Quotes about tone
page 2

“Bluidy hell. Charlie’s seen my woman naked,” he said in a surly tone. “I almost liked him better when I thought he was a machete murderer.”

Kresley Cole American writer

Source: Pleasure of a Dark Prince

Hell

“You got guts taking that tone with me. (Nykyrian)
What you gonna do, oh great wounded one? I’m the one with the injector. (Syn)”

Sherrilyn Kenyon (1965) Novelist

Source: Born of the Night

“If you touch me like that again, Evangeline,” he began in a husky tone, dropping to his seat once more, “in the space of a heartbeat, I will have you off this bike and onto the closest horizontal surface. And I woan be picky, no.”

Kresley Cole American writer

Source: Poison Princess

“Music does not replace words, it gives tone to the words”

Elie Wiesel (1928–2016) writer, professor, political activist, Nobel Laureate, and Holocaust survivor

Music

“She let a teasing tone enter her voice. 'Is thereemergency for which you are not prepared, Mr Swift?'
'Miss Bowman, if I had enough pockets I could save the world.”

Lisa Kleypas (1964) American writer

Source: Scandal in Spring

World

“I feel in colour, strong tones that I hue down for the comfort of the pastelly inclined. Beige and magnolia and a hint of pink are what the well-decorated heart is wearing; who wants my blood red and vein-blue?”

Jeanette Winterson book Gut Symmetries

Source: Gut Symmetries

Feeling, Strong, Heart

““If you want him defined, here he is: a prime, well-fed beast such as takes medals at the cattle shows, and nothing more,” he said, with a tone of vexation that interested her.
“No; how so?” she replied. “He's seen a great deal, anyway; he's cultured?”
“It's an utterly different culture—their culture. He's cultivated, one sees, simply to be able to despise culture, as they despise everything but animal pleasures.””

Leo Tolstoy book Anna Karenina

Vronky and Anna discussing the visiting Prince, Part 4, Chapter 3
Anna Karenina (1875–1877; 1878)

Pleasure, Animals

“Ah, deeply the Minstrel has felt all he sings,
Every passion he paints his own bosom has known;
No note of wild music is swept from the strings,
But first his own feelings have echoed the tone.”

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

(27th April 1822) The Poet
4th May 1822) Sappho see The Vow of the Peacock (1835
The London Literary Gazette, 1821-1822

Music, Feeling, Passion, Singing

“We should not speak of all subjects in one tone and in the same manner. We do not march at the head of a regiment as we walk on a promenade; and we should use the same style in which we should naturally speak of different things in the same way, with the same difference as we should walk, but always naturally, and as is suitable, either at the head of a regiment or on a promenade.”

François de La Rochefoucauld (1613–1680) French author of maxims and memoirs

Reflections on Various Subjects (1665–1678), VII. On Air and Manner

Way, Nature

“Our sensitivity to the tone, hue, and intensity of light is bound up with our evolutionary heritage. Even the diversity of our visual abilities may echo our ancestors' ecology.”

David G. Haskell (1950) writer, Biologist

"November 5th — Light," page 206 The Forest Unseen: A Year's Watch in Nature http://theforestunseen.com/ (2012)

Light

“We say: he has no talent, only tone. But tone is precisely what cannot be invented — we're born with it. Tone is an inherited grace, the privilege some of us have of making our organic pulsations felt — tone is more than talent, it is its essence.”

Emil M. Cioran book The Trouble With Being Born

The Trouble With Being Born (1973)

“He would not, with a peremptory tone,
Assert the nose upon his face his own.”

William Cowper (1731–1800) (1731–1800) English poet and hymnodist

Source: Conversation (1782), Line 121.

“Lying down to sleep on the earthen riverbank, I thought, Vrindavan is attracting my heart like no other place. What is happening to me? Please reveal Your divine will. With this prayer, I drifted off to sleep.
Before dawn, I awoke to the ringing of temple bells, signaling that it was time to begin my journey to Hardwar. But my body lay there like a corpse. Gasping in pain, I couldn’t move. A blazing fever consumed me from within, and under the spell of unbearable nausea, my stomach churned. Like a hostage, I lay on that riverbank. As the sun rose, celebrating a new day, I felt my life force sinking. Death that morning would have been a welcome relief. Hours passed.
At noon, I still lay there. This fever will surely kill me, I thought.
Just when I felt it couldn’t get any worse, I saw in the overcast sky something that chilled my heart. Vultures circled above, their keen sights focused on me. It seemed the fever was cooking me for their lunch, and they were just waiting until I was well done. They hovered lower and lower. One swooped to the ground, a huge black and white bird with a long, curving neck and sloping beak. It stared, sizing up my condition, then jabbed its pointed beak into my ribcage. My body recoiled, my mind screamed, and my eyes stared back at my assailant, seeking pity. The vulture flapped its gigantic wings and rejoined its fellow predators circling above. On the damp soil, I gazed up at the birds as they soared in impatient circles. Suddenly, my vision blurred and I momentarily blacked out. When I came to, I felt I was burning alive from inside out. Perspiring, trembling, and gagging, I gave up all hope.
Suddenly, I heard footsteps approaching. A local farmer herding his cows noticed me and took pity. Pressing the back of his hand to my forehead, he looked skyward toward the vultures and, understanding my predicament, lifted me onto a bullock cart. As we jostled along the muddy paths, the vultures followed overhead. The farmer entrusted me to a charitable hospital where the attendants placed me in the free ward. Eight beds lined each side of the room. The impoverished and sadhu patients alike occupied all sixteen beds. For hours, I lay unattended in a bed near the entrance. Finally that evening the doctor came and, after performing a series of tests, concluded that I was suffering from severe typhoid fever and dehydration. In a matter-of-fact tone, he said, “You will likely die, but we will try to save your life.””

Radhanath Swami (1950) Gaudiya Vaishnava guru

Republished on The Journey Home website.
The Journey Home: Autobiography of an American Swami (Tulsi Books, 2010)

Life, Death, Pain, Hope

“It has long seemed obvious — and is, in fact, the characteristic tone of European science — that “science” means breaking up complexes into their component elements. Isolate the elements, discover their laws, then reassemble them, and the problem is solved. All wholes are reduced to pieces and piecewise relations between pieces.
The fundamental “formula” of Gestalt theory might be expressed in this way. There are wholes, the behaviour of which is not determined by that of their individual elements, but where the part-processes are themselves determined by the intrinsic nature of the whole. It is the hope of Gestalt theory to determine the nature of such wholes…
We hear a melody and then, upon hearing it again, memory enables us to recognize it. But what is it that enables us to recognize the melody when it is played in a new key? The sum of the elements is different, yet the melody is the same; indeed, one is often not even aware that a transposition has been made… Is it really true that when I hear a melody I have a sum of individual tones (pieces) which constitute the primary foundation of my experience? Is not perhaps the reverse of this true? What I really have, what I hear of each individual note, what I experience at each place in the melody is apart which is itself determined by the character of the whole,”

Max Wertheimer (1880–1943) Co-founder of Gestalt psychology

As quoted in: George Klir (2013), Facets of Systems Science, p. 25
"Gestalt Theory," 1924

Law, Hope, Way, Nature

“It is typical of Schumann's musical thinking to construct this complex network of references outside his music-to quote Beethoven, and then to have Beethoven's distant beloved refer to Clara. But this should give a clue to the nature of Schumann's achievement. It is not Schumann's music that, refers to Clara but Beethoven's melody, the "secret tone."”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 2 : Fragments

Secret, Music, Quotes, Nature

“Let the Bible itself dwell in you — Christ's own word in Christ's own tone — the truth as it was in Jesus — truth dissolved in love, and redolent of sanctity.”

James Hamilton (1814–1867) Scottish minister and a prolific author of religious tracts

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 91.

Love, Truth, Christ

“One of the topics [on the show last week] was the murder of women in the Arab sector, what is referred to, unfortunately, […] as 'honor killing' and has nothing to do with [anything worthy of] honor. The guest in the studio was a woman who had 20 years of experience working for the sake of those same women who die for no good reason, a woman whose everyday job was a holy work for the sake of thousands of Arab women who need a voice that will shout out and cry out their cries. After she had accused the government and the police and everyone of incompetence, I asked her, in a somewhat aggressive manner, as it were, '[…] Where are we in all of this? Where are we Arab women to teach and discipline our sons that a man has no right over a woman? […]' During the commercial break, she got up and told me that I had to learn how to talk to Arabs because the tone that I adopted and the things that I said were said to gain approval from Jews. So I've come to tell you today that I haven't come for approval from you; that I haven't come for approval from anyone; and this is the message that I want you to digest very, very well. In my life I have been accused of many things: that I am the fifth column; that an Arab will always stay an Arab, no matter how liberal he may look; that I bring shame on my family for being in a relationship with a person outside my religion. I've received threats after asking Palestinian residents live on the show why they don't go out against Hamas men, who use them and bring them to their slaughter; I've been attacked on Yom ha-Shoah and Yom ha-Zikaron that the managers at Arutz 2 dared to put an Arab on a show such as that as the host on a day such as that; I've been told that I make Arab women stray off the path of proper behavior; and that I've forgotten where I come from being an 'Ashkenazified', 'Judaized' Arab. So they blamed and they talked—as if that, in itself, made them right.”

Lucy Aharish (1981) Arab-Israeli journalist

Source: Lucy Aharish's campus speech http://www.onlife.co.il/%D7%A2%D7%91%D7%95%D7%93%D7%94/%D7%9E%D7%A0%D7%94%D7%99%D7%92%D7%95%D7%AA-%D7%94%D7%99%D7%95%D7%9D-%D7%90%D7%AA-%D7%94%D7%9E%D7%97%D7%A8/85312/%D7%9C%D7%95%D7%A1%D7%99-%D7%90%D7%94%D7%A8%D7%99%D7%A9-%D7%9C%D7%90-%D7%91%D7%90%D7%AA%D7%99-%D7%9C%D7%9E%D7%A6%D7%95%D7%90-%D7%97%D7%9F-%D7%91%D7%A2%D7%99%D7%A0%D7%99-%D7%90%D7%A3-%D7%90%D7%97%D7%93 at "מנהיגות היום את המחר". Onlife. 9 November 2014. Retrieved 27 January 2015. Video available.

Life, Women, Men, Family

“Use materials with forceful MUSCULAR colours – the reddest of reds, the most purple of purples, the greenest of greens, intense yellows, orange, vermillion – and SKELETON tones of white, grey and black.”

Giacomo Balla (1871–1958) Italian artist

(Manuscript, 1914); as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 148
Futurist Manifesto of Men's clothing,' 1913/1914

“I always think, Look at how people were before they were pregnant. If you were a toned, healthy, energetic person, most likely you will be like that again. A lot of people come to me, and they’re like, "Will I look like you after I have the baby?" And I say, "Well, how were you before?"”

Heidi Klum (1973) German model, television host, businesswoman, fashion designer, television producer, and actress

You can’t kid yourself. Quoted by Chris Connelly in Marie Claire May 2008 http://www.marieclaire.com/hair/celebrity/behind-scenes/heidi-klum-interview.

People, Thinking, Baby, Personality

“Today, Psycho still holds up extraordinarily well (another reason why a remake seems pointless). With the exception of Halloween, no latter-day horror/thriller has been capable of generating as many goosebumps. The black-and-white photography is perfect for the film's tone and mood — the starkness of color would have blurred the nightmarish quality. The painstaking care with which [director Alfred] Hitchcock composed every scene is evident in the quality of the final product.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=669 of Psycho (1960). Three-and-a-half star reviews

Color, Mood, Perfection

“I lay wake […] listening to the rain drip from the eaves and thinking of the big map that hung from the top of the chalkboard in my primary school in Wilton, Connecticut, so many years ago, back in the days of cars, television, and air-conditioning. The states on this map were muted tones of pink, green, and yellow. Over it hung the flag that we pledged allegiance to every single morning. "One nation under God, indivisible…"”

James Howard Kunstler book World Made By Hand

Source: World Made By Hand (2008), Chapter 31, p. 150

God, School, Cars, Thinking

“There is very little dispute about the principal constituent elements of music, though experts will differ on the precise definitions of each aspect. Most central are 'pitch' (or melody) and 'rhythm'… next in importance only to pitch and rhythm is 'timbre', the characteristic qualities of tone.”

Howard Gardner (1943) American developmental psychologist

Source: Frames of Mind: The Theory of Multiple Intelligences., 1983, p.104

Music

“The first thing that strikes [one] in Cézanne is not apples, but balance of tones. With elements drawn from nature, what did [Cézanne] attempt? To create, to arouse powerful feeling, to awaken in the hearts of men that which is eternal in men.”

Aristide Maillol (1861–1944) sculptor from France

in a writing of Maillol, quoted in 'Aristide Maillol', ed. Andrew C. Ritchie, Albright Art Gallery N Y 1945, p. 31; as quoted by Angelo Carnafa, in 'A sculpture of interior Solitude', Associated University Presse, 1999, p. 168

Men, Feeling, Nature, Heart

“It is a myth that style can't be learnt. It's all about dressing for your body shape, following the rules and wearing colours that suit your skin tone.”

Susannah Constantine (1962) British fashion designer and journalist

As quoted in "Mistresses of the makeover" by Cathrin Schaer in New Zealand Herald http://www.nzherald.co.nz/topic/story.cfm?c_id=182&objectid=10493332&pnum=2 (25 February 2008)

“The people who believe most that our greatness and welfare are proved by our being very rich, and who most give their lives and thoughts to becoming rich, are just the very people whom we call the Philistines. Culture says: “Consider these people, then, their way of life, their habits, their manners, the very tones of their voice; look at them attentively; observe the literature they read, the things which give them pleasure, the words which come forth out of their mouths, the thoughts which make the furniture of their minds; would any amount of wealth be worth having with the condition that one was to become just like these people by having it?””

Matthew Arnold book Culture and Anarchy

Source: Culture and Anarchy (1869), Ch. I, Sweetness and Light

Life, People, Pleasure, Way

“I believe that one should not think so much about nature when painting, at least not during the conception of the picture. Make the color sketch exactly as one has felt something in nature. But my personal feeling is the main thing. Once I have established it, lucid in tone and color, I must bring in from nature the things that make my painting seem natural, so that a layman will only think that 1 have painted it from nature.”

Paula Modersohn-Becker (1876–1907) German artist

quote from her Diaries, 1 October, 1902; as cited in Expressionism, a German intuition, 1905-1920, Neugroschel, Joachim; Vogt, Paul; Keller, Horst; Urban, Martin; Dube, Wolf Dieter; (transl. Joachim Neugroschel); publisher: Solomon R. Guggenheim Foundation, New York, 1980, p. 31
1900 - 1905

Color, Feeling, Nature, Thinking

“He understood the tone of voice instinctively, as he always had; it was his greatest gift, to know emotions even better than the person feeling them.”

Orson Scott Card Songmaster

Songmaster (1979)

Feeling, Personality

“They say that, hung in ancient halls,
At midnight from the silent lute
A melancholy music falls
From chords which were by daylight mute.
And so the human heart by night
Is touched by some inspired tone,
Harmonious in the deep delight,
By day it knew not was its own.”

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

Meditation
Heath's book of Beauty, 1833 (1832)

Music, Heart, Night

“Do we really have to look these chords up in Forte's catalog in order to find a name for them? Another theorist [Christopher Hasty] assures us that, 'Allen Forte's perceptive interpretation…accounts for an essential quality of this mysteriously pulsating music. The eighth-note chords of the flute and clarinets form alternately, with the sustaining oboes and horns, the six-tone sonorities labeled A and B. The sonorities A and B are both representatives of the same set class (6-Z19) and are thus made up of precisely the same intervals. As Forte points out, "There is a flucuation of pitch-class content while interval content remains constant."' 'A fluctuation of pitch-class content while interval content remains constant' is what the rest of us have always known as 'a transposition.'”

George Perle (1915–2009) American composer

Page 42
The Listening Composer

Music

“Perfect aristocratic tone, Degrandpre thought: insult and menace in a single phrase.”

Robert Charles Wilson book Bios

Source: Bios (1999), Chapter 11 (p. 106)

Perfection

“The gray-green stretch of sandy grass,
Indefinitely desolate;
A sea of lead, a sky of slate;
Already autumn in the air, alas!
One stark monotony of stone,
The long hotel, acutely white,
Against the after-sunset light
Withers gray-green, and takes the grass's tone.”

Arthur Symons (1865–1945) British poet

Color Studies. At Dieppe (1895).

Autumn, Light, Grass, Sea

“[My audiences] discover they are producing a tonal dimension of the music which interacts melodically, rhythmically, and spatially with the tones in the room. Tones ‘dance’ in the immediate space of their body, around them like a sonic wrap, cascade inside ears, and out to space in front of their eyes … Do not be alarmed! Your ears are not behaving strange or being damaged! … these virtual tones are a natural and very real physical aspect of auditory perception, similar to the fusing of two images resulting in a third three dimensional image in binocular perception… I want to release this music which is produced by the listener…”

Maryanne Amacher (1938–2009) Composer and installation artist

Quoted in: " Maryanne Amacher, Synaptic Island http://datagarden.org/5483/maryanne-amacher-synaptic-island/," on datagarden.org, 2015.

Music, Nature, Dance

“Yours of July 27 is received. It confirms the accounts we receive from others that the infractions of the embargo in Maine and Massachusetts are open. I have removed Pope, of New Bedford, for worse than negligence. The collector of Sullivan is on the totter. The Tories of Boston openly threaten insurrection if their importation of flour is stopped. The next post will stop it. I fear your Governor [Sullivan] is not up to the tone of these parricides, and I hope on the first symptom of an open opposition of the law by force you will fly to the scene, and aid in suppressing any commotion.”

Thomas Jefferson (1743–1826) 3rd President of the United States of America

Letter to General Henry Dearborn, Secretary of War (August 9, 1808) in regards to enforcing the American embargo.
1800s, Second Presidential Administration (1805-1809)

Fear, Law, Hope, Flying

“But we must never adjust to the present coarseness of our national dialogue with the tone set up at the top. We must never regard as normal the regular and casual undermining of our democratic norms and ideals. We must never meekly accept the daily sundering of our country. The personal attacks, the threats against principles, freedoms and institution, the flagrant disregard for truth and decency.The reckless provocations, most often for the pettiest and most personal reasons, reasons having nothing whatsoever to do with the fortunes of the people that we have been elected to serve. None of these appalling features of our current politics should ever be regarded as normal. We must never allow ourselves to lapse into thinking that that is just the way things are now.”

Jeff Flake (1962) American politician

Speech in the U.S. Senate (2017)

People, Truth, Way, Thinking

“And, notwithstanding a few exceptions, we do undoubtedly find that the most truly eminent men have had not only their affections, but also their intellect, greatly influenced by women. I will go even farther; and I will venture to say that those who have not undergone that influence betray a something incomplete and mutilated. We detect, even in their genius, a certain frigidity of tone; and we look in vain for that burning fire, that gushing and spontaneous nature with which our ideas of genius are indissolubly associated. Therefore, it is, that those who are most anxious that the boundaries of knowledge should be enlarged, ought to be most eager that the influence of women should be increased, in order that every resource of the human mind may be at once and quickly brought into play.”

Henry Thomas Buckle (1821–1862) English historian

" The Influence Of Women On The Progress Of Knowledge http://www.public.coe.edu/~theller/soj/u-rel/buckle.html". Lecture given at the Royal Institution 19 March 1858. In: The Miscellaneous and Posthumous Works of Henry Thomas Buckle (1872)

Women, Men, Idea, Nature

“Years ago, my mother and I fell in love with Busybee’s voice, its calm, even tone, and a smile which was always audible in the language. My father, meanwhile, is clipping his nails fastidiously, letting them fall on to an old, spread-out copy of the Times of India, till he sneezes explosively, as he customarily does, sending the crescent-shaped nail-clippings flying into the universe.”

Amit Chaudhuri (1962) contemporary Indian-English novelist

Afternoon Raag (1993)

Love, Smile, Universe, Time

“"Why!" said Huxter, suddenly, "that's not a man at all. It's just empty clothes. Look! You can see down his collar and the linings of his clothes. I could put my arm—"He extended his hand; it seemed to meet something in mid-air, and he drew it back with a sharp exclamation. "I wish you'd keep your fingers out of my eye," said the aerial voice, in a tone of savage expostulation. "The fact is, I'm all here: head, hands, legs, and all the rest of it, but it happens I'm invisible. It's a confounded nuisance, but I am. That's no reason why I should be poked to pieces by every stupid bumpkin in Iping, is it?"”

H. G. Wells book The Invisible Man

Source: The Invisible Man (1897), Chapter 7: The Unveiling of the Stranger

Stupidity, Clothes

“Her every tone is music's own,
Like those of morning birds,
And something more than melody
Dwells ever in her words.”

Edward Coote Pinkney (1802–1828) American poet, lawyer, sailor, professor, and editor

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

Music, Bird

“I say cowardice, because the standards which is Isaiah Berlin himself has set for anyone who undertakes such an enterprise are dauntingly high. His ability to catch the allegiances and the emotional tone of the authors he has written about, as well as his ability to meet the commentator's first duty to the subtleties of their thought, has always meant that their per sonalities and ideas alike have remained in tact and alive.”

Alan Ryan (1940) British philosopher

Introduction in The Idea of freedom: Essays in Honour of Isaiah Berlin (1979), Edited by Alan Ryan.

Idea

“Why do I paint? In my work as a mathematician, form, structure, and economy of expression are important. In music, add tone quality, balance and harmony. And now in painting, these aesthetic values are enhanced by color, contrast, and composition.”

Robin Hartshorne (1938) American mathematician

Robin Hartshorne Fine Art, fineartstudioonlione.com http://robinfaso.fineartstudioonline.com/about

Music, Color, Painting

“Europe is no longer Europe, it is Eurabia, a colony of Islam, where the Islamic invasion does not proceed only in a physical sense, but also in a mental and cultural sense… I am an atheist, and if an atheist and a pope think the same things, there must be something true. There must be some human truth that is beyond religion… I am disgusted by the anti-Semitism of many Italians, of many Europeans… Look at the school system of the West today. Students do not know history! They don't know who Churchill was! In Italy, they don't even know who Cavour was!… Servility to the invaders has poisoned democracy, with obvious consequences for the freedom of thought, and for the concept itself of liberty… State-run television stations contribute to the resurgent anti-Semitism, crying only over Palestinian deaths while playing down Israeli deaths, glossing over them in unwilling tones… The increased presence of Muslims in Italy and in Europe is directly proportional to our loss of freedom… The Muslims refuse our culture and try to impose their culture on us. I reject them, and this is not only my duty toward my culture-it is toward my values, my principles, my civilization… The struggle for freedom does not include the submission to a religion which, like the Muslim religion, wants to annihilate other religions… The West reveals a hatred of itself, which is strange and can only be considered pathological; it now sees only what is deplorable and destructive… These charlatans care about the Palestinians as much as I care about the charlatans. That is not at all… When I was given the news, I laughed. The trial is nothing else but a demonstration that everything I've written is true… President Bush has said, 'We refuse to live in fear.'…Beautiful sentence, very beautiful. I loved it! But inexact, Mr. President, because the West does live in fear. People are afraid to speak against the Islamic world. Afraid to offend, and to be punished for offending, the sons of Allah. You can insult the Christians, the Buddhists, the Hindus, the Jews. You can slander the Catholics, you can spit on the Madonna and Jesus Christ. But, woe betide the citizen who pronounces a word against the Islamic religion.”

Oriana Fallaci (1929–2006) Italian writer

A Sermon for the West">From "A Sermon for the West" By Oriana Fallaci - Oct. 22, 2002 Address to an audience at the American Enterprise Institute

Love, Death, People, Truth

“Now I as a painter shall never stand for anything of importance. I feel it utterly... I sometimes regret I did not simply keep to the Dutch palette [of Dutch impressionism ] with its grey tones, and have brushed away at landscapes of Montmartre [in 1886-87] with no ado.”

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

Quote in his letter to brother Theo, from Arles, France, 3 May 1889; 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 590), p. 33 1880s, 1889

Feeling

“After the speech he looked at us ironically and added softly: "Otherwise you would die". The words were icy but the tone like velvet, almost friendly.”

Adolf Eichmann (1906–1962) German Nazi SS-Obersturmbannführer

Benjamin Murmelstein, Theresienstadt: Eichmanns Vorzeige-Ghetto, .

“The Muse gave the Greeks their native character, and allowed them to speak in noble tones, they who desired nothing but praise.”
Grais ingenium, Grais dedit ore rotundo Musa loqui, præter laudem nullius avaris. . .

Horace Ars Poetica

Grais ingenium, Grais dedit ore rotundo
Musa loqui, præter laudem nullius avaris. . .

Line 323
Ars Poetica, or The Epistle to the Pisones (c. 18 BC)

“Scottish literature begins effectively with Archdeacon Barbour's Bruce some sixty years after Bannockburn, and to the Bruce and Blind Harry's Wallace (so staunch is the Scot, and such an antiquary in grain) must be attributed much of the colouring and subsequent tone of Scottish sentiment. The Bruce is the better poem, simple, truthful, noble, stirring, a proper start for the literature of a fighting people.”

John Barbour (1316–1395) Scottish poet

George Gordon The Discipline of Letters (Oxford: Clarendon Press, 1946) p. 88.
Criticism

People, Truth, Literature, Fight

“In measured tones he answered Madouc: “Your condition lacks dignity; you bring ridicule upon us all.”
Madouc gave a stony shrug. “If you do not like what you see, look elsewhere.””

Jack Vance Lyonesse Trilogy

Source: Lyonesse Trilogy (1983-1989), Madouc (1989), Chapter 9, section 4 (p. 928)

“Tell me, suit, don’t you wonder if it’s all worth it?’
“If what’s all worth what?” it says, and I can hear that condescending tone in its voice again.
“You know; living. Is it worth all the… bother?”
“No.”
“No?”
“No, I don’t ever wonder about it.”
“Why not?” I’m keeping my questions short as we walk, conserving energy and breath.
“I don’t need to wonder about that. It’s not important.”

Iain Banks (1954–2013) Scottish writer

“Not important?”
“It’s an irrelevant question. We live; that’s enough.”
“Descendant” (p. 44)
Short fiction, The State of the Art (1991)

Question

“Unfortunately, it is all too often true that suppressors to a creative action must be removed before construction and creation takes place. Any person very high on the Tone Scale may level destruction toward a suppressor.”

L. Ron Hubbard book Science of Survival

Source: Science of Survival (1951), p. 159.

Personality

“Rents once sais, thirs nothin like a darker skin tone tae increase the vigilance ay the police n the magistrates: too right.”

Irvine Welsh book Trainspotting

Spud, "Kicking Again: Na Na and Other Nazis" (Chapter 3, Story 2).
Trainspotting (1993)

“Might the simple maxim, that honesty is the best policy be laid to heart! Might a sense of the true aims of life elevate the tone of politics and trade, till public and private honor become identical!”

Margaret Fuller (1810–1850) American feminist, poet, author, and activist

Summer On The Lakes, in 1843 (1844) http://www.gutenberg.org/etext/11526.

Life, Sense, Heart

“The idiot who praises, with enthusiastic tone,
All centuries but this and every country but his own.”

W. S. Gilbert (1836–1911) English librettist of the Gilbert & Sullivan duo

The Mikado (1885)

Country

“The spirit and tone of your home will have great influence on your children. If it is what it ought to be, it will fasten conviction on their minds, however wicked they may become.”

Richard Cecil (clergyman) (1748–1810) British Evangelical Anglican priest and social reformer

Source: Dictionary of Burning Words of Brilliant Writers (1895), p. 324.

Children, Home

“I was horrified by modern 12-tone music. I said to myself, 'Maybe I can find something different… maybe salvation, liberation, is possible.”

Pierre Schaeffer (1910–1995) French musicologist

Pierre Schaeffer: an Interview with the Pioneer of Musique Concrete (Records Quarterly magazine, vol. 2, n° 1; 1987)
Interviews

Music

“The great evil, and it was a hard thing to say, was that English officials in India, with many very honourable exceptions, did not regard the lives of the coloured inhabitants with the same feeling of intense sympathy which they would show to those of their own race, colour, and tongue. If that was the case it was not their fault alone. Some blame must be laid upon the society in which they had been brought up, and upon the public opinion in which they had been trained. It became them to remember that from that place, more than from any other in the kingdom, proceeded that influence which formed the public opinion of the age, and more especially that kind of public opinion which governed the action of officials in every part of the Empire. If they would have our officials in distant parts of the Empire, and especially in India, regard the lives of their coloured fellow-subjects with the same sympathy and with the same zealous and quick affection with which they would regard the lives of their fellow-subjects at home, it was the Members of that House who must give the tone and set the example. That sympathy and regard must arise from the zeal and jealousy with which the House watched their conduct and the fate of our Indian fellow-subjects. Until we showed them our thorough earnestness in this matter—until we were careful to correct all abuses and display our own sense that they are as thoroughly our fellow-subjects as those in any other part of the Empire, we could not divest ourselves of all blame if we should find that officials in India did treat with something of coldness and indifference such frightful calamities as that which had so recently happened in that country.”

Robert Gascoyne-Cecil, 3rd Marquess of Salisbury (1830–1903) British politician

Speech http://hansard.millbanksystems.com/commons/1867/aug/02/motion-for-an-address in the House of Commons (2 August 1867) on the Orissa famine of 1866 1860s

Fate, Age, Jealousy, Feeling

“The more I think about colour, the more convinced I become that this reflected half-tint is the principle that must predominate, because it is this that gives the true tone, the tone that constitutes the value, the thing that matters in giving life and character to the object. Light, to which the schools teach us to attach equal importance and which they place on the canvas at the same time as the half-tint and shadow, is really only an accident. Without grasping this principle, one cannot understand true colour, I mean the colour that gives the feeling of thickness and depth and of that essential difference that distinguishes one object from another.”

Eugène Delacroix (1798–1863) French painter

29 April 1854 (p. 228)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Life, School, Feeling, Understanding

“Of the three primary colors, the three binary ones are formed. If you add to one of these the primary tone that is its opposite, it cancels it out. This means that you produce the required half-tone. Therefore, adding black is not adding a half-tone, it is soiling the tone whose true half-tone resides in this opposite me have just described. Hence the green shadows found in red. The heads of the two little peasants. The yellow one had purple shadows; the redder and more sanguine one had green ones.”

Paul Signac (1863–1935) French painter

Quoted by Maria Buszek, online - note 19 http://mariabuszek.com/mariabuszek/kcai/Expressionism/Readings/SignacDelaNeo.pdf The notebook where this sentence appears was only published, in facsimile, in 1913 by J. Guiffrey. Signac therefore must have consulted it at the Conde Museum, in Chantilly. This Moroccan travel document was bought at the Delacroix sale by the painter Dauzats for the Duc of Aumale. From Delacroix to Neo-Impressionism, 1899

Color

“The sphinx atropos squeakes when hurt, nearly as loud as a mouse, which, when uttered in the most plaintive tone, naturally shocks the human heart, and makes it shudder at the thought of destroying inoffensive animals merely for the sake of curiosity. I cannot help reflecting on this tyranny, this wanton cruelty, exercised by thoughtless man, on many animals but especially in insects: 'tis certain, that every animal possessing life, has feeling; and, therefore, is as capable of suffering pain, as of enjoying pleasure; and, as Shakespeare humanely expresses “The poor beetle crushed beneath the foot, feels the pangs of death as great as when a monarch falls.””

James Barbut English painter and naturalist

Gentle reader, pardon this digression, my feelings commanded my pen.
The Genera Insectorum of Linnæus, Exemplified by Various Specimens English Insects drawn by Nature (1781)

Life, Death, Pain, Pleasure

“Recently I have felt just what the mood of colors means to me: it means that everything in this picture changes its local color according to the same principle and that thereby all muted tones blend in a unified relationship, one to the other.”

Paula Modersohn-Becker (1876–1907) German artist

excerpt of her Journal, Worpswede, 24 July 1898; as quoted in Voicing our visions, – Writings by women artists; ed. Mara R. Witzling, Universe New York, 1991, p. 197
1898

Color, Mood, Change

“(speaking in a solemn tone to a group of young school children) Now you know that your headmistress, Miss Davis, was going to come in here and just check that you were all going to be well behaved. She can’t do that because, as many of you probably know, she can’t be here today, er, because her pants fell down earlier on. It’s not funny. If any of you see her, don’t make a fuss because it’s a bit embarrassing for her, OK? Alright? It’s not funny.”

Derren Brown (1971) British illusionist

TV Series and Specials (Includes DVDs), Trick of the Mind (2004–2006)

Children, School

“She said, "We're detectives" in the tone of voice that someone might say, "Making you happy isn't making me happy"”

Daniel Handler book Adverbs

Adverbs (2006), Frigidly

Happiness

“That sound in tune to you? … Sounds sharp to me. Sounds like I'm playing sharp all the time. My singing teacher told us you should do that. Maybe I got it from her. She said singers when they grow old have a tendency to go flat. So if you sing sharp as a young person, as you get older and go flat, you'll be in tune. In other words, it's never thought good to be flat. It means you can't get to the tone.”

Charles Mingus (1922–1979) American jazz double bassist, composer and bandleader

Listening to a long solo on Mingus at Montery, as quoted in Mingus/Mingus : Two Memoirs (1989) by Janet Coleman and Al Young, p. 10

Teachers, Singing, Time, Personality

“Photography itself may err by inaccurately rendering the relative tones in Nature. Then we shall have to ask, What is " Tone "?…”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, How expression may be given to a picture, p. 34

Nature

“Sing again, with your dear voice revealing
A tone
Of some world far from ours,
Where music and moonlight and feeling
Are one.”

Percy Bysshe Shelley (1792–1822) English Romantic poet

To Jane. The keen Stars were twinkling; reported in Bartlett's Familiar Quotations, 10th ed. (1919)

World, Music, Feeling, Singing

“I am searching for a tone, which we call 'colored grey'. I mean that all colors, even the strongest, can be brought together in such a way as to give the impression of a warm, vital grey. (translation from the Dutch original: Fons Heijnsbroek)”

Gerard Bilders (1838–1865) painter from the Netherlands

version in original Dutch / citaat van Bilders' brief, in het Nederlands: Ik zoek naar een toon, die wij gekleurd-grijs noemen; dat is alle kleuren, hoé sterk ook, zoodanig tot één geheel gebragt, dat ze de indruk geven van een geurig, warm grijs.
Quote from Gerard Bilders' letter (July 1860) to his maecenas , as cited by Victorine Hefting, in Jongkinds's Universe; Henri Scrépel, Paris, 1976, p. 18-19
1860's

Color, Way, Search

“But what an eye Monet has, the most prodigious eye since painting began! I raise my hat to him. As for Courbet, he already had the image in his eye, ready-made. Monet used to visit him, you know, in his early days... But a touch of green, believe me, is enough to give us a landscape, just as a flesh tone will translate a face for us..”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 164, in: 'What he told me – I. The motif'

Painting

“Come to the bridal chamber, Death!
Come to the mother’s, when she feels
For the first time her first-born’s breath!
Come when the blessed seals
That close the pestilence are broke,
And crowded cities wail its stroke!
Come in consumption’s ghastly form,
The earthquake shock, the ocean storm!
Come when the heart beats high and warm,
With banquet song, and dance, and wine!
And thou art terrible!—the tear,
The groan, the knell, the pall, the bier,
And all we know or dream or fear
Of agony are thine.

But to the hero, when his sword
Has won the battle for the free,
Thy voice sounds like a prophet’s word;
And in its hollow tones are heard
The thanks of millions yet to be.”

Fitz-Greene Halleck (1790–1867) American writer

Marco Bozzaris.

Death, Fear, Dreams, Art

“I think I can pinpoint the one moment when the American style of dressing first appeared. It was in an appalling 1933 movie called Dancing Lady during an otherwise forgettable dance number. It also just happened to be Fred Astaire's first on-camera dance. But don't look at the steps. Look at the outfit: Astaire is wearing a single-breasted, soft flannel suit with two-tone spectator shoes and a turtleneck. You wish you could look that stylish! Later that year, in Flying Down to Rio, we get the full Astaire impact. The muted plaid suit is not all that striking, but Fred is wearing it with a soft button-down shirt, a pale woven tie, silk pocket square, bright horizontally striped hose and white bucks. Whoa! Now that's different. This melange of the classic and the sporty was an American innovation. As we approach the impeccable Astaire's 100th birthday on May 10, it's worth remembering that he remains the greatest exemplar of that style.”

Fred Astaire (1899–1987) American dancer, singer, actor, choreographer and television presenter

G. Bruce Boyer in "Shall We Dress?" Forbes, May 3rd, 1999.

Shoe, Birthday, Thinking, Appearance

“…strictly speaking, tone is the relative lightness and darkness due to the effect of light governed by atmosphere, and has nothing to do with the relative lightness and darkness or relative value with which various colours appear when compared with each other.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, Tone and atmoshphere, p. 47

Light, Appearance

“Things have been invented because of alcohol. Like the taser, okay? Yeah! The morning after pill, okay? The reach-around. Judge Judy. What has pot given the world? Hackey sack? YEAH! Hilarious ring tones? OH GAH! Ultimate Frisbee Championships? It sucks to be a champion at a sport that can't get you laid. It's an unneeded skill like, I dunno, being the best banjo player. Or a squirter.”

Dave Attell (1965) comedian

"Captain Miserable"

Alcohol, World, Sport

““I will not beg your forgiveness,” she said. Only her voice betrayed her fear; it was not its usual strong, clear tone. “I did what I felt was right.”
“Of course you did,” I said. “It was the wise thing to do.””

N. K. Jemisin book The Hundred Thousand Kingdoms

Source: The Hundred Thousand Kingdoms (2010), Chapter 29 (p. 394)

Fear, Forgiveness, Strong

“I wish we had the technology to fight God on an equal basis,” he said in low, tight tones. “To beard him in his den. To fight back for all of the injustices heaped on humanity. To allow him to alter his smug arrogance or be blown to hell.”

Dan Simmons book The Fall of Hyperion

Source: The Fall of Hyperion (1990), Chapter 29 (pp. 226-227)

God, Hell, Fight

“The country [ Brittany ] is very beautiful and painterly one see stimulating color tones; but the more abstract one works, the more one transforms the sketch into combinations.”

Jacoba van Heemskerck (1876–1923) Dutch painter

(translation from German, Fons Heijnsbroek, 2018, original version, written by Jacoba in German:) Das land [Bretagne]] is sehr schön und farbig gibt es reizige Töne; je mehr abstract man aber arbeitet, je mehr man die Skizze zu Combinationen umarbeitet.
note on a postcard to Herwarth Walden [initiator of Der 'Sturm' in Germany], 14 May 1914; as cited by Arend H. Huussen Jr. in Jacoba van Heemskerck, kunstenares van het Expressionisme, Haags Gemeentemuseum The Hague, 1982, p. 18
1910's

Beauty, Color, Country

“USA Today doesn't like my "tone," humor, sarcasm, etc. etc., which raises the intriguing question of why they hired me to write for them in the first place. Perhaps they thought they were getting Catherine Coulter.”

Ann Coulter (1961) author, political commentator

As quoted in "Banned In Boston: Too Hot for USA Today" in Human Events (26 July 2004) http://www.humanevents.com/article.php?id=4646. 2004

Question

“Your predator is close behind you and will infallibly be your death.”
“I don’t doubt it,” Carmody said, in a moment of strange calm.” But in terms of long-range planning, I never did expect to get out of this Universe alive.”
“That is meaningless,” the Prize said. “The fact is, you have lost everything.”
“I don’t agree,” Carmody said. “Permit me to point out that I am presently still alive.”
“Agreed. But only for the moment.”
“I have always been alive only for the moment,” Carmody said. “I could never count on more. It was my error to expect more. That holds true, I believe, for all of my possible and potential circumstances.”
“Then what do you hope to achieve with your moment?”
“Nothing,” Carmody said. “Everything.”
“I don’t understand you any longer,” the Prize said. “Something about you has changed, Carmody. What is it?”
“A minor thing,” Carmody told him. “I have simply given up a longevity which I never possessed anyhow. I have turned away from the con game which the Gods run in their heavenly sideshow. I no longer care under which shell the pea of immortality might be found. I don’t need it. I have my moment, which is quite enough.”
“Saint Carmody,” the Prize said, in tones of deepest sarcasm. “No more than a shadow’s breadth separates you and death! What will you do now with your pitiable moment?”

Robert Sheckley book Dimension of Miracles

“I shall continue to live it,” Carmody said. “That is what moments are for.”
Source: Dimension of Miracles (1968), Chapter 28 (pp. 189-190; closing words)

Death, God, Hope, Error

“I wanted to go away, in the midst of something entirely different,
I had been there, in the house of torture,
I have seen people being kicked, men’s bodies scorched,
nails pulled out with pliers.
Armed with flame and cudgels, grinning men in shirt sleeves.
Where I could hear my friends being thrown headlong
down the stairs.
Night was as day, and long shrieks wounded me.
In vain I tried to think of wooded lanes and flowers,
a serene life and human words.
The thought seized up, it was as if a wound were opened up
again and again and endlessly searched.
From the mouth struck, teeth and blood came out,
and lamenting moans from the deep throat.
Away, away from that house, from that street and town,
from anything similar to it.
I must save myself, keep up my mind,
that I should not be led to madness by these memories.
Oh, if we could go back to a void, from which a new order,
a maternal opening could come forth,
if I hear a certain tone of voice even in jest, I shudder.
My unhappiness is that I avoid the sight of suffering,
hospitals and prisons.
I have yearned for high solitudes, lands of still sunshine
and sweet shadows,
but I would always be pursued by the ghosts of human beings.
All of a sudden I feel the need of distraction and play,
to lose myself in the noise of the fairground.
I remain with you, but forgive me
if you see me sometimes act like a madman.
I try to heal myself by myself, as an animal,
trusting that the wounds will close.
I stop to listen to the simple conversations of the women
in the marketplace, with their dialectical lilt.
I rejoice at the footsteps of running children,
their overpowering calls.
Because you do not know the absurdity of my dreams,
the fixed expressions, the incomprehensible gestures.
There is turmoil inside me, which seems to ridicule me.
And I cannot cry out, not to be like them.
Tomorrow I will go towards some music, now I am getting ready.”

Aldo Capitini (1899–1968) Italian philosopher and political activist

Life, Women, Men, Children

“It seemed strange to me that someone who painted big, scary abstractions should have been so commonsensical in her literary tastes, though later I would discover that twelve-tone composers read Keats just as experimental poets listened to Glenn Miller — few people are avant-garde outside their own domain.I suppose that as Midwesterners, the children of chemical engineers and homemakers, we experienced the arts as so foreign, even so preposterously unreasonable, that once we’d decided to embrace them we did so with lots of conviction and little discrimination. Surely it was no accident that T. S. Eliot and Ezra Pound, the two great poetic synthesists of our day, the very men who had ransacked all of world culture and could refer in the same poem to the Buddha and to Sophocles or to Confucius and to Jefferson — it was no accident that they were both from the heartland. Public-library intellectuals, magpies of knowledge, like most autodidacts we were incapable of evaluating our sources. As a teen-ager, I tried to write verse like Milton’s; later, I wanted to write novels like Nabokov’s. In a novel I wrote in college, I imitated Evelyn Waugh. If someone had said to me, "But do you, the graceless son of a Cincinnati broker of chemical equipment, do you seriously imagine that you can just write a Renaissance Christian epic or something in the style of a Cambridge-educated Russian aristocrat or of the spokesman of the Bright Young Things of London circa 1925?"”

Edmund White (1940) American novelist and LGBT essayist

if someone had spoken like this to me, I wouldn’t even have understood his point. My Women.The New Yorker https://archive.is/20121204150452/www.newyorker.com/fact/content/articles/050613fa_fact 6 June 2005 Articles and Interviews

Men, Children, People, World

“Do you know how long a year takes when it's going away?" Dunbar repeated to Clevinger. "This long." He snapped his fingers. "A second ago you were stepping into college with your lungs full of fresh air. Today you're an old man."
"Old?" asked Clevinger with surprise. "What are you talking about?"
"Old."
"I'm not old."
"You're inches away from death every time you go on a mission. How much older can you be at your age? A half minute before that you were stepping into high school, and an unhooked brassiere was as close as you ever hoped to get to Paradise. Only a fifth of a second before that you were a small kid with a ten-week summer vacation that lasted a hundred thousand years and still ended too soon. Zip! They go rocketing by so fast. How the hell else are you ever going to slow down?" Dunbar was almost angry when he finished.
"Well, maybe it is true," Clevinger conceded unwillingly in a subdued tone. "Maybe a long life does have to be filled with many unpleasant conditions if it's to seem long. But in that event, who wants one?”

Joseph Heller book Catch-22

"I do," Dunbar told him.
"Why?" Clevinger asked.
"What else is there?"
Catch-22 (1961)

Life, Death, Age, School

“You can lock the door upon them, but they burst open their shaky lattices and call out over the house-tops so that men cannot but hear. You hounded wild Rousseau into the meanest garret of the Rue St. Jacques and jeered at his angry shrieks. But the thin, piping tones swelled a hundred years later into the sullen roar of the French Revolution, and civilization to this day is quivering to the reverberations of his voice.”

Jerome K. Jerome book Idle Thoughts of an Idle Fellow

Idle Thoughts of an Idle Fellow (1886)

Men, Housing

“Omnisexuality is the term that I use in Hysteria. There seems to be a strain of pure sexuality that can embody itself in any possible way, female, male, something else. This is the first time I’ve ever articulated this, but I think I’m most interested in that essence of sexuality that seems to be able to take many forms but has still a specific feel and tone to it that we all recognize. You can’t really define it as male or female. I’m very fascinated with the way in which maleness and femaleness is specifically physical. but not necessarily purely sexual. There is a difference amongst all those things. This takes you right back to the mind/body schism that I go crazy with all the time.”

David Cronenberg (1943) Canadian film director, screenwriter and actor

Way, Feeling, Thinking, Time

“The hymns were unfamiliar to him, but he quickly picked up the general beat. The hymns had a redundant simplicity; the same phrases and tones appeared and reappeared. The same monotonous ideas, repeated indefinitely. The appetite of (Tetragrammaton) was insatiable, he concluded. A childish, nebulous personality that required constant praise—and in the most obvious terms. Quick to anger, (Tetragrammaton) was equally quick to sink into euphoria, was eager and ready to lap up these blatant flatteries.
A balance. A method of lulling the Deity. But what a delicate mechanism. Danger for everyone…The easily-aroused Presence that was always nearby. Always listening.”

Philip K. Dick book Eye in the Sky

Source: Eye in the Sky (1957), Chapter 7 (pp. 97-98)

Idea, Appearance, Personality, Anger

“When played at the right sound level, which is quite high and exciting, the tones in this music will cause your ears to act as neurophonic instruments that emit sounds that will seem to be issuing directly from your head.”

Maryanne Amacher (1938–2009) Composer and installation artist

Amacher, 1999, cited in: Franziska Schroeder (2006). Bodily instruments and instrumental bodies. Vol. 25. p. 74:
Description of how "ears act as instruments and emit sounds as well as receive them (Amacher, 1999)... [and] the way these 'otoacoustic emissions' might function."

Music

“The moon appeared for some time [in the Savoy, Switzerland] and the rocks seemed to be much bigger than they were. The mountains were silvery illuminated and appeared gently against the mysterious blue of the sky - that blue color with moonlight, that has such an indefinable, deep tone; actually it is not a blue.”

Gerard Bilders (1838–1865) painter from the Netherlands

Source: 1850's, Vrolijk Versterven' (from Bilders' diary & letters), p. 19 - quote of Bilder's letter to his maecenas Johannes Kneppelhout, from Savoy, near Geneva, Switzerland, September 1858

Color, Mountain, Appearance, Time

“He who would form a correct judgment of their tone, must hear first one bell and then the other.”

Filippo Baldinucci (1625–1697) Italian art historian

A chi vuol dar buon giudizio del suono, bisogna il sentire l’una campana, e l’altra.
La Veglia. (Ed. Milan, 1812. Opere, Vol. XIV., p. 213).
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 241.

“I have to say that I haven't met an aggressive beggar in London. In New York, crossing 58th Street from the Plaza Oyster Bar to the Wyndham Hotel, I came up against a huge black man in a long, dark overcoat who said, in deep and threatening tones, "Give me fifty dollars!" I managed to ask him if he would be content with thirty-five and, rather to my surprise, he said, "All right, give me thirty-five dollars!"”

John Mortimer (1923–2009) English barrister, dramatist, screenwriter and author

And so the deal was done.
Source: Where There's a Will: Thoughts on the Good Life (2003), Ch. 24 : Giving Money to Beggars

“The word “loser” is spoken with such contempt these days, a man might like to forget the losses in his own life that taught him something about good judgment. The money he invested in that casino in Atlantic City that went bust, the university course he enrolled in that promised to teach him the secrets of success but instead he wound up unemployed and 40 grand in debt, the candidate whose hat he wore who turned out to be tone-deaf and deluded — dumb, dumb, dumb, and yet his loved ones did not chortle and point and do the nyaa-nyaa. They put an arm around him and said, “This is how we learn.””

Garrison Keillor (1942) American radio host and writer

And it is. "Garrison Keillor: God help us. We’re in trouble down here." in The Washington Post (26 July 2016) https://www.washingtonpost.com/opinions/god-help-us-were-in-trouble-down-here/2016/07/26/989cde08-535d-11e6-b7de-dfe509430c39_story.html

Love, Life, Money, Secret

“The poet's need to try to find his own voice, a recognizable individual voice that carries the signature of his voice in almost every line... the unique tone being the consequence of the poet's rigorous search for truth ( his truth(, his absolute fidelity to the nature of the experience he was exploring.”

Vernon Scannell (1922–2007) British boxer and poet

A Proper Gentleman, 1977

Truth, Search, Nature

“Collections of all twelve pitch classes can be differentiated from one another only by assigning an order to the pitch classes or by partitioning them into mutually exclusive sub-collections. The ordering principle is the basis of the twelve-tone system formulated by Schoenberg, the partitioning principle the basis of the system formulated around the same time by Hauer. In Schoenberg's compositional practice, however, the concept of a segmental pitch-class content is represented as well, as a basis for the association of paired inversionally related set forms. On the relation between Schoenberg and Hauer see Bryan R. Simms, "Who First Composed Twelve-Tone Music, Schoenberg or Hauer?" Journal of the Arnold Schoenberg Institute X/2”

George Perle (1915–2009) American composer

November 1987
Page 101, note 2
The Listening Composer

Music, Time

““William will marry eventually,” he said in a quieter tone. He’ll try to have children—he doesn’t believe any of this.”
“Not even in God,” said Maria sadly, shaking her head, “who is our only hope.”
“And an unhelpfully remote and theoretical hope, at that,” Gabriel snapped.”

Tim Powers (1952) American writer

Part 1, Chapter 4 (p. 80)
Hide Me Among the Graves (2012)

God, Children, Hope

“I know of only two painters in the world,' said a newly introduced feminine enthusiast to Whistler, 'yourself and Velasquez.' 'Why,' answered Whistler in dulcet tones, 'why drag in Velasquez?”

James McNeill Whistler (1834–1903) American-born, British-based artist

D.C. Seitz, Whistler Stories (1913)
posthumous published

World

““Umm,” said Ooo, dubiously.
“Do I detect a questioning tone in your voice?” inquired the bird tartly. “Which might imply that you find a flaw in my reasoning?””

Lin Carter book The Wizard of Zao

Source: The Wizard of Zao (1978), Chapter 5 (p. 65)

Question, Bird

““I know it stinks. The whole universe stinks, sometimes. Haven’t you discovered that yet?”
“It doesn’t have to stink!” Rawlins said sharply, his voice rising. “Is that the lesson you’ve learned in all those years? The universe doesn’t stink. Man stinks! And he does it by voluntary choice because he’d rather stink than smell sweet! We don’t have to lie. We don’t have to cheat. We could opt for honor and decency and—” Rawlins stopped abruptly. In a different tone he said, “I sound young as hell to you, don’t I, Charles?”
“You’re entitled to make mistakes,” Boardman said. “That’s what being young is for.”
“You genuinely believe and know that there’s a cosmic malevolence in the workings of the universe?”
Boardman touched the tips of his thick, short fingers together. “I wouldn’t put it that way. There’s no personal power of darkness running things, any more than there’s a personal power of good. The universe is a big impersonal machine. As it functions it tends to put stress on some of its minor parts, and those parts wear out, and the universe doesn’t give a damn about that, because it can generate replacements. There’s nothing immoral about wearing out parts, but you have to admit that from the point of view of the part under stress it’s a stinking deal.””

Robert Silverberg book The Man in the Maze

Source: The Man in the Maze (1969), Chapter 4, section 3 (p. 72)

Lie, Way, Hell, Learning

“Other times I am pestered by a recurrent visual image and this image will resonate with some tone-rhythm pattern, only after that does language start to come.”

Jan Zwicky (1955) Canadian philosopher

'Perfect Fluency' interview with Scott Rosenberg, University of Wyoming Campus, Oct. 2010.
Other

Time

“Or he may study the hidden mind of the animal. A mixture of feelings and of thoughts, of dumb intelligences and of rudimentary affections, he reads the whole humble moral life of the beast in its eyes and in its movements.
He is even the confidant of nature. The trees, the plants talk to him like friends. The old gnarled oaks speak to him of their kindliness for the human race whom they protect beneath their sheltering branches. The flowers commune with him by the gracious swaying of their stalks, by the singing tones of their petals — each blossom amidst the grass is a friendly word addressed to him by nature.”

Auguste Rodin (1840–1917) French sculptor

Source: Art, 1912, Ch. II. To the artist, all in nature is beautiful, p. 48

Life, Feeling, Confidence, Intelligence

“The achievement of such a change of register through a sequential progression is a familiar procedure in the music of the "common practice." The significant distinction is that where Berg subdivides the registral span into equal, i. e., cyclic, intervals, his tonal predecessors subdivide it, in changing register through sequential transference, into the unequal intervals of the diatonic scale. As I pointed out in my last lecture, however, the qualitative transformation in the language of music which we have experienced in our century has a long prehistory. Beginning with Schubert, we occasionally find normal diatonic functions questioned in changes of key that progress along the intervals of the whole-tone scale, or the diminished-7th chord, or the augmented triad. An even more radical example of a cyclic progression in a tonal composition is…from Wagner”

George Perle (1915–2009) American composer

Die Walkure, Act III
Page 96
The Listening Composer

Music, Question, Change

“It’s important to understand how we got where we are today. In 1966, the unthinkable happened: a madman climbed the University of Texas clock tower and opened fire, killing more than a dozen people. It was the first mass shooting in the age of television, and it left a real impression on the country. It was the kind of terror we didn’t expect to ever see again. But around 30 years ago, we started to see an uptick in these types of shootings, and over the last decade they’ve become the new norm.
In July 2012, a gunman walked into a darkened theater in Aurora and shot 12 people to death, injuring 70 more. One of his weapons was an assault rifle. The sudden and utterly random violence was a terrifying sign of what was to come.
In December 2012, a young man entered an elementary school in Newtown and murdered six educators and 20 young children. One of his weapons was an assault rifle. Watching the aftermath of these young babies being gunned down was heartrending.
In June 2016, a gunman entered a nightclub in Orlando and sprayed revelers with gunfire. The shooter fired hundreds of rounds, many in close proximity, and killed 49. Many of the victims were shot in the head at close range. One of his weapons was an assault rifle.
Last month, a gunman opened fire on concertgoers in Las Vegas, turning an evening of music into a killing field. All told, the shooter used multiple assault rifles fitted with bump-fire stocks to kill 58 people. The concert venue looked like a warzone.
Over the weekend in Sutherland Springs, 26 were killed by a gunman with an assault rifle. The dead ranged from 17 months old to 77 years. No one is spared with these weapons of war. When so many rounds are fired so quickly, no one is spared. Another community devastated and dozens of families left to pick up the pieces.
These are just a few of the many communities we talk about in hushed tones—San Bernardino, Littleton, Aurora, towns and cities across the country that have been permanently scarred.”

Dianne Feinstein (1933) American politician

[Senators Introduce Assault Weapons Ban, November 8, 2017, w:Diane Feinstein, Diane, Feinstein, https://www.feinstein.senate.gov/public/index.cfm/2017/11/senators-introduce-assault-weapons-ban]
On the introduction of the Assault Weapons Ban of 2017

Death, War, Children, People