Quotes about trace
A collection of quotes on the topic of trace, other, timing, time.
Quotes about trace

Hope, Faith, and Love (c. 1786); also known as "The Words of Strength", as translated in The Common School Journal Vol. IX (1847) edited by Horace Mann, p. 386
Context: There are three lessons I would write, —
Three words — as with a burning pen,
In tracings of eternal light
Upon the hearts of men. Have Hope. Though clouds environ now,
And gladness hides her face in scorn,
Put thou the shadow from thy brow, —
No night but hath its morn. Have Faith. Where'er thy bark is driven, —
The calm's disport, the tempest's mirth, —
Know this: God rules the hosts of heaven,
The habitants of earth. Have Love. Not love alone for one,
But men, as man, thy brothers call;
And scatter, like the circling sun,
Thy charities on all. Thus grave these lessons on thy soul, —
Hope, Faith, and Love, — and thou shalt find
Strength when life's surges rudest roll,
Light when thou else wert blind.

Romans 11:33 http://www.jw.org/en/publications/bible/nwt/books/romans/11/, NWT
Epistle to the Romans
Context: O the depth of God’s riches and wisdom and knowledge! How unsearchable his judgments [are] and past tracing out his ways [are]! For “who has come to know Jehovah’s mind, or who has become his counselor?”

Herschel Browning Chip (1968, p. 270).
Other translation:
Abstract art is only painting. And what's so dramatic about that? There is no abstract art. One must always begin with something. Afterwards one can remove all semblance of reality.
Richard Friedenthal (1968, p. 256-7).
Longer version:
Abstract art is only painting. And what's so dramatic about that? There is no abstract art. One must always begin with something. Afterwards one can remove all semblance of reality; there is no longer any danger as the idea of the object has left an indelible imprint. It is the object which aroused the artist, stimulated his ideas and set of his emotions. These ideas and emotions will be imprisoned in his work for good.. .Whether he wants it or not, man is the instrument of nature; she imposes on him character and appearance. In my paintings of Dinard, as in my paintings of Purville, I have given expression to more or less the same vision.. .. You cannot go against nature. She is stronger than the strongest of men. We can permit ourselves some liberties, but in details only (Boisgeloup, winter 1934).
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 313
Quotes, 1930's, "Conversations avec Picasso," 1934–35
Context: Abstract art is only painting. What about drama?
There is no abstract art. You always start with something. Afterward you can remove all traces of reality.

"No, Not One," The Adelphi (October 1941)
See his later thoughts on this statement below from "As I Please," Tribune (8 December 1944)

then on the shore
Of the wide world I stand alone, and think
Till Love and Fame to nothingness do sink.
"When I have fears that I may cease to be" (1817)
Source: The Complete Poems

“The only thing of importance, when we depart, will be the traces of love we have left behind.”

Part III, No. 5 - Walton's Book of Lives. Compare: "The pen wherewith thou dost so heavenly sing / Made of a quill from an angel's wing", Henry Constable, Sonnet; "Whose noble praise / Deserves a quill pluckt from an angel's wing", Dorothy Berry, Sonnet.
Ecclesiastical Sonnets (1821)

Source: The Limits of State Action (1792), Ch. 8

Letter to his sister Elena Sikorski (1945); in Nabokov's Butterflies: Unpublished and Uncollected Writings (2000) Edited and annotated by Brian Boyd and Robert Michael Pyle, p. 387.

Source: Twenty Years at Hull-House (1910), Ch. 6

Je vais t'entretenir de moindres aventures,
Te tracer en ces vers de légères peintures;
Et si de t'agréer je n'emporte le prix,
J'aurai du moins d'honneur de l'avoir entrepris.
Book I (1668), Dedication "To Monseigneur the Dauphin".
Fables (1668–1679)

Marginalia http://www.easylit.com/poe/comtext/prose/margin.shtml (November 1844)

Hymn: The Burial of Moses http://www.bethanyipc.org.sg/poems/bulletin080113.htm

“Life is like a spring dream which vanishes without a trace.”
As quoted in Six Records of a Floating Life by Shen Fu, Chapter 1: 'Wedded Bliss'; translated by Lin Yutang in The Wisdom of China and India (1942), p. 968
Variant translation:
Life passes like a spring dream without a trace.
Lin Yutang, The Importance of Living (1937), p. 156

This is composed of excerpts (with some paraphrasing) from a speech of Cato as reported in Livy's History of Rome, book 34, sections 2-4 http://mcadams.posc.mu.edu/txt/ah/Livy/Livy34.html.
Misattributed

The Right to Be Lazy (1883), H. Kerr, trans. (1907), pp. 11-12

Source: On the Fetish Character in Music and the Regression of Listening (1938), p. 296

The Notebooks of Leonardo Da Vinci (1938), XXIX Precepts of the Painter

“To the guests that must go, bid God's speed and brush away all traces of their steps.”
45
The Gardener http://www.spiritualbee.com/love-poems-by-tagore/ (1915)
Fakhruddin Iraqi: Divine Flashes (1982)

The Notebooks of Leonardo Da Vinci (1938), XXIX Precepts of the Painter

Letter to Voltaire (c. November 1776), quoted in Timothy L. S. Sprigge (ed.), The Correspondence of Jeremy Bentham (London: University College London Press, 2017), p. 367

Speech http://hansard.millbanksystems.com/commons/1845/apr/11/maynooth-college in the House of Commons (11 April 1845).
1840s

“The place where even the slightest trace of the 'I' does not exist, alone is Self.”
Nan Yar = Who am I?

Section 288
2010s, 2013, Evangelii Gaudium · The Joy of the Gospel

"General Audience", in Saint Peter's Square (26 November 2014) https://w2.vatican.va/content/francesco/en/audiences/2014/documents/papa-francesco_20141126_udienza-generale.html.
2010s, 2014

1850s, Speech at Chicago (1858)
Context: There is something else connected with it. We have besides these men — descended by blood from our ancestors — among us perhaps half our people who are not descendants at all of these men, they are men who have come from Europe — German, Irish, French and Scandinavian — men that have come from Europe themselves, or whose ancestors have come hither and settled here, finding themselves our equals in all things. If they look back through this history to trace their connection with those days by blood, they find they have none, they cannot carry themselves back into that glorious epoch and make themselves feel that they are part of us, but when they look through that old Declaration of Independence they find that those old men say that 'We hold these truths to be self-evident, that all men are created equal,' and then they feel that that moral sentiment taught in that day evidences their relation to those men, that it is the father of all moral principle in them, and that they have a right to claim it as though they were blood of the blood, and flesh of the flesh of the men who wrote that Declaration, and so they are. That is the electric cord in that Declaration that links the hearts of patriotic and liberty-loving men together, that will link those patriotic hearts as long as the love of freedom exists in the minds of men throughout the world.

On Frédéric Chopin, in Oeuvres autobiographiques, edited by Georges Lubin, Vol. 2; Histoire de ma vie, p. 446. I [Jeffrey Kallberg] have modified somewhat the English translation printed in George Sand, Story of My Life: The Autobiography of George Sand, group translation ed. Thelma Jurgrau (Albany, 1991), p. 1109. The chapter on Chopin dates from August or September 1854.
Context: His creation was spontaneous, miraculous. He found it without searching for it, without foreseeing it. It came to his piano suddenly, complete, sublime, or it sang in his head during a walk, and he would hasten to hear it again by, tossing it off on his instrument. But then would begin the most heartbreaking labor I have ever witnessed. It was a series of efforts, indecision, and impatience to recapture certain details of the theme he had heard: what had come to him all of a piece, he now over-analyzed in his desire to write it down, and his regret at not finding it again "neat," as he said, would throw him into a kind of despair. He would shut himself up in his room for days at a time, weeping, pacing, breaking his pens, repeating and changing a single measure a hundred times, writing it and effacing it with equal frequency, and beginning again the next day with a meticulous and desperate perseverance. He would spend six weeks on one page, only to end up writing it just as he had traced it in his first outpouring.

Light (1919), Ch. XIX - Ghosts
Context: On this seat — where she came to me for the first time, which was once so important to us that it seemed as if the background of things all about us had been created by us — we sit down to-day, after we have vainly sought in nature the traces of our transit.
The landscape is peaceful, simple, empty; it fills us with a great quivering. Marie is so sad and so simple that you can see her thought.
I have leaned forward, my elbows on my knees. I have contemplated the gravel at my feet; and suddenly I start, for I understand that my eyes were looking for the marks of our footsteps, in spite of the stone, in spite of the sand.
After the solemnity of a long silence, Marie's face takes on a look of defeat, and suddenly she begins to cry. The tears which fill her — for one always weeps in full, drop on to her knees. And through her sobs there fall from her wet lips words almost shapeless, but desperate and fierce, as a burst of forced laughter.
"It's all over!" she cries.

Pupils at Sais (1799)
Context: I. The Pupil. — Men travel in manifold paths: whoso traces and compares these, will find strange Figures come to light; Figures which seem as if they belonged to that great Cipher-writing which one meets with everywhere, on wings of birds, shells of eggs, in clouds, in the snow, in crystals, in forms of rocks, in freezing waters, in the interior and exterior of mountains, of plants, animals, men, in the lights of the sky, in plates of glass and pitch when touched and struck on, in the filings round the magnet, and the singular conjunctures of Chance. In such Figures one anticipates the key to that wondrous Writing, the grammar of it; but this Anticipation will not fix itself into shape, and appears as if, after all, it would not become such a key for us. An Alcahest seems poured out over the senses of men. Only for a moment will their wishes, their thoughts thicken into form. Thus do their Anticipations arise; but after short whiles, all is again swimming vaguely before them, even as it did.

§ IV
1910s, At the Feet of the Master (1911)
Context: Superstition is another mighty evil, and has caused much terrible cruelty. The man who is a slave to it despises others who are wiser, tries to force them to do as he does. Think of the awful slaughter produced by the superstition that animals should be sacrificed, and by the still more cruel superstition that man needs flesh for food. Think of the treatment which superstition has meted out to the depressed classes in our beloved India, and see in that how this evil quality can breed heartless cruelty even among those who know the duty of brotherhood. Many crimes have men committed in the name of the God of Love, moved by this nightmare of superstition; be very careful therefore that no slightest trace of it remains in you.

Responses in a publicity questionnaire on Lord of the Flies from the American publishers, as quoted in Who Rules?: Introduction to the Study of Politics (1971) by Dick W. Simpson, p. 16
Context: The theme is an attempt to trace the defects of society back to the defects of human nature. The moral is that the shape of a society must depend on the ethical nature of the individual and not on any political system however apparently logical or respectable. The whole book is symbolic in nature except the rescue in the end where adult life appears, dignified and capable, but in reality enmeshed in the same evil as the symbolic life of the children on the island. The officer, having interrupted a man-hunt, prepares to take the children off the island in a cruiser which will presently be hunting its enemy in the same implacable way. And who will rescue the adult and his cruiser?

Go Rin No Sho (1645), The Fire Book

Pupils at Sais (1799)
Context: Not wise does it seem to attempt comprehending and understanding a Human World without full perfected Humanity. No talent must sleep; and if all are not alike active, all must be alert, and not oppressed and enervated. As we see a future Painter in the boy who fills every wall with sketches and variedly adds colour to figure; so we see a future Philosopher in him who restlessly traces and questions all natural things, pays heed to all, brings together whatever is remarkable, and rejoices when he has become master and possessor of a new phenomenon, of a new power and piece of knowledge.

S.R.Goel, Preface, in Goel, Sita Ram (ed.) (1998). Freedom of expression: Secular theocracy versus liberal democracy.

Autobiography (1936; 1949; 1958)

As quoted in "Ronald Reagan and Race" https://www.nationalreview.com/2019/08/ronald-reagan-and-race-richard-nixon-tape/ (August 2019), by Jay Nordlinger, National Review
1980s, First term of office (1981–1985)

Quoted in Pope John Paul II, Homily for the Canonization of Father Leopold of Castelnovo (16 October 1983) https://www.vatican.va/content/john-paul-ii/it/homilies/1983/documents/hf_jp-ii_hom_19831016_leopoldo-da-castelnovo.html.
Original: (it) Nascondiamo tutto, anche quello che può avere apparenza di dono di Dio, affinché non se ne faccia mercato. A Dio solo l'onore e la gloria! Se fosse possibile, noi dovremmo passare sulla terra come un'ombra che non lascia traccia di sé.

“Monsters,' her dad said, a tear tracing his cheek. 'I live in a world of monsters.”
Source: The Lost Hero
“She laughed, and drank more beer. “Take a long trace off a short bridge, vampire.”
Source: Lothaire

“People leave traces of themselves where they feel most comfortable, most worthwhile.”
Source: Dance Dance Dance

Source: The Happiness Project: Or Why I Spent a Year Trying to Sing in the Morning, Clean My Closets, Fight Right, Read Aristotle, and Generally Have More Fun

“God is God. He knows what he is doing. When you can’t trace his hand, trust his heart.”
Source: The Darkangel
Source: One Flew Over the Cuckoo's Nest

“Inaction will cause a man to sink into the slough of despond and vanish without a trace.”

53 min 54 sec
Source: We are the local embodiment of a Cosmos grown to selfawareness. We have begun to contemplate our origins: starstuff pondering the stars; organized assemblages of ten billion billion billion atoms considering the evolution of atoms; tracing the long journey by which, here at least, consciousness arose. Our loyalties are to the species and the planet. We speak for Earth. Our obligation to survive is owed not just to ourselves but also to that Cosmos, ancient and vast, from which we spring.
Context: And we who embody the local eyes and ears and thoughts and feelings of the cosmos we've begun, at last, to wonder about our origins. Star stuff, contemplating the stars organized collections of 10 billion-billion-billion atoms contemplating the evolution of matter tracing that long path by which it arrived at consciousness here on the planet Earth and perhaps, throughout the cosmos.

"Alaska Glaciers: Graphic Description of the Yosemite of the Far Northwest", San Francisco Daily Evening Bulletin (part 5 of 11 part series "Notes of a Naturalist") dated 7 September 1879, published 27 September 1879; reprinted as "Baird Glacier" in Letters from Alaska, edited by Robert Engberg and Bruce Merrell (University of Wisconsin Press, 1993), pages 28-32 (at page 31); modified slightly and reprinted in Travels in Alaska http://www.sierraclub.org/john_muir_exhibit/writings/travels_in_alaska/ (1915), chapter 5, A Cruise in the Cassiar
First lines of the documentary film series " The National Parks: America's Best Idea http://www.pbs.org/nationalparks/" by Ken Burns.
1910s

Kéramos http://www.worldwideschool.org/library/books/lit/poetry/TheCompletePoeticalWorksofHenryWadsworthLongfellow/chap22.html, st. 29.

“Does pain go away and leave no trace, then?’
‘You sometimes even feel sentimental for it.”
Source: Thousand Cranes

" A Rival of the Yosemite: The Cañon of the South Fork of King's River, California http://books.google.com/books?id=fWoiAQAAIAAJ&pg=PA77" The Century Magazine, volume XLIII, number 1 (November 1891) pages 77-97 (at page 86)
1890s

Very often attributed to Addison, this is in fact by Hugh Blair, published in Blair's Sermons (1815), Vol. 1, pp. 196-197.
Misattributed