song, Depression Cherry (August 28, 2015).

Muhammad photo

“The example of a believer is like a fresh tender plant; from whichever direction the wind blows, it bends the plant. But when the wind dies down, (it) straightens up again.”

Muhammad (570–632) Arabian religious leader and the founder of Islam

Fiqh-us-Sunnah, Volume 4, Number 1
Sunni Hadith

Prudentius photo

“Take him, earth, for cherishing,
To thy tender breast receive him.
Body of a man I bring thee,
Noble even in its ruin.”

Nunc suscipe, terra, fovendum,<br/>gremioque hunc concipe molli.<br/>Hominis tibi membra sequestro,<br/>generosa et fragmina credo.

Prudentius (348–413) Roman writer

Nunc suscipe, terra, fovendum,
gremioque hunc concipe molli.
Hominis tibi membra sequestro,
generosa et fragmina credo.
"Hymnus X: Ad Exequias Defuncti", line 125 ; translation from Helen Waddell Mediaeval Latin Lyrics (London: Constable, [1929] 1943) p. 45.

William Moulton Marston photo

“The picture story fantasy cuts loose the hampering debris of art and artifice and touches the tender spots of universal human desires and aspirations. Comics speak, without qualm or sophistication to the innermost ears of the wishful self.”

William Moulton Marston (1893–1947) American psychologist, lawyer, inventor and comic book writer

"Why 100,000,000 Americans Read Comics", The American Scholar, 13.1 (1943): pp 35-44. as quoted in The Ages of Wonder Woman: Essays on the Amazon Princess in Changing Times, edited by Joeph J Darowski, p.9; in the essay "William Marston's Feminist Agenda" by Michelle R. Finn,

Bill Cosby photo

“I have always been proud of my association with Temple University. I have always wanted to do what would be in the best interests of the university and its students. As a result, I have tendered my resignation from the Temple University Board of Trustees.”

Bill Cosby (1937) American actor, comedian, author, producer, musician, activist

The Hollywood Reporter, Bill Cosby Resigns From Temple University Board of Trustees, THR Staff, December 1, 2014, December 1, 2014, December 1, 2014, https://web.archive.org/web/20141201220716/http://www.hollywoodreporter.com/news/bill-cosby-resigns-temple-university-753043 http://www.hollywoodreporter.com/news/bill-cosby-resigns-temple-university-753043,

Edith Stein photo
Mikha'il Na'ima photo

“Give me, instead of beauty's bust,
A tender heart, a loyal mind,
Which with temptation I could trust,
Yet never linked with error find.”

George Darley (1795–1846) Irish poet, novelist, and critic

Poem The Loveliness of Love http://www.umiacs.umd.edu/~ridge/local/iinbid.html

H.V. Sheshadri photo
Wilfred Owen photo
Henry Moore photo

“And for me Michelangelo's greatest work is one that was in his studio partly finished, partly unfinished when he died 'The Rondanini Pietà'. I don't know of any other single work of art by anyone that is more poignant, more moving. It isn't the most powerful of Michelangelo's works – it's a mixture, in fact, of two styles…. the changing became so drastic that I think he knocked the head off the sculpture… So the figure must originally have been a good deal taller. And if we see also the proportion of the length of the body of Christ compared with the length of the legs, there's no doubt that the whole top of the original sculpture has been cut away. Now this to me is a great question. Why should I and other sculptors I know, my contemporaries – I think that Giacometti feels this, I know Marino Marini feels it – find this work one of the most moving and greatest works we know of when it's a work which has such disunity in it?… But that's so moving, so touching: the position of the heads, the whole tenderness of the top part of the sculpture, is in my opinion more what it is by being in contrast with the rather finished, tough, leathery, typical Michelangelo legs. The top part is Gothic and the lower part is sort of Renaissance.”

Henry Moore (1898–1986) English artist

Quote of Henri Moore in his interview with David Silvester, in 'The Sunday Times Magazine', 16 Febr. 1964, pp. 18, 20-22
1955 - 1970

Thomas Sackville, 1st Earl of Dorset photo
Philip José Farmer photo

“Prometheus, I have no Titan's might,
Yet I, too, must each dusk renew my heart,
For daytime's vulture talons tear apart
The tender alcoves built by love at night.”

Philip José Farmer (1918–2009) American science fiction writer

"In Common" in Starlanes #14 (April 1954); re-published in Pearls From Peoria (2006)

François Fénelon photo

“p>The inherent contradictions and binds men find themselves in in trying to become less macho in their relationship with a woman were poignantly expressed in a letter written by a young man to a New York newspaper in response to an article that addressed itself to a question posed by a woman writer—whether women would be able to think of a non-macho man as sexy. The letter writer wrote:I am by nature a gentle and non-aggressive 27-year-old man who often finds women turned off sexually by my tenderness and non-macho view of the world. I have come to realize that for all their talk, a lot of women still want the hairy, sexy, war-mongering, aggressive machoman of their dreams. So after several fruitless years as a gentle poet-man, I now turn myself into a heavy machismo when I go out with a woman. It works. I open the doors, I order the food and drinks, I decide which movie or play we will see. I keep my shirt unbuttoned down past my nipples and wear a gold chain around my neck with a carved elephant tusk medallion, and if the relationship is not working out, I make the first move and tell my companion that I'm sorry but we're through.The sad thing about all this is that it works.”

Herb Goldberg (1937–2019) American psychologist

After all those years of being naturally sensitive and gentle, and now I've got to turn myself inside out just to appear sexy. It's fun and it's nice, but I do wish I could just be myself again.</p></blockquote>
Who Is the Victim? Who Is the Oppressor?, pp. 165&ndash;166
The New Male (1979)

Joseph Strutt photo
Anne Hutchinson photo
Joseph Smith, Jr. photo
Lisa Wilcox photo
Thomas Merton photo
Florbela Espanca photo

“If you came to see me in the evening,
That time of mild and magic weariness,
When nighttime softly covers everything,
And took me in your arms with tenderness.
[…]
And my lips are like a flower in the sun…
When my eyes are tightly closed with strong desire…
And I hold out my arms to bring you near…”

Florbela Espanca (1894–1930) Portuguese poet

Se tu viesses ver-me hoje à tardinha,
A essa hora dos mágicos cansaços,
Quando a noite de manso se avizinha,
E me prendesses toda nos teus barcos...
[...]
E é como um cravo ao sol a minha boca...
Quando os olhos se me cerram de desejo...
E os meus braços se estendem para ti...
Citações e Pensamentos de Florbela Espanca (2012), p. 108
Translated by John D. Godinho
The Flowering Heath (1931), "Se tu viesses ver-me hoje à tardinha"

Joseph Joubert photo
Robert G. Ingersoll photo
Heinrich Heine photo

“The whole system of symbolism impressed on the art and the life of the Middle Ages must awaken the admiration of poets in all times. In reality, what colossal unity there is in Christian art, especially in its architecture! These Gothic cathedrals, how harmoniously they accord with the worship of which they are the temples, and how the idea of the Church reveals itself in them! Everything about them strives upwards, everything transubstantiates itself; the stone buds forth into branches and foliage, and becomes a tree; the fruit of the vine and the ears of corn become blood and flesh; the man becomes God; God becomes a pure spirit. For the poet, the Christian life of the Middle Ages is a precious and inexhaustibly fruitful field. Only through Christianity could the circumstances of life combine to form such striking contrasts, such motley sorrow, such weird beauty, that one almost fancies such things can never have had any real existence, and that it is all a vast fever-dream the fever-dream of a delirious deity. Even Nature, during this sublime epoch of the Christian religion, seemed to have put on a fantastic disguise; for oftentimes though man, absorbed in abstract subtilties, turned away from her with abhorrence, she would recall him to her with a voice so mysteriously sweet, so terrible in its tenderness, so powerfully enchanting, that unconsciously he would listen and smile, and become terrified, and even fall sick unto death.”

Heinrich Heine (1797–1856) German poet, journalist, essayist, and literary critic

Religion and Philosophy in Germany, A fragment https://archive.org/stream/religionandphilo011616mbp#page/n5/mode/2up, p. 26

Edward Bouverie Pusey photo
Sara García photo

“Spanish for, Ask me to talk about Mexican cinema? is like requesting my autobiography, what i have not lived, what i have not seen, and in how many different ways have you seen me? without going any further tender as in "La gallina clueca", tearful as in "Cuando los hijos se van", sweet as in "El baisano Jalil", and energetic and dominant and at the same time affectionate as in "Los tres García" you have seen me very alive and very dead”

Sara García (1895–1980) Mexican actress

Pedirme a mi que hable del cine Mexicano? es como solicitar mi autobiografía, que no habré vivido, que no habré visto, y de cuantas maneras distintas me han visto a mi? sin ir mas lejos tierna como en "La gallina clueca", llorosa como en "Cuando los hijos se van", dulce como en "El baisano Jalil", y enérgica y dominante y al mismo tiempo cariñosa como en "Los tres García" me han visto muy viva y muy muerta.
Sara answering when she was told to talk about Mexican cinema. Doña Sara Garcia habla del Cine Mexicano https://www.youtube.com/watch?v=DXlz7AznYxA

Robert Frost photo

“She drew back; he was calm
"It is this that had the power,"
And he lashed his open palm
With the tender-headed flower.”

Robert Frost (1874–1963) American poet

" The Subverted Flower http://www.andrews.edu/~spangles/life/poet/x.htm"
1940s

Michael McIntyre photo

“[imitating a scottish person] (on Scottish money) I think you'll find pal, that's legal tender.”

Michael McIntyre (1976) British comedian

Live at the Apollo (November 26, 2007)

Yehudi Menuhin photo
Leigh Brackett photo
Fyodor Dostoyevsky photo

“It's the great mystery of human life that old grief passes gradually into quiet tender joy.”

Fyodor Dostoyevsky (1821–1881) Russian author

The Brothers Karamazov (1879–1880)

Vitruvius photo