Quotes about tone
page 5

“Lithuanian baritone Vytautas Juozapaitis, last year's devilish, dark-toned Don Giovanni, Teatro Lirico has a powerful singer with an impressive stage presence. Sparks flew because Vasileva and Juozapaitis created such emotional tension: she more nuanced than the usual submissive heroine, he more sympathetic than the stock villain.”

Vytautas Juozapaitis (1963) Lithuanian opera singer

Lloyd Schwartz, "Agonies and Ecstasies". The Boston Phoenix (April 9, 2004) http://www.bostonphoenix.com/boston/music/other_stories/multi_1/documents/03734446.asp

“In the discussion we had last year at Siegen, in this regard, emphasis was put on the sort of emptiness that has to be obtained from mind and body by a Japanese warrior-artist when doing calligraphy, by an actor when acting: the kind of suspension of ordinary intentions of mind associated with habitus, or arrangements of the body. It’s at this cost, said Glenn and Andreas, … that a brush encounters the “right” shapes, that a voice and a theatrical gesture are endowed with the “right” tone and look. The soliciting of emptiness, this evacuation—very much the opposite of overweening, selective identificatory activity—doesn’t take place without some suffering. … The body and mind have to be free of burdens for grace to touch us.”

Jean-François Lyotard (1924–1998) French philosopher

Source: Thought Without a Body? (1994), p. 296

Suffering

“To win, beloved Caroline from thee,
One thought, in years when we shall sever'd be--
--Sever'd, perchance, by those deep waves, which pour
Their billowy murmurs round our native shore,--
For this, I wander'd round the Bow'rs of Song,
A weary, and rejected suppliant long,
And of the Muses crav'd in humblest tone
From their rich wreaths, one simple bud alone:
They did but fling their wildest weeds at me,
And thus I twin'd them into verse for thee!”

Eliza Acton (1799–1859) Poet, cook

To Caroline (1826)

“I have found a paper of mine among some others in which I call architecture 'petrified music.' Really there is something in this; the tone of mind produced by architecture approaches the effect of music.”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Conversations with Eckermann (23 March 1829) - Often quoted as "Architecture is frozen music."

Music

“I knew a painter, a disciple of Gustave Moreau; he was truly a very fine artist, he knew his work quite well, and then … he was starving, he did not know how to make both ends meet and he used to lament. Then one day, a well-wishing friend sent a picture-dealer to his studio. The latter inspected all his works, without discovering anything of interest: the works of the painter were simply not fashionable and therefore without commercial value. But at last the dealer found a canvas with some palette-scrapings in a dusty corner and was suddenly full of enthusiasm: "Here you are! my friend, you are a genius, this is a miracle, it is this you should show! Look at this richness of tones, this variety of forms, and what an imagination.”

The Mother (1878–1973) spiritual collaborator of Sri Aurobindo

As quoted in Paris (1897-1904) http://www.searchforlight.org/TheMother_lifeSketchpart2.htm and also in Mother India: Monthly Review of Culture, Volume 60 by Sri Aurobindo Ashram ( 2007) http://books.google.co.in/books?id=01tMAQAAIAAJ, p. 131.

Imagination, Fashion

“Others … are in the habit of teaching that religion and philosophy are really the same thing. Such a statement, however, appears to be true only in the sense in which Francis I is supposed to have said in a very conciliatory tone with reference to Charles V: ‘what my brother Charles wants is also what I want’, namely Milan. Others again do not stand on such ceremony, but talk bluntly of a Christian philosophy, which is much the same as if we were to speak of a Christian arithmetic, and this would be stretching a point. Moreover, epithets taken from such dogmas are obviously unbecoming of philosophy, for it is devoted to the attempt of the faculty of reason to solve by its own means and independently of all authority the problem of existence.”

Arthur Schopenhauer book Parerga and Paralipomena

Andere wieder, von diesen Wahrheitsforschern, schmelzen Philosophie und Religion zu einem Kentauren zusammen, den sie Religionsphilosophie nennen; Pflegen auch zu lehren, Religion und Philosophie seien eigentlich das Selbe;—welcher Sah jedoch nur in dem Sinne wahr zu seyn scheint, in welchem Franz I., in Beziehung auf Karl V., sehr versöhnlich gesagt haben soll: „was mein Bruder Karl will, das will ich auch,”—nämlich Mailand, Wieder andere machen nicht so viele Umstände, sondern reden geradezu von einer Christlichen Philosophie;—welches ungefähr so herauskommt, wie wenn man von einer Christlichen Arithmetik reden wollte, die fünf gerade seyn ließe. Dergleichen von Glaubenslehren entnommene Epitheta sind zudem der Philosophie offenbar unanständig, da sie sich für den Versuch der Vernunft giebt, aus eigenen Mitteln und unabhängig von aller Auktorität das Problem des Daseyns zu lösen.
Sämtliche Werke, Bd. 5, p. 155, E. Payne, trans. (1974) Vol. 1, pp. 142-143
Parerga and Paralipomena (1851), On Philosophy in the Universities

Religion, Problem, Sense, Appearance

“Far from being pro-Unionist, I do not want Ireland to be part of the United Kingdom. But, as a Wolfe Tone republican, I feel I have a firm duty to defend the rights of Protestants and Dissenters to do their own thing until such time as we can persuade them their future is in a federal Ireland.”

Eoghan Harris (1943) Irish journalist

Bloody Sunday, every bloody Sunday, Eoghan Harris, Irish Independent http://www.independent.ie/unsorted/features/bloody-sunday-every-bloody-sunday-469764.html,

Feeling, Wolf, Time, Future

“This is what happens, unquestionably – I am positive: an optical sensation is produced in our visual organ, which leads us classify as light, half-tone or quarter-tone, the planes represented by sensations of color. [Thus the light does not exist for the painter]. As long as, inevitably, one proceeds from black to white, the former of these abstractions being a kind of point of rest both for eye and brain, we flounder about, we cannot achieve self-mastery, get possession of ourselves. During this period (I tend to repeat myself, inevitably) we turn to the admirable works [of the five great Venetian painters a. o. Titian and Tintoretto] handed down to us through the ages, in which we find comfort and support…”

Paul Cézanne (1839–1906) French painter

Quote from Cézanne's letter to Émile Bernard, 23 December 1904; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 184
Quotes of Paul Cezanne, after 1900

Age, Color, Support, Light

“There are great numbers of people to whom the act of reading a book — any sort of book — is wondrous; they speak of the reader in the tone of warm approbation which they use otherwise when referring to pregnant women, or the newly dead.”

Robertson Davies book A Voice from the Attic

A Voice from the Attic (1960)

Women, People, Books, Reading

“The very beginning of the soul’s purgation is tranquility, in which the tongue is not given to discussing the affairs of men, nor the eyes to contemplating rosy cheeks or comely bodies, nor the ears to lowering the tone of the soul by listening to songs whose sole object is to amuse, or to words spoken by wits and buffoons—a practice which above all things tends to relax the tone of the soul.”

Basil of Caesarea (329–379) Christian Saint

vol. 1, p. 13
Letters

Men, Soul

“The physicians in Celle were fifteen years behind in their practice; they had heard of a new style of practice, but regarded it as a mere chimera. When I ventured to say a word or two, they did not understand me: when I appealed to some great authority, they were ignorant of it: when I spoke from my own practical experience, they looked at me, from head to foot, and said sneeringly, "Well, well; experience will come in time." But when by chance I ventured to make some proposal, they turned round, and wondered where they should find room enough in the churchyards to bury my patients. The great applause with which my Dissertations had been received in all the learned journals, even in England as well as in France, gave me courage, hoping that this circumstance would make some impression on the mind of the public; but it was generally thought I had ill employed my time, and knew little or nothing. Being obliged to frequent society, I was so disgusted with the general tone and the topics of their conversation, that I was almost in despair; at last, some young ladies treated me with more attention.”

Albrecht Thaer (1752–1828) German agronomist and an avid supporter of the humus theory for plant nutrition

My Life and Confessions, for Philippine, 1786

Hope, Courage, Understanding, Learning

“I am concerned for the security of our great Nation; not so much because of any potential threat from without, but because of the insidious forces working from within which, opposed to all of our great traditions, have gravely weakened the structure and tone of our American way of life.”

Douglas MacArthur (1880–1964) U.S. Army general of the army, field marshal of the Army of the Philippines

Austin, Texas (13 June 1951); as published in General MacArthur Speeches and Reports 1908-1964 https://en.wikiquote.org/wiki/Special:BookSources/1563115891, ed. Edward T. Imparato, Turner Publishing Company (2000), p.175 1950s, Speech to the Texas Legislature

Life, Way

““I didn’t say that,” Szilard said, in a tone that implied that perhaps he had.”

John Scalzi book The Ghost Brigades

Source: The Ghost Brigades (2006), Chapter 6 (p. 118)

“Whenever we would prepare the mind by a forcible appeal, an opening quotation is a symphony preluding on the chords those tones we are about to harmonize.”

Isaac D'Israeli (1766–1848) British writer

Quotation.
Curiosities of Literature (1791–1834)

“Painting is the most beautiful of all arts. In it, all sensations are condensed, at its aspect everyone may create romance at the will of his imagination, and at a glance have his soul invaded by the most profound memories, no efforts of memory, everything summed up in one moment. Complete art which sums up all the others and completes them. Like music, it acts on the soul through the intermediary of the senses, the harmonious tones corresponding to the harmonies of sounds, but in painting, a unity is obtained which is not possible in music, where the accords follow one another, and the judgement experiences a continuous fatigue if one wants to reunite the end and the beginning. In the main, the ear is an inferior sense to the eye. The hearing can only grasp a single sound at one time, whereas the sight takes in everything and at the same time simplifies at its will.”

Paul Gauguin (1848–1903) French Post-Impressionist artist

La peinture est le plus beau de tous les arts; en lui se résument toutes les sensations, à son aspect chacun peut, au gré de son imagination, créer le roman, d'un seul coup d'œil avoir l'âme envahie par les plus profonds souvenirs; point d'effort de mémoire, tout résumé en un seul instant. — Art complet qui résume tous les autres et les complète. — Comme la musique, il agit sur l'âme par l'intermédiaire des sens, les tons harmonieux correspondant aux harmonies des sons; mais en peinture on obtient une unité impossible en musique où les accords viennent les uns après les autres, et le jugement éprouve alors une fatigue incessante s'il veut réunir la fin au commencement. En somme, l'oreille est un sens inférieur à celui de l'œil. L'ouïe ne peut servir qu'à un seul son à la fois, tandis que la vue embrasse tout, en même temps qu'à son gré elle simplifie.
Quote of Gauguin from: Notes Synthéthiques (ca. 1884-1885), ed. Henri Mahaut, in Vers et prose (July-September 1910), p. 52; translation from John Rewald, Gauguin (Hyperion Press, 1938), p. 161.
1870s - 1880s

Beauty, Art, Music, Soul

“Friendship between those of the same sex attains an erotic tone, which comes into consciousness, and which also occasionally increases to the point of desire. Here, for older medicine, was where pathology began, for older jurisprudence, where criminality began, without providing any reason for either.”

Hans Blüher (1888–1955) German journalist and writer

Source: The German Wandervogel Movement as Erotic Phenomenon: A Contribution to the Knowledge of Sexual Inversion (1914), p. 35.

Friendship, Sex

““No doubt the fault was mine,” said the Professor, in a tone that implied the opposite.”

F. Anstey (1856–1934) English novelist and journalist

Source: The Brass Bottle (1900), Chapter 3, “An Unexpected Opening”

“Yes! but there's something greater
That speaks to the heart alone:
'T is the voice of the great Creator
Dwells in that mighty tone.”

Joseph Edwards Carpenter (1813–1885) British composer, songwriter and playwright

What are the wild Waves saying? Refrain, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Heart

“Graphic work as the expressive movement of the hand holding the recording pencil.... is so fundamentally different from dealing with tone and color that one can use this technique quite well in the dark, even in the blackest night. On the other hand, tone (movement from light to dark) presupposes some light, and color presupposes a great deal of light.”

Paul Klee (1879–1940) German Swiss painter

Quote (1912), # 928, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Color, Light, Night

“I produce a form, an impression of light, a beauty of tones... The etchings are now full of life, an ecstasy, a dance, a gentle motion and fluctuation in tones.”

Emil Nolde (1867–1956) German artist

1900 - 1920

Life, Beauty, Light, Dance

“We are never such kleptomaniacs as in our juvenilia. We steal from our masters. We steal from our friends, from our enemies even. We try out tones of voice for which we are ill suited. We write as if we belong to some other period. We are suckers for gorgeous words such as nenuphar, asphodel, and pelf. And because we are not yet in command of our vehicle we get out of control. We reveal ourselves inadvertently and we inadvertently commit ourselves to some point of view that really isn't "us" at all.”

James Fenton (1949) poet

"Wilfred Owen's Juvenilia" (p. 26)
The Strength of Poetry: Oxford Lectures (2001)

“My dear Brother, - I am working like one actually possessed, more than ever I am in a dumb fury of work… Perhaps something will happen to me like what Eug. Delacroix spoke of, "I discovered painting when I had no longer teeth or breath." What I dream of in my best moments is not so much of striking color effects as once more the half tones.”

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

Quote in his letter to brother Theo, from Saint-Rémy-de-Provence, Sept. 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, p. 33 (letter 604) 1880s, 1889

Dreams, Color, Painting

“I call to mind a winter landscape in Amsterdam — a flat foreground of waste land, with here and there stacks of timber, like the huts of a camp of some very miserable tribe; the long stretch of the Handelskade; cold, stone-faced quays, with the snow-sprinkled ground and the hard, frozen water of the canal, in which were set ships one behind another with their frosty mooring-ropes hanging slack and their decks idle and deserted, because… their cargoes were frozen-in up-country on barges and schuyts. In the distance, beyond the waste ground, and running parallel with the line of ships, a line of brown, warm-toned houses seemed bowed under snow-laden roofs. From afar at the end of Tsar Peter Straat, issued in the frosty air the tinkle of bells of the horse tramcars, appearing and disappearing in the opening between the buildings, like little toy carriages harnessed with toy horses and played with by people that appeared no bigger than children.”

Joseph Conrad book The Mirror of the Sea

On Amsterdam, Ch. 14
The Mirror of the Sea (1906)

Children, People, Water, Appearance

“Get a stage tone, darling, an energy. Never go on stage without your motor running.”

Stella Adler (1901–1992) American actress and teaching coach

Obituary in New York Times

“To me the prevailing tone of Rembrandt's mind, as shown in his art, is serenity. Where the subject allows him, his natural disposition seems always tranquil. He is the painter of repos”

Charles Robert Leslie (1794–1859) British painter (1794-1859)

A Handbook for Young Painters

Art, Nature

“He said in an injured tone: “Mister, naturally the staff won’t bother your stuff. What kind of a hotel do you think this is?
“Of course, of course,” I said. But I knew he was lying, because I knew what kind of hotel it was. The staff was there only because being there gave them a chance to knock down more money than they could make any other way. What other kind of hotel was there?”

Frederik Pohl (1919–2013) American science fiction writer and editor

The Gold at the Starbow’s End (p. 381)
Platinum Pohl (2005)

Money, Way, Lying, Nature

“Pedants and snobs are fond of declaring that only accomplished French speakers can catch Proust's tone. That might be so, but the tone is only one of the things to be caught.”

Clive James (1939–2019) Australian author, critic, broadcaster, poet, translator and memoirist

'Marcel Proust', p. 579
Essays and reviews, Cultural Amnesia: Notes in the Margin of My Time (2007)

“He comes with western winds, with evening's wandering airs,
With that clear dusk of heaven that brings the thickest stars;
Winds take a pensive tone and stars a tender fire
And visions rise and change which kill me with desire.”

Emily Brontë (1818–1848) English novelist and poet

The Prisoner (October 1845)

Star, Change

“He moved away to the next picture. It was of a man with a fat smiley face and a red ribbon round him and a lot of medals. My great uncle Ambrose Fudge said Bernard carelessly.
He looks a thourough ancester said Ethel kindly.
Well he was said Bernard in a proud tone he was really the Sinister son of Queen Victoria.
Not really cried Ethel in excited tones but what does that mean.
Well I dont quite know said Bernard Clark it puzzles me very much but ancesters do turn quear at times.”

Daisy Ashford book The Young Visiters

Source: The Young Visiters (1919), Chapter 3

Time

“If you pass the light from a sodium flash through a prism, you get a pattern very different from the familiar continuous rainbow that Newton elicited from natural sunlight. Instead of a continuous pattern, in which all gradations of pure color are apparently represented, the sodium flash generates a series of lines of light. …in the musical analogy, sodium produces a chord where sunlight produced all possible tones—"white noise."”

Frank Wilczek (1951) physicist

Other elements produce other chords.
Longing for the Harmonies: Themes and Variations from Modern Physics (1987)

Music, Color, Nature, Light

“I think continually of some way of painting without the dot. I hope to achieve this but I have not been able to solve the problem of dividing the pure tone without harshness... How can one combine the purity and simplicity of the dot with the fullness, suppleness, liberty, spontaneity and freshness of sensation postulated by our impressionist art? This is the question which preoccupies me, for the dot is meager, lacking in body, diaphanous, more monotonous than simple, even in the Seurat's, particularly in the Seurat's [paintings]... I'm constantly pondering this question, I shall go to the Louvre to look at certain painters who are interesting from this point of view. Isn't it senseless that there are no Turners [here]..”

Camille Pissarro (1830–1903) French painter

Quote of Pissarro, Paris, 6 September 1888, in a letter to his son Lucien; from Camille Pissarro - Letters to His Son Lucien ed. John Rewald, with assistance of Lucien Pissarro; from the unpublished French letters; transl. Lionel Abel; Pantheon Books Inc. New York, second edition, 1943, pp. 131-132
1880's

Hope, Art, Way, Question

“There exists in the minds of men a tone of feeling toward women as toward slaves.”

Margaret Fuller book Woman in the Nineteenth Century

Woman in the Nineteenth Century (1845)

Women, Men, Feeling

“We are not the same people that we have been, either in our social characteristics, in our patriotic sentiments, or in the tone of our moral and religious feelings.”

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

Speech at the Oxford Union (February 1850), from H. A. Morrah, The Oxford Union. 1823-1923 (1923), p. 139
1850s

People, Feeling

“Cannery Row in Monterey in California is a poem, a stink, a grating noise, a quality of light, a tone, a habit, a nostalgia, a dream. [Opening sentence. ]”

John Steinbeck book Cannery Row

Cannery Row (1945)

Dreams, Nostalgia, Light

“Here you will find a pleasant and agreeable style, of a natural simplicity. The narrative is pure and the good faith of the author shines from it, exempt from the vanity of talking about oneself, and from partiality or envy when speaking of others. His ideas and exhortations are accompanied more by good zeal and truth than by any fine ability; and all throughout there is an authoritative tone and gravity proper to a man of good background, brought up in great affairs.”

Philippe de Commines (1447–1511) writer and diplomat

Vous y trouverez le langage doux et aggreable, d'une naïfve simplicité, la narration pure, et en laquelle la bonne foy de l'autheur reluit evidemment, exempte de vanité parlant de soy, et d'affection et d'envie parlant d'autruy : ses discours et enhortemens, accompaignez, plus de bon zele et de verité, que d'aucune exquise suffisance, et tout par tout de l'authorité et gravité, representant son homme de bon lieu, et élevé aux grans affaires.
Michel de Montaigne Essais Bk. II, ch. 10: "Des Livres"; translation from Serge Hughes (trans.) The Essential Montaigne (New York: New American Library, 1970) p. 293.
Criticism

Truth, Faith, Idea, Nature

“The great pontiff took the floor to argue the case against me. I don't remember his harangue, because I was too horrified to understand such a discordant voice, and because he made his speech with a musical instrument so loud it deafened me. He had deliberately chosen a trumpet. The violence of its martial tone was supposed to make the people call for my death and to keep them from thinking rationally, as happens in our armies, where the din of trumpets and drums prevents the soldier from thinking about the importance of his life.”

Cyrano de Bergerac (1619–1655) French novelist, dramatist, scientist and duelist

The Other World (1657)

Life, Death, People, Music

“She spoke, they were but a few hurried words —
Of the sweet flowers around, the heat, the night —
Yet were they such as the blest heart records
For many an after-moment's long delight;
They touch'd upon his spirit's inmost chords;
Though broken was the sense, the accents light,
Yet sweeter was to him that tremulous tone
Than all that eloquence were proud to own.”

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

26th August 1826) Metrical Fragments No. II. Tasso’s last interview with the Princess Leonora. (under the pen name Iole
The London Literary Gazette, 1826

Flowers, Sense, Light, Heart

“A filmed play like this doesn't offer the sensual enjoyment that movies can offer, but you don't go to it for that; you go for O'Neill's crude, prosaic virtuosity, which is also pure American poetry, and for the kind of cast that rarely gathers for a stage production. […] Larry, a self-hating alcoholic, is a weak man and a windbag, but Ryan brings so much understanding to Larry's weakness that the play achieves new dimensions. Ryan becomes O'Neill for us; he has O'Neill's famous "tragic handsomeness" and at the end, when Larry is permanently "iced" — that is, stripped of illusion — we can see that this is the author's fantasy of himself […] Fredric March interprets Harry Hope with so much quiet tenderness that when Harry regains his illusions and we see March's muscles tone up, we don't know whether to smile for the character or the actor.”

Pauline Kael (1919–2001) American film critic

"The Iceman Cometh," pp. 353-354
5001 Nights at the Movies (1982)

Hate, Alcohol, Smile, Hope

“The lukewarm baths at 25 to 27° serve to arouse the slumbering sensibility of fibre in the apparent dead (frozen, drowned, suffocated) which benumbed the sensation of the nerves. Though only palliative, still they often prove themselves sufficiently active, especially when given in conjunction with coffee and rubbing with the hands. They may give homœopathic aid in cases where the irritability is very unevenly distributed and accumulated too unevenly in some organs as is the case in certain hysteric spasms and infantile convulsions. In the same way, cold baths 10 to 6° in persons cured medically of chronic diseases and with deficiency of vital heat, act as an homœopathic aid. By instantaneous and later with repeated immersions they act as a palliative restorative of the tone of the exhausted fibre. For this purpose, such baths are to be used for more than momentary duration, rather for minutes and of gradually lowered temperature, they are a palliative, which, since it acts only physically has no connection with the disadvantage of a reverse action to be feared afterwards, as takes place with dynamic medicinal palliatives.”

Samuel Hahnemann (1755–1843) German physician best known for creating a system of alternative medicine called homeopathy

Aphorism 291 of The Organon of the Healing Art http://www.homeopathyhome.com/reference/organon/organon.html.

Fear, Disease, Way, Coffee

“Historical studies of the sciences tend to adopt one of two rather divergent points of view. One of these typically looks at historical developments in a discipline from the inside. It is apt to take for granted many of the presuppositions that are currently popular among members of the discipline and hence tends to view the past in terms of gradual progress toward a better present. The second point of view does not adopt its framework of issues and presuppositions from the field that is the object of study but tends nowadays to rely heavily on questions and concepts derived from studies in the history, philosophy, and sociology of science. A history written from the insider's point of view always conveys a strong sense of being "our" history. That is not the case with the second type of history, whose tone is apt to be less celebratory and more critical.
In the case of the older sciences, histories of the second type have for many years been the province of specialists in the history, philosophy, or sociology of science. This is not, or perhaps not yet, the case for psychology, whose history has to a large extent been left to psychologists to pursue. Accordingly, insiders' histories have continued to have a prominence they have long lost in the older sciences. Nevertheless, much recent work in the history of psychology has broken with this tradition.”

Kurt Danziger (1926) German academic

Source: Constructing the subject: Historical origins of psychological research. 1994, p. vii; Preface.

History, Question, Sense, Study

“I was commissioned [in 1906] to do a ceiling-painting and an altar painting for the Saxon pavilion at the third German Arts and Crafts exhibition... I varied my tulips. But when I went in before the opening I was horrified to see that the fiery red had been toned down with streaks of grey... I gave furious vent to my feelings. Suddenly there was someone at my side, seconding my vituperation. It was Erich Heckel.... joyfully we discovered our total accord in the drive towards liberation, an art which charged forwards, unimpeded by conventions. And that was how I joined Die Brücke.”

Max Pechstein (1881–1955) German artist

Quote of Pechstein in Expressionism, de:Wolf-Dieter Dube; Praeger Publishers, New York, 1973, p. 32-33

Art, Feeling, Painting

“When we are told, in the same tone, that these people will be rewarded in “heaven” for their distress, and that “heaven” is the exact reverse of the earthly order (“the first shall be last”), we distinctly feel how the ressentiment-laden man transfers to God the vengeance he himself cannot wreak on the great. In this way, he can satisfy his revenge at least in imagination, with the aid of an other-worldly mechanism of rewards and punishments.”

Max Scheler (1874–1928) German philosopher

Source: Das Ressentiment im Aufbau der Moralen (1912), L. Coser, trans. (1961), p. 97

God, People, Way, Feeling

“There is a common response from people when they hear that in the absence of evidence to convince me otherwise I don’t have any particular belief in ghosts, psychic powers or an afterlife. It normally runs something along the lines of ‘So you think we just live, die and that’s it? Come on…’ There’s a clear implication there that this earthly life – the wonder of being human – is somehow worthless. That it’s cheap and disappointing enough to warrant that ‘just’ and the accompanying incredulous tone, which are usually reserved for sentences like ‘After all that it was just a little spider? Come on…’ I live, I am sure, in a fairly narrow band of life, and make an embarrassingly pitiful attempt to explore the world I find myself upon. I ache with guilt and conflict when I hear of people living as adventurers, abandoning mainstream lives and living each day with abandon. But I really hope I have a brighter vision for this life and a greater curiosity for its richness than one who can say, and mean, ‘You think we just live, die and that’s it?”

Derren Brown (1971) British illusionist

Books, Confessions of a Conjuror (2010)

Life, People, World, Hope

“Poetry, the noble brotherhood who speak in tones of harmony, grandeur & pathos.”

James Grant Wilson (1832–1914) Union Army general

Preface to Poets & Poetry of Scotland Vol 1 , Blackie & Son , Edinburgh 1876

“The chief aim of color should be to serve expression as well as possible. I put down my colors without a preconceived plan. If at the first step and perhaps without my being conscious of it one tone has particularly pleased me, more often then not when the picture is finished, I will notice that I have respected this tone while I have progressively altered and transformed the others. I discover the quality of colors in a purely instinctive way.”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 412

Color, Way

“She begged me to say something, but I let her squeeze it out herself. " The police came again, but Berga wouldn't tell them anything." The tongue moistened the lips again. The scarlet was starting to wash away and I could see the natural tones of of wet flesh. " The other men came… they were different from the police. Federal men, I think. They took her away. Before she came back… Those men came."
She put something into the last three words that wasn't in the others, some breathless, nameless fear. Her hands were tight balls with the nails biting into the palms. A glassiness had passed over her eyes while she thought about it, then vanished as if afraid it had been seen.”

Mickey Spillane (1918–2006) American writer

Kiss Me Deadly (1952)

Men, Fear, Nature, Thinking

“I enjoy a freedom of tone and experimentation unparalleled, almost unthinkable in more traditional films — producers are becoming more conservative, dramatically.”

François-Eudes Chanfrault (1974–2016) Composer and musician

CinemaFantastique.net interview (October 2, 2008)

Freedom

“I do not wish to force my thoughts upon you, but I feel forced myself. Little as I know of Captain Brown, I would fain do my part to correct the tone and the statements of the newspapers, and of my countrymen generally, respecting his character and actions. It costs us nothing to be just. We can at least express our sympathy with, and admiration of, him and his companions, and that is what I now propose to do.”

Henry David Thoreau book A Plea for Captain John Brown

A Plea for Captain John Brown (1859)

Feeling, Parting

“I feel like there's a lot of beauty in the darkness of Narrow Stairs, but that's not really a place I'm ready to go to for a while. I'm interested in taking a different approach and having the next record be different in tone — I'm just not interested in making another dark, dark album.”

Ben Gibbard (1976) American singer, songwriter and guitarist

Death Cab's Ben Gibbard: "The Next Record Will Be Softer" in SPIN magazine (8 October 2008) http://www.spin.com/articles/death-cabs-ben-gibbard-next-record-will-be-softer

Beauty, Feeling

“For a long time, the movie [Shrek] didn’t know what it wanted to be. One problem was unavoidable: Chris Farley had died, and the story had been geared around him, so when he went, the story kind of went with him. It went through an upheaval while they tried to find the right tone for it. I think they were really close to shelving the project when a few of us came into story to try and find a tone that we could work with. When Kelly Asbury moved on to Spirit: Stallion of the Cimarron I became head of story, along with Randy Cartwright. Along with Andrew Adamson, who stayed on as director, we started pulling little pieces together out of what remained, and part of the way through, Jeffrey [Katzenberg] decided that I should be directing. A few months later, we started production.”

Vicky Jenson (1960) American animator

Quoted by Michael Mallory in " Firsts Among Equals http://www.animationmagazine.net/top-stories/firsts-among-equals/", Animation Magazine (March 6th, 2014). Chris Farley was the original voice of Shrek.

Way, Problem, Thinking, Time

“There is only one possible settlement – war! It has got to come… The difficulty is in the occasion and not the job itself, that is very easily done and I think nothing of the bogies and difficulties of settling South Africa afterwards. You will find a very different tone and temper when the center of unrest is dealt with.
— Milner as recorded by Percy FitzPatrick, cited in Diamonds, Gold, and War: The British, the Boers, and the Making of South Africa, 2008, Martin Meredith, p. 374.”

Alfred Milner, 1st Viscount Milner (1854–1925) British statesman and colonial administrator

War, Thinking

“…he (a photographer) forgets that unless he has learnt when the tones of a picture are right or not, he will not know whether his work is good or bad, nor know what to try and overcome in future.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Practical Pictorial Photography, 1898, The photographic print, p. 36

Future, Forgetting

“The composer (organizer of sound) will be faced not only with the entire field of sound but also with the entire field of time. The 'frame' or fraction of a second, following established film technique, will probably be the basic unit in the measurement of time. No rhythm will be beyond the composer's reach.
NEW METHODS WILL BE DISCOVERED, BEARING A DEFINITE RELATION TO SCHOENBERG'S TWELVE-TONE SYSTEM”

John Cage (1912–1992) American avant-garde composer

1930s
Source: 'The Future of Music: Credo' (1937); in: 'Silence: lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, 4/SILENCE

Time

“There is an impelling proportion of tones that may lead me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of a composition I strive towards it and keep on working. Then a moment comes when all the parts have found their definite relationships, and from then on it would be impossible for me to add a stroke to my picture without having to repaint it entirely.”

Henri Matisse (1869–1954) French artist

1905 - 1910, Notes of a Painter' (1908)

Change, Parting

“The truth [is in his paintings]... When they have a similar structure to and are organized in as truthful a way as nature. When I look out of the window, then truth for me is the way nature shows itself in its various tones, colours and proportions. That's a truth and has its own correctness. This little slice of nature, and in fact any given piece of nature, represents to me an ongoing challenge, and is a model for my paintings.”

Gerhard Richter (1932) German visual artist, born 1932

In an interview with Christiane Vielhaber, 1986; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6 1980's

Truth, Way, Nature, Painting

“I wish I had a pencil-thin mustache,
the "Boston Blackie" kind.
Or a two-toned Ricky Ricardo jacket,
And an autographed picture of Andy Divine.”

Jimmy Buffett (1946) American singer–songwriter and businessman

Pencil Thin Mustache
Song lyrics, Living & Dying in 3/4 Time (1974)

“Opposites are:
for tone, a more luminous/lighter one for a darker one.
for tint, the complementaries, that is, a certain red opposed to its complementary, etc.
Red — Green
Orange — Blue
Yellow — Violet
for line, those making a right angle.”

Georges Seurat (1859–1891) French painter

Quotes, 1881 - 1890, Letter to Maurice Beaubourg', August 1890

“Why do comparisons of words and tone poems (poetry and music) never take into consideration that the word is a mere signifier, but that the sound, aside from being a signifier, is also an object?”

Franz Grillparzer (1791–1872) austrian dramatic and writer

Notebooks and Diaries (1820).

Music

“With years a richer life begins,
The spirit mellows:
Ripe age gives tone to violins,
Wine, and good fellows.”

John Townsend Trowbridge (1827–1916) American author

Three Worlds.

Life, Age, Wine

“Sadiq Khan’s latest outburst that President Trump is ‘not welcome’ in London is well beyond his pay grade and flies in the face of common courtesy. It is also hypocritical: he is willing to host the ambassadors of countries which have a travel ban on Israeli citizens at a reception at City Hall, but hurls insults at President Trump who has highlighted the horrors of Islamism and wants to protect his own citizens from violent jihadis. His so-called drive to be ‘inclusive’ is a sham. He has snubbed the democratically elected President of the United States and the American people who voted for him, and London will be worse off for the continuing deterioration of his tone.”

David Kurten (1971) British politician

‘Not Welcome’: London’s Muslim Mayor Repeats Calls to Cancel Trump Visit http://www.breitbart.com/london/2017/12/26/not-welcome-londons-muslim-mayor-repeats-calls-cancel-trump-visit/ (December 26, 2017)

People, Travel, Country

“There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colors are colors, tones tones.... and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed.”

Emil Nolde (1867–1956) German artist

Nolde's written note in 1942; as quoted in Nolde: Forbidden Pictures [exhibition catalog], Marlsborough Fine Art Ltd., London, 1970, p. 9
1921 - 1956

Happiness, Art, Color, Soul

“[Most people] are neither extraordinarily silly, nor extraordinarily wicked, nor extraordinarily wise; their eyes are neither deep and liquid with sentiment, nor sparkling with suppressed witticisms; they have probably had no hairbreadth escapes or thrilling adventures; their brains are certainly not pregnant with genius, and their passions have not manifested themselves at all after the fashion of a volcano. … Depend upon it, you would gain unspeakably if you would learn with me to see some of the poetry and the pathos, the tragedy and the comedy, lying in the experience of a human soul that looks out through dull grey eyes, and that speaks in a voice of quite ordinary tones.”

George Eliot book Scenes of Clerical Life

"The Sad Fortunes of the Rev. Amos Barton" Ch. 5
Scenes of Clerical Life (1858)

People, Soul, Lying, Fashion

“I am forced to transpose until finally my picture may seem completely changed when, after successive modifications, the red has succeeded the green as the dominant color. I cannot copy nature in a servile way, I must interpret nature and submit it to the spirit of the picture – when I have found the relationship of all the tones the result must be a living harmony of tones, a harmony not unlike that of a musical composition”

Henri Matisse (1869–1954) French artist

Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 411

Music, Color, Way, Nature

“We should observe the place, the occasion, the temper in which we find the person who listens to us, for if there is much art in speaking to the purpose, there is no less in knowing when to be silent. There is an eloquent silence which serves to approve or to condemn, there is a silence of discretion and of respect. In a word, there is a tone, an air, a manner, which renders everything in conversation agreeable or disagreeable, refined or vulgar.”

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

Reflections on Various Subjects (1665–1678), V. On Conversation

Art, Silence, Personality

“Indeed, the secrecy of the program indicates an understanding that the regular military culture and mores would not support these activities and neither would the American public or the world community. Another implicit acknowledgement of violations of accepted standards of behavior is the process of farming out prisoners to countries less averse to torture and giving assignments to private contractors.
President Bush set the tone for our attitude for suspects in his State of the Union address. He noted that more than 3,000 "suspected terrorists" had been arrested in many countries and then he added, "and many others have met a different fate. Let's put it this way: they are no longer a problem to the United States and our allies."”

Al Gore (1948) 45th Vice President of the United States

George Bush promised to change the tone in Washington. And indeed he did.
NYU Speech (2004)

Fate, World, Way, Behavior

“An analogous process I shall call Churchillian Drift…Whereas quotations with an apothegmatic feel are normally ascribed to Shaw, those with a more grandiose or belligerent tone are, as if by osmosis, credited to Churchill. All humorous remarks obviously made by a female originated, of course, with Dorothy Parker. All quotations in translation, on the other hand, should be attributed to Goethe”

Nigel Rees (1944) British writer and broadcaster

with 'I think' obligatory Brewer's Quotations (London: Cassell, 1994), p. x. Adaptation of the original: "The Vagueness Is All" http://www.qunl.com/rees0001.html from Volume 2, Number 2, April 1993 issue of The “Quote... Unquote” Newsletter

Feeling, Thinking

“How deep, how merciless, the love represt,
That robs the silent midnight of its rest;
That sees in gather'd crowds but one alone;
That hears in mingled footsteps only one;
That turns the poet's page, to only find
Some mournful image for itself design'd;
That seeks in music, but the plaining tone
Which secret sorrow whispers is its own!”

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

The Neglected One
The Venetian Bracelet (1829)

Love, Secret, Music

“It appears to me that the subject of music, from Machaut to Boulez, has always been its construction. Melodies of 12-tone rows just don't happen. They must be constructed…. To demonstrate any formal idea in music, whether structure or stricture, is a matter of construction, in which the methodology is the controlling metaphor of the composition…Only by 'unfixing' the elements traditionally used to construct a piece of music could the sounds exist in themselves--not as symbols, or memories which were memories of other music to begin with.”

Morton Feldman (1926–1987) American avant-garde composer

quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812

Music, Idea, Appearance, Memory

“Everything depends, of course, on the shape of the hand, and it must be stressed that there is no type of hand which is more suited to the piano than another. One of the greatest pianists that I ever heard—certainly the most remarkable in his control of the widest possible range and variety of tone color—was Josef Hoffman, who had a hand so small that he could reach no more than an octave; Steinway built him a special piano in which the ivories were slightly narrower so that he could reach a ninth. His friend Sergei Rachmaninov had a very large hand, as did Rudolf Serkin, and Sviatoslav Richter could not only reach a twelfth but could play the last chord of the Schumann Toccata without arpeggiation—an effect which would certainly have astonished the composer. My teacher, Moriz Rosenthal, famous for his technique, had a small hand with stubby fingers; Vladimir Horowitz's fingers were exceptionally long, while Robert Casadesus had fingers so thick that he had trouble fitting them in between the black keys. There is no such thing as an ideal pianist's hand.”

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

Source: Piano Notes: The World of the Pianist (2002), Ch. 1 Body and Mind

Color, Teachers, Dependency

“And then, startling in its crisp transatlantic tones, a voice said:
“Stick ’em up.”
They swerved around. Schwartz, dressed in a peculiarly vivid set of striped pyjamas stood in the doorway. In his hand he held an automatic.
“Stick ’em up, guys. I’m pretty good at shooting.”
He pressed the trigger — and a bullet sang past the big man’s ear and buried itself in the woodwork of the window.
Three pairs of hands were raised rapidly.”

Agatha Christie book The Labours of Hercules

The Labours of Hercules (1967)

Guy, Past

“This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method... He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of Claude Lorrain, Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude.”

Camille Pissarro (1830–1903) French painter

Quote in a letter to his son Lucien, 8 Mai 1903, as quoted in Letters of the great artists – from Blake to Pollock - , Richard Friedenthal, Thames and Hudson, London, 1963, p. 149
Quote of Pissarro - referring to the writer of the book Impressionist Painting, it Genesis and Development, published in 1904
after 1900

Truth, Nature, Thinking, Study

“When the full magnetic rapport of Karezza has been realized, in which the two souls and bodies seem as one, supported and floating on some divine stream in Paradise, all sense of restraint and difficulty gone, and succeeded by a heavenly ease, power, exaltation, pure and perfect bliss, diffused throughout the entire being, it is then that the eyes and faces shine as though transfigured, every tone becomes music, every emotion poetry.”

John William Lloyd (1857–1940) American anarchist, sexologist, utopian theorist and author (1857-1940)

The Karezza Method : Or Magnetation, the Art of Connubial Love (1931) Ch. 17 : Karezza the Beautifier http://www.reuniting.info/karezza_method_lloyd/karezza_the_beautiful

Music, Soul, Support, Sense

“p>The sportive hopes that used to chase their shifting shadows on,
Like children playing in the sun, are gone—for ever gone;
And on a careless, sullen peace, my double-fronted mind,
Like Janus, when his gates are shut, looks forward and behind.Apollo placed his harp, of old, awhile upon a stone,
Which has resounded since, when struck, a breaking harp string's tone;
And thus my heart, though wholly now from early softness free,
If touch'd, will yield the music yet, it first received of thee.

Edward Coote Pinkney A Picture Song

A Picture Song.

Children, Peace, Hope, Music

“"You would now be an enemy, in the third class, of my own organization."
"Only third class?" I asked in the indignant tones which Queen Victoria surely used when she received the Abyssinian Order of Chastity, Second Class.”

Kyril Bonfiglioli (1928–1985) British art dealer

Source: The Mortdecai Trilogy, After You With The Pistol (1979), Ch. 16.

“Jack Layton improved the tone of the debate in Parliament. He firmly believed we could have passionate disagreements without being disrespectful or disgraceful to each other. Let us all honour his memory by conducting the next session of Parliament in this spirit”

Nycole Turmel (1942) Canadian politician

Parliament pays tribute to Jack Layton http://www.cbc.ca/news/politics/story/2011/09/19/pol-parliament-layton-tributes.html September 19,2011.

Memory, Passion

“Nowadays, she thought, it was the little things in life that mattered. If the highlights in her past set the tone, it was the day-by-day events that now defined who she was.”

Nicholas Sparks (1965) American writer and novelist

Julie Barenson, Chapter 1, p. 11
2000s, The Guardian (2003)

Life, Past

“Adorno retains the concept of the system and even makes it, as target and object of critique, the very center of his own anti-systematic thinking. … His most powerful philosophical and aesthetic interventions are all implacable monitory reminders—sometimes in well-nigh Weberian or Foucauldian tones—of our imprisonment within system, the forgetfulness or repression of which binds us all the more strongly to it.”

Fredric Jameson (1934) American academic

Source: Late Marxism: Adorno, or, The Persistence of the Dialectic (1990), p. 27

Thinking, Forgetting

“In Antwerp I did not even know what the Impressionists were, now I have seen them and though not being one of the club, yet I have much admired certain Impressionist pictures – Degas, nude figure – Claude Monet, landscape. And now for what regards what I myself have been doing, I have lacked money for paying models, else I had entirely given myself to figure painting but I have made a series of colour studies in painting simply flowers, red poppies, blue corn flowers and myosotys. White and rose roses, yellow chrysantemums – seeking oppositions of blue with orange, red and green, yellow and violet, seeking THE BROKEN AND NEUTRAL TONES to harmonise brutal extremes. Trying to render intense COLOUR and not a grey harmony.”

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

Quote of Vincent van Gogh in his letter to Horace Mann Livens, from Paris, September or October 1886; from letter 569 - vangoghletters online http://vangoghletters.org/vg/letters/let569/letter.html 1880s, 1886

Money, Flowers, Study, Painting

“Five years ago I spent two and a half months in Berlin, and every day I visited the museum to have at least a brief look at this divine masterpiece [a portrait of the soldier of fortune, Alessandro del Borro, then attributed to Diego Velazquez, and later to an unknown master], and every day my soul sang in response to it stronger and stronger. I was very sick then, and that genius alone reconciled me to my life when there was so much suffering in it. Looking at his creation, at these lines, at these half-tones (remember that shadowed jaw against the background or the column against the dress), at all this charm of the art, at this grand style, I started to want to live again, to see it again and again, to live on by painting and perhaps by painting alone.”

Marianne von Werefkin (1860–1938) expressionist painter

Quote in Werefkin's Letter to Igor Grabar on August 10, 1895; Department of Manuscripts of the State Tretyakov Gallery, Fund 106. Item 3242
1895 - 1905

Life, Art, Soul, Suffering

“Mr. Grey said, that he was prepared to defend the country, not only against an invasion of a foreign enemy, wishing to inculcate their own dangerous principles, which were clearly most subversive of civil society, but he would defend it, at the risk of his life, against the subjects of any government, if it was the best that human wisdom could devise; he did not however think it was candid, or by any means conciliatory, in the right hon. gentleman, on every occasion that presented itself to introduce the words "just and necessary" war. He declared he was much obliged to an hon. gentleman who had done him the honour to remember his words. He had declared, and he would declare again, that he would rather live under the most despotic monarchy, nay, even under that of the king of Prussia, or the empress of Russia, than under the present government of France. He wished the chancellor of the exchequer had descended a little from his high and haughty tone of prerogative, and had informed the House, in plain, simple, intelligible language his real opinion of the legality of the measure which ministers had thought to pursue with respect to voluntary subscriptions. As for himself, he would insist, that to raise money without the authority of parliament, for any public purpose whatsoever, was illegal; and if right hon. gentleman should insist on contrary, it would give a deeper wound the constitution than any that it had received even from that right hon. gentleman.”

Charles Grey, 2nd Earl Grey (1764–1845) Prime Minister of the United Kingdom of Great Britain and Ireland

Speech in the House of Commons (26 March 1794), reported in The Parliamentary History of England, from the Earliest Period to the Year 1803. Vol. XXXI (London: 1818), pp. 94-95.
1790s

Life, Wisdom, Money, War

“Sidney Rigdon went immediately to Kirtland, but Joseph remained at Father Johnson's to finish his preparations for a journey, which he contemplated making to Missouri. Immediately after Sidney's arrival at Kirtland, we met for the purpose of holding a prayer-meeting, and, as Sidney had not been with us for some time, we hoped to hear from him upon this occasion. We waited a long time before he made his appearance; at last he came in, seemingly much agitated. He did not go to the stand, but began to pace back and forth through the house. My husband said, "Brother Sidney, we would like to hear a discourse from you to-day." Brother Rigdon replied, in a tone of excitement, "The keys of the kingdom are rent from the church, and there shall not be a prayer put up in this house this day."”

Lucy Mack Smith (1775–1856) American religious leader

The History of Joseph Smith by His Mother (1853), "Rigdon's Depression"

Hope, Appearance, Time, Waiting

“Tristano was too contrived for me; he sounded terribly planned. Lee is very intuitive. One of my proudest achievements was when I finally got to play the saxophone well enough that I could improvise on it. I aimed to have a tone like Lee Konitz—but I don't necessarily think I got there!”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

As quoted in Konitz: Conversations on the Improviser's Art https://books.google.com/books?id=pc4CsgVHLw0C&pg=PA65&dq=%22Tristano+was+too+contrived+for+me%22&hl=en&sa=X&ved=0CBQQ6AEwAGoVChMIrKPnnf_OxwIVBDU-Ch0dxg5F#v=onepage&q=%22Tristano%20was%20too%20contrived%20for%20me%22&f=falseLee

Thinking

“As we ambled along, the sheer professionalism of our tour guide struck me. Her task was not an easy one. She had to provide a veritable font of Elvis knowledge to all of the intense devotees. At the same time, she also had to acknowledge the absurdist nature of the experience for of the rest of the tour group.
With subtle changes in her facial expressions and slight adjustments in her tone of voice, our guide accomplished her task brilliantly. At no point in time did she diminish Elvis in the eyes of his devout followers. Still, I believe everyone left Graceland that day thoroughly satisfied with their visit.”

Daniel Drezner (1968) American journalist

Preface
Theories of International Politics and Zombies (2011)

Nature, Knowledge, Change, Time

“First of all, I was having fun. I was with a group of good-humored, cheerful, happy people. We were singing old protest songs and old Sunday school songs and clapping. I felt I had to be cheerful to set the tone. We didn't want any trouble or to do anything non-peaceful. Secondly, when I got arrested and the officers lifted me out I was afraid that America would see my underwear and that tickled me.”

Cindy Sheehan (1957) American antiwar activist

"Why I Was Smiling and Hurricane Rita," Huffington Post http://www.huffingtonpost.com/cindy-sheehan/why-i-was-smiling-and-hur_b_7970.html, September 27, 2005 2005

Happiness, People, School, Peace

“He (the painter Manet) hits of the tone.... but his work lacks unity and temperament too.”

Paul Cézanne (1839–1906) French painter

ca. 1863
Quote in: Cézanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 27
Quotes of Paul Cezanne, 1860s - 1870s

“In art a thing is beautiful whenever it has character. Character — this is the intense truth of any natural spectacle, whether beautiful or ugly. You may even call it a double truth. For it is the inner essence expressed by the outer appearance. It is the soul, the sentiment, the idea that shines out through the features of a fare, the pose and action of a human body, the tones of a skym the line of a horizon.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Truth, Beauty, Art, Soul

“Floating around the Internet these days, posted and e-mailed back and forth, are a number of writings attributed to me, and I want people to know they're not mine. Don't blame me.Some are essay-length, some are just short lists of one and two-line jokes, but if they're flyin' around the Internet, they're probably not mine. Occasionally, a couple of jokes on a long list might have come from me, but not often. And because most of this stuff is really lame, it's embarrassing to see my name on it.And that's the problem. I want people to know that I take care with my writing, and try to keep my standards high. But most of this "humor" on the Internet is just plain stupid. I guess hard-core fans who follow my stuff closely would be able to spot the fake stuff, because the tone of voice is so different. But a casual fan has no way of knowing, and it bothers me that some people might believe I'd actually be capable of writing some of this stuff.”

George Carlin (1937–2008) American stand-up comedian

Don't Blame Me https://web.archive.org/web/20120621054133/http://www.georgecarlin.com/home/dontblame.html Internet, Georgecarlin.com (official website)

People, Stupidity, Way, Problem

“We talk about "mere matters of words" in a tone which implies that we regard words as things beneath the notice of a serious-minded person.
This is a most unfortunate attitude.”

Aldous Huxley (1894–1963) English writer

Quoted as the opening passage of "BOOK ONE: The Functions of Language" in Language in Thought and Action (1949) by S. I. Hayakawa, p. 3
Words and Their Meanings (1940)
Context: A great deal of attention has been paid … to the technical languages in which men of science do their specialized thinking … But the colloquial usages of everyday speech, the literary and philosophical dialects in which men do their thinking about the problems of morals, politics, religion and psychology — these have been strangely neglected. We talk about "mere matters of words" in a tone which implies that we regard words as things beneath the notice of a serious-minded person.
This is a most unfortunate attitude. For the fact is that words play an enormous part in our lives and are therefore deserving of the closest study. The old idea that words possess magical powers is false; but its falsity is the distortion of a very important truth. Words do have a magical effect — but not in the way that magicians supposed, and not on the objects they were trying to influence. Words are magical in the way they affect the minds of those who use them. "A mere matter of words," we say contemptuously, forgetting that words have power to mould men's thinking, to canalize their feeling, to direct their willing and acting. Conduct and character are largely determined by the nature of the words we currently use to discuss ourselves and the world around us.

Personality

“But, because the blacks were so close to the very civilization which sought to keep them out, because they could not help but react in some way to its incentives and prizes, and because the very tissue of their consciousness received its tone and timbre from the strivings of that dominant civilization, oppression spawned among them a myriad variety of reactions, reaching from outright blind rebellion to sweet, other-worldly submissiveness.”

Richard Wright (1908–1960) African-American writer

Source: Native Son (1940), p. xii

Way, Help

“I am told that your mother is a religious woman, a widow of many years' standing; and that when you were a child she reared and taught you herself. Afterwards when you had spent some time in the flourishing schools of Gaul she sent you to Rome, sparing no expense and consoling herself for your absence by the thought of the future that lay before you. She hoped to see the exuberance and glitter of your Gallic eloquence toned down by Roman sobriety, for she saw that you required the rein more than the spur. So we are told of the greatest orators of Greece that they seasoned the bombast of Asia with the salt of Athens and pruned their vines when they grew too fast. For they wished to fill the wine-press of eloquence not with the tendrils of mere words but with the rich grape-juice of good sense.”
Audio religiosam habere te matrem, multorum annorum viduam, quae aluit, quae erudivit infantem et post studia Galliarum, quae vel florentissima sunt, misit Romam non parcens sumptibus et absentiam filii spe sustinens futurorum, ut ubertatem Gallici nitoremque sermonis gravitas Romana condiret nec calcaribus in te sed frenis uteretur, quod et in disertissimis viris Graeciae legimus, qui Asianum tumorem Attico siccabat sale et luxuriantes flagellis vineas falcibus reprimebant, ut eloquentiae toreularia non verborum pampinis, sed sensuum quasi uvarum expressionibus redundarent.

Jerome (345–420) Catholic saint and Doctor of the Church

Letter 125 (Ad Rusticum Monachum)
Letters

School, Hope, Sense, Wine

“Ten Practical Experiments
1. Spacing (use gray appearance charcoal)
2. Shape (in varying proportions)
3. Arrangement
4. Rhythm
5. Drawn Line (charcoal and brush)
6. Masses(Chinese and Japanese ink painting)
7. Tone (difference)
8. Color ( suggested by stain glass)
9. Dark and Light(crayon on black paper)
10. Intensities”

Arthur Wesley Dow (1857–1922) painter from the United States

A Course in Fine Arts- Arthur Dow- Bulletin of College of Art of Association of America Vol 1 no 4 September 1918
A Course in Fine Arts

Color, Light, Appearance, Painting

“Guitar.com: he tone of Euphoria Morning is kind of melancholy.”

Chris Cornell (1964–2017) American singer-songwriter, musician

On depression and suicide
Context: Guitar. com: he tone of Euphoria Morning is kind of melancholy.

“I was delighted with its high tone and the flights of oratory with which it abounded, especially that concerning negro slavery, which, though I knew his Southern brethren would never suffer to pass in Congress, I certainly never would oppose”

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

Regarding a draft of the U.S. Declaration of Independence, Letter to Timothy Pickering (6 August 1822) http://oll.libertyfund.org/titles/2100#lf1431-02_head_061 As quoted in The Founding Fathers: John Adams: A Biography in his own Words https://web.archive.org/web/20111029143754/http://home.nas.com/lopresti/ps2.htm (1973), by James Bishop Peabody, Newsweek, New York, p. 201. 1820s Context: A meeting we accordingly had, and conned the paper over. I was delighted with its high tone and the flights of oratory with which it abounded, especially that concerning negro slavery, which, though I knew his Southern brethren would never suffer to pass in Congress, I certainly never would oppose. There were other expressions which I would not have inserted, if I had drawn it up, particularly that which called the King tyrant. I thought this too personal; for I never believed George to be a tyrant in disposition and in nature; I always believed him to be deceived by his courtiers on both sides of the Atlantic, and in his official capacity only, cruel. I thought the expression too passionate, and too much like scolding, for so grave and solemn a document; but as Franklin and Sherman were to inspect it afterwards, I thought it would not become me to strike it out. I consented to report it, and do not now remember that I made or suggested a single alteration. We reported it to the committee of five. It was read, and I do not remember that Franklin or Sherman criticized any thing. We were all in haste. Congress was impatient, and the instrument was reported, as I believe, in Jefferson’s handwriting, as he first drew it. Congress cut off about a quarter of it, as I expected they would; but they obliterated some of the best of it, and left all that was exceptionable, if any thing in it was. I have long wondered that the original draught has not been published. I suppose the reason is, the vehement philippic against negro slavery.

Suffering

“Perhaps you have felt already, from the tone of my letter, that I am more than ever now the bride of science. Religion to me is science, and science is religion. In that deeply-felt truth lies the secret of my intense devotion to the reading of God's natural works. It is reading Him. His will — His intelligence; and this again is learning to obey and to follow (to the best of our power) that will! For he who reads, who interprets the Divinity with a true and simple heart, then obeys and submits in acts and feelings as by an impupulse and instinct. He can't help doing so. At least, it appears so to me.”

Ada Lovelace (1815–1852) English mathematician, considered the first computer programmer

Englische Studien, Volume 19 https://archive.org/stream/englischestudien19leipuoft#page/157/mode/1up (1894), Leipzig; O.R. Reisland, "Byron's Daughter", p. 157-158.

God, Truth, Secret, Religion

“The country habit has me by the heart,
For he's bewitched for ever who has seen,
Not with his eyes but with his vision, Spring
Flow down the woods and stipple leaves with sun,
As each man knows the life that fits him best,
The shape it makes in his soul, the tune, the tone”

Vita Sackville-West (1892–1962) English writer and gardener

"Winter", p. 5
The Land (1926)
Context: The country habit has me by the heart,
For he's bewitched for ever who has seen,
Not with his eyes but with his vision, Spring
Flow down the woods and stipple leaves with sun,
As each man knows the life that fits him best,
The shape it makes in his soul, the tune, the tone,
And after ranging on a tentative flight
Stoops like the merlin to the constant lure.

Life, Soul, Spring, Sun

“I cannot speak
In happy tones”

Elizabeth Barrett Browning (1806–1861) English poet, author

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 514.
Context: I cannot speak
In happy tones; the tear drops on my cheek
Show I am sad;
But I can speak
Of grace to suffer with submission meek,
Until made glad.
I cannot feel
That all is well, when dark'ning clouds conceal
The shining sun;
But then I know
God lives and loves; and say, since it is so,
"Thy will be done."

Happiness

“I believe in tension and release, in that if you stay in the the same tone and mode and intensity for too long, it actually becomes monotonous.”

Patricia Rozema (1958) Canadian film director

In "Audio Commentary with Writer/Director Patricia Rozema" on Mansfield Park DVD (2000)
Context: I believe in tension and release, in that if you stay in the the same tone and mode and intensity for too long, it actually becomes monotonous. When you change up your pace or your humour level, then the release is welcome. … I believe that's my biggest job: tone control, and maintaining enough unity so that it all feels like one movie and all the scenes belong together, and yet diversity so that emotional and narrative interest is maintained.

“How long was this going to last? How long was I going to be beaten for trifles and less than trifles? I was already so conditioned toward my relatives that when I passed them I actually had a nervous tic in my muscles, and now I was going to be beaten by someone who did not like the tone of voice in which I spoke.”

Richard Wright book Black Boy

Black Boy (1945)

“Attention involves seeing and hearing. We hear not only with our ears but also we are sensitive to the tones, the voice, to the implication of words, to hear without interference, to capture instantly the depth of a sound.”

Jiddu Krishnamurti (1895–1986) Indian spiritual philosopher

Vol. II, p. 30
1980s, Letters to the Schools (1981, 1985)
Context: Attention involves seeing and hearing. We hear not only with our ears but also we are sensitive to the tones, the voice, to the implication of words, to hear without interference, to capture instantly the depth of a sound. Sound plays an extraordinary part in our lives: the sound of thunder, a flute playing in the distance, the unheard sound of the universe; the sound of silence, the sound of one’s own heart beating; the sound of a bird and the noise of a man walking on the pavement; the waterfall. The universe is filled with sound. This sound has its own silence; all living things are involved in this sound of silence. To be attentive is to hear this silence and move with it.

“But listen, what harmony holy
Is mingling its notes with our own!
The discord is vanishing slowly,
And melts in that dominant tone.
And they that have heard it can never
Return to confusion again,
Their voices are music for ever,
And join in the mystical strain.”

James Clerk Maxwell (1831–1879) Scottish physicist

Part III Poems, To the Air of "Lörelei." (January, 1858)
The Life of James Clerk Maxwell (1882)

Music

Quotes about tone page 5

Quotes about tone
page 5