Quotes about variety
page 5

Herrick Johnson photo
Théodore Rousseau photo

“I heard the voices of the trees; the surprises of their movements. Their varieties of form and even their peculiarity of attraction toward the light had suddenly revealed to me the language of the forest. All that world of flora lived as mutes, whose signs I divined, whose passions I discovered. I wished to converse with them and to be able to say to myself, through that other language, painting, that I had put my finger upon the secret of their grandeur.”

Théodore Rousseau (1812–1867) French painter (1812-1867)

quote from a talk between Th. Rousseau and Alfred Sensier, 1850's; as cited in Barbizon days, Millet-Corot-Rousseau-Barye by Charles Sprague Smith, A. Wessels Company, New York, July 1902, p. 147
Alfred Sensier frequently visited the studio of Th. Rousseau (and Millet) and wrote later a book about both artists
1851 - 1867

Fernand Léger photo
Henry Moore photo
Marshall McLuhan photo

“Marx shared with economists then and since the inability to make his concepts include innovational processes. It is one thing to spot a new product but quite another to observe the invisible new environments generated by the action of the product on a variety of pre-existing social grounds.”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1970s, Take Today : The Executive as Dropout (1972), p. 63

Ken Ham photo
Adolphe Quetelet photo

“I have been surprised to find how little variety of opinion exists, in different places, regarding what they concurred in terming the beautiful.”

Adolphe Quetelet (1796–1874) Belgian astronomer, mathematician, statistician and sociologist

Preface of M. Quetelet
A Treatise on Man and the Development of His Faculties (1842)

Russell L. Ackoff photo
William Hazlitt photo

“The last sort I shall mention are verbal critics — mere word-catchers, fellows that pick out a word in a sentence and a sentence in a volume, and tell you it is wrong. The title of Ultra-Crepidarian critics has been given to a variety of this species.”

William Hazlitt (1778–1830) English writer

"On Criticism"
Table Talk: Essays On Men And Manners http://www.blupete.com/Literature/Essays/TableHazIV.htm (1821-1822)

Charles de Gaulle photo

“How can you govern a country that has two hundred and forty-six varieties of cheese?”

Charles de Gaulle (1890–1970) eighteenth President of the French Republic

Comment voulez-vous gouverner un pays qui a deux cent quarante-six variétés de fromage?
Les Mots du Général, Ernest Mignon, 1962
Fifth Republic and other post-WW2

Kumar Sangakkara photo

“We had a very good side with an experienced batting lineup and strong variety in our bowling but going into the tournament, it was not the most settled time for Sri Lankan cricket, with some disputes going on. But all of this actually brought us closer together as a team; it made us even more determined to do our job for the supporters and the country. In the end, it was an emotional way for myself and Mahela to sign off from our Twenty20 international careers.”

Kumar Sangakkara (1977) Sri Lankan cricketer

Kumar Sangakkara on Mahela as a coaching consultant for England, quoted on The Guardian, "Kumar Sangakkara: England made smart move on mentor Mahela Jayawardene" http://www.theguardian.com/sport/2016/mar/13/kumar-sangakkara-england-mahela-jayawardene-world-twenty20-sri-lanka, March 13, 2016.

Jim Henson photo

“With 'The Muppet Show' we used to play with a lot of different styles. That's what it was: a variety thing.”

Jim Henson (1936–1990) American puppeteer

Interview with Associated Press (1984)

Marguerite Yourcenar photo

“Our civil laws will never be supple enough to fit the immense and changing variety of facts. Laws change more slowly than custom, and though dangerous when they fall behind the times are more dangerous still when they presume to anticipate custom.”

Nos lois civiles ne seront jamais assez souples pour s'adapter à l'immense et fluide variété des faits. Elles changent moins vite que les moeurs; dangereuses quand elles retardent sur celles-ci, elles le sont davantage quand elles se mêlent de les précéder.
Source: Memoirs of Hadrian (1951), p. 113

Andrew Sega photo
Charles Lyell photo
Aldous Huxley photo
Fali Sam Nariman photo
Mahela Jayawardene photo

“We had a very good side with an experienced batting lineup and strong variety in our bowling but going into the tournament, it was not the most settled time for Sri Lankan cricket, with some disputes going on. But all of this actually brought us closer together as a team; it made us even more determined to do our job for the supporters and the country. In the end, it was an emotional way for myself and Mahela to sign off from our Twenty20 international careers.”

Mahela Jayawardene (1977) Former Sri Lankan cricketer

Kumar Sangakkara on Mahela as a coaching consultant for England, quoted on The Guardian, "Kumar Sangakkara: England made smart move on mentor Mahela Jayawardene" http://www.theguardian.com/sport/2016/mar/13/kumar-sangakkara-england-mahela-jayawardene-world-twenty20-sri-lanka, March 13, 2016.
About

Barbara Hepworth photo
Fernand Léger photo

“Instead of opposing comic and tragic characters [as Molière and Shakespeare] and contrary scenic states, I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of gray. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, p. 25
Quotes of Fernand Leger, 1920's

Bell Hooks photo

“To be in the margin is to be part of the whole but outside the main body. As black Americans living in a small Kentucky town, the railroad tracks were a daily reminder of our marginality. Across those tracks were paved streets, stores we could not enter, restaurants we could not eat in, and people we could not look directly in the face. Across those tracks was a world we could work in as maids, as janitors, as prostitutes, as long as it was in a service capacity. We could enter that world but we could not live there. We had always to return to the margin, to cross the tracks, to shacks and abandoned houses on the edge of town. There were laws to ensure our return. To not return was to risk being punished. Living as we did-on the edge-we developed a particular way of seeing reality. We looked both from the outside in and and from the inside out. We focused our attention on the center as well as on the margin. We understood both. This mode of seeing reminded us of the existence of a whole universe, a main body made up of both margin and center. Our survival depended on an ongoing public awareness of the separation between margin and center and an ongoing private acknowledgment that we were a necessary, vital part of that whole. This sense of wholeness, impressed upon our consciousness by the structure of our daily lives, provided us an oppositional world view-a mode of seeing unknown to most of our oppressors, that sustained us, aided us in our struggle to transcend poverty and despair, strengthened our sense of self and our solidarity. … Much feminist theory emerges from privileged women who live at the center, whose perspectives on reality rarely include knowledge and awareness of the lives of women and men who live in the margin. As a consequence, feminist theory lacks wholeness, lacks the broad analysis that could encompass a variety of human experiences. Although feminist theorists are aware of the need to develop ideas and analysis that encompass a larger number of experiences, that serve to unify rather than to polarize, such theory is complex and slow in formation. At its most visionary, it will emerge from individuals who have knowledge of both margin and center.”

p. xvii https://books.google.com/books?id=ClWvBAAAQBAJ&pg=PT8.
Feminist Theory: From Margin to Center (1984), Preface

William Paley photo
Roberto Mangabeira Unger photo

“The extreme moment of shock in battle presents in heightened and distorted form some of the distinctive characteristics of a whole society involved in war. These characteristics in turn represent a heightening and distortion of many of the traits of a social world cracked open by transformative politics. The threats to survival are immediate and shifting; no mode of association or activity can be held fixed if it stands as an obstacle to success. The existence of stable boundaries between passionate and calculating relationships disappears in the terror of the struggle. All settled ties and preconceptions shake or collapse under the weight of fear, violence, and surprise. What the experience of combat sharply diminishes is the sense of variety in the opportunities of self-expression and attachment, the value given to the bonds of community and to life itself, the chance for reflective withdrawal and for love. In all these ways, it is a deformed expression of the circumstance of society shaken up and restored to indefinition. Yet the features of this circumstance that the battle situation does share often suffice to make the boldest associative experiments seem acceptable in battle even if they depart sharply from the tenor of life in the surrounding society. Vanguardist warfare is the extreme case. It is the response of unprejudiced intelligence and organized collaboration to violence and contingency.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military Success (1987), p. 160

Henry Moore photo

“A teleology directed to material ends has been substituted for the lust for adventure, variety, and play.”

John Carroll (1944) Australian professor and author

Source: Break-Out from the Crystal Palace (1974), p. 148

Robert Rauschenberg photo
Zeev Sternhell photo
Elfriede Jelinek photo
Nicholas Sparks photo
Ferdinand Hodler photo
Gregor Mendel photo
Ervin László photo
Jean Henri Fabre photo
Peter D. Schiff photo
Warren Farrell photo
Frederick Rolfe photo
Jane Austen photo
George Boole photo

“The last subject to which I am desirous to direct your attention as to a means of self-improvement, is that of philanthropic exertion for the good of others. I allude here more particularly to the efforts which you may be able to make for the benefit of those whose social position is inferior to your own. It is my deliberate conviction, founded on long and anxious consideration of the subject, that not only might great positive good be effected by an association of earnest young men, working together under judicious arrangements for this common end, but that its reflected advantages would overpay the toil of effort, and more than indemnify the cost of personal sacrifice. And how wide a field is now open before you! It would be unjust to pass over unnoticed the shining examples of virtues, that are found among tho poor and indigent There are dwellings so consecrated by patience, by self-denial, by filial piety, that it is not in the power of any physical deprivation to render them otherwise than happy. But sometimes in close contiguity with these, what a deep contrast of guilt and woe! On the darker features of the prospect we would not dwell, and that they are less prominent here than in larger cities we would with gratitude acknowledge; but we cannot shut our eyes to their existence. We cannot put out of sight that improvidence that never looks beyond the present hour; that insensibility that deadens the heart to the claims of duty and affection; or that recklessness which in the pursuit of some short-lived gratification, sets all regard for consequences aside. Evils such as these, although they may present themselves in any class of society, and under every variety of circumstances, are undoubtedly fostered by that ignorance to which the condition of poverty is most exposed; and of which it has been truly said, that it is the night of the spirit,—and a night without moon and without stars. It is to associated efforts for its removal, and for the raising of the physical condition of its subjects, that philanthropy must henceforth direct her regards. And is not such an object great 1 Are not such efforts personally elevating and ennobling? Would that some part of the youthful energy of this present assembly might thus expend itself in labours of benevolence! Would that we could all feel the deep weight and truth of the Divine sentiment that " No man liveth to himself, and no man dieth to himself.”

George Boole (1815–1864) English mathematician, philosopher and logician

George Boole, "Right Use of Leisure," cited in: James Hogg Titan Hogg's weekly instructor, (1847) p. 250; Also cited in: R. H. Hutton, " Professor Boole http://books.google.com/books?id=pfMEAAAAQAAJ&pg=PA153," (1866), p. 153
1840s

Rousas John Rushdoony photo
George Steiner photo
Johannes Bosboom photo

“.. that my drawings which offer - also by variety of genre - a greater variety [compared to his paintings], especially after 1863, when my late friend jr. CCA Ridder van Rappard urged me to reserve especially for him all the new works I would make and such including the freedom not to limit myself exclusively to my main genre [churches]. In the environment around his estate in the Sticht where he stayed, it became therefore the treshing-floors of the farms and the house-interiors which immediately attracted and inspired me to achieve a new personal interpretation of these subjects.”

Johannes Bosboom (1817–1891) Dutch painter

citaat van Johannes Bosboom, in origineel Nederlands: ..dat mijner teekeningen, die ook door verscheidenheid van genre een grooter afwisseling aanbieden [dan zijn schilderijen] vooral na 1863, toen wijlen mijn vriend jhr. C. C. A. Ridder van Rappard er bij mij op aandrong om wat ik verder zou leveren voor hem te bestemmen en zulks met de vrijheid mij niet uitsluitend te houden bij mijn hoofdgenre [de kerken]. In den omtrek van het door hem betrokken landgoed in het Sticht waren het dan ook de boerendeelen en binnenhuizen, die mij dadelijk aantrokken en inspireerden tot een nieuwe eigen opvatting daarvan.
Source: 1880's, Een en ander betrekkelijk mijn loopbaan als schilder, p. 13-14

Immanuel Wallerstein photo
Charles Lyell photo
Vātsyāyana photo
Amir Taheri photo
Albert Gleizes photo
Bernard Mandeville photo
Erving Goffman photo
Bill Bryson photo

“I knew more things in the first ten years of my life than I believe I have known at any time since. I knew everything there was to know about our house for a start. I knew what was written on the undersides of tables and what the view was like from the tops of bookcases and wardrobes. I knew what was to be found at the back of every closet, which beds had the most dust balls beneath them, which ceilings the most interesting stains, where exactly the patterns in wallpaper repeated. I knew how to cross every room in the house without touching the floor, where my father kept his spare change and how much you could safely take without his noticing (one-seventh of the quarters, one-fifth of the nickels and dimes, as many of the pennies as you could carry). I knew how to relax in an armchair in more than one hundred positions and on the floor in approximately seventy- five more. I knew what the world looked like when viewed through a Jell-O lens. I knew how things tasted—damp washcloths, pencil ferrules, coins and buttons, almost anything made of plastic that was smaller than, say, a clock radio, mucus of every variety of course—in a way that I have more or less forgotten now. I knew and could take you at once to any illustration of naked women anywhere in our house, from a Rubens painting of fleshy chubbos in Masterpieces of World Painting to a cartoon by Peter Arno in the latest issue of The New Yorker to my father’s small private library of girlie magazines in a secret place known only to him, me, and 111 of my closest friends in his bedroom.”

Bill Bryson (1951) American author

Source: The Life And Times of the Thunderbolt Kid (2006), p. 36

Charles Stross photo
Elfriede Jelinek photo
Richard Lovelace photo
The Mother photo
Jacek Tylicki photo
Thomas Young (scientist) photo
Hermann Hesse photo

“For a long time one school of players favored the technique of stating side by side, developing in counterpoint, and finally harmoniously combining two hostile themes or ideas, such as law and freedom, individual and community. In such a Game the goal was to develop both themes or theses with complete equality and impartiality, to evolve out of thesis and antithesis the purest possible synthesis. In general, aside from certain brilliant exceptions, Games with discordant, negative, or skeptical conclusions were unpopular and at times actually forbidden. This followed directly from the meaning the Game had acquired at its height for the players. It represented an elite, symbolic form of seeking for perfection, a sublime alchemy, an approach to that Mind which beyond all images and multiplicities is one within itself — in other words, to God. Pious thinkers of earlier times had represented the life of creatures, say, as a mode of motion toward God, and had considered that the variety of the phenomenal world reached perfection and ultimate cognition only in the divine Unity. Similarly, the symbols and formulas of the Glass Bead Game combined structurally, musically, and philosophically within the framework of a universal language, were nourished by all the sciences and arts, and strove in play to achieve perfection, pure being, the fullness of reality. ”

The Glass Bead Game (1943)

Pierre-Auguste Renoir photo

“Out-of-doors there is a greater variety of light than in the studio, where the light is always the same. But that is just the trouble; one is carried away by the light, and besides, one can't see what one is doing.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

Source: undated quotes, Renoir – his life and work, 1975, p. 176 : to Vollard. Renoir was referring to two of his landscapes, painted in the open air, having a different look in the studio light.

Joseph Strutt photo
C. Wright Mills photo
Susie Bright photo

“It was variety-increasing for both the individual and the organization rather than variety-decreasing in the bureaucratic mode.”

Eric Trist (1909–1993) British scientist

Source: The evolution of socio-technical systems, (1981), p. 9

David Graeber photo
Edward German photo
Brook Taylor photo
Philip Schaff photo

“The Pre-Lutheran German Bible. The precise origin of the mediaeval German Bible is still unknown. Dr. Ludwig Keller of Münster first suggested in his Die Reformation und die älteren Reformparteien, Leipzig, 1885, pp. 257-260, the hypothesis that it was made by Waldenses (who had also a Romanic version); and he tried to prove it in his Die Waldenser und die deutschen Bibelübersetzungen, Leipzig, 1886 (189 pages). Dr. Hermann Haupt, of Würzburg, took the same ground in his Die deutsche Bibelübersetzung der mittelalterlichen Waldenser in dem Codex Teplensis und der ersten gedruckten Bibel nachgewiesen, Würzburg, 1885 (64 pages); and again, in self-defense against Jostes, in Der waldensische Ursprung des Codex Teplensis und der vor-lutherischen deutschen Bibeldrucke, Würzburg, 1886. On the other hand, Dr. Franz Jostes, a Roman Catholic scholar, denied the Waldensian and defended the Catholic origin of that translation, in two pamphlets: Die Waldenser und die vorlutherische Bibelübersetzung, Münster, 1885 (44 pages), and Die Tepler Bibelübersetzung. Eine zweite Kritik, Münster, 1886 (43 pages). The same author promises a complete history of German Catholic Bible versions.
The hostility of several Popes and Councils to the circulation of vernacular translations of the Bible implies the existence of such translations, and could not prevent their publication, as the numerous German editions prove. Dutch, French, and Italian versions also appeared among the earliest prints. See Stevens, Nos. 687 and 688 (p. 59 sq.). The Italian edition exhibited in 1877 at London is entitled: La Biblia en lingua Volgare (per Nicolo di Mallermi). Venetia: per Joan. Rosso Vercellese, 1487, fol. A Spanish Bible by Bonif. Ferrer was printed at Valencia, 1478 (see Reuss, Gesch. der heil. Schr. N. T., II. 207, 5th Ed.).
The Bible is the common property and most sacred treasure of all Christian churches. The art of printing was invented in Catholic times, and its history goes hand in hand with the history of the Bible. Henry Stevens says (The Bibles in the Caxton Exhibition, p. 25): ""The secular history of the Holy Scriptures is the sacred history of Printing. The Bible was the first book printed, and the Bible is the last book printed. Between 1450 and 1877, an interval of four centuries and a quarter, the Bible shows the progress and comparative development of the art of printing in a manner that no other single book can; and Biblical bibliography proves that during the first forty years, at least, the Bible exceeded in amount of printing all other books put together; nor were its quality, style, and variety a whit behind its quantity.""”

Philip Schaff (1819–1893) American Calvinist theologian

Roman Catholic rival German versions of the Bible

Calvin Coolidge photo

“One of the most natural of reactions during the war was intolerance. But the inevitable disregard for the opinions and feelings of minorities is none the less a disturbing product of war psychology. The slow and difficult advances which tolerance and liberalism have made through long periods of development are dissipated almost in a night when the necessary war-time habits of thought hold the minds of the people. The necessity for a common purpose and a united intellectual front becomes paramount to everything else. But when the need for such a solidarity is past there should be a quick and generous readiness to revert to the old and normal habits of thought. There should be an intellectual demobilization as well as a military demobilization. Progress depends very largely on the encouragement of variety. Whatever tends to standardize the community, to establish fixed and rigid modes of thought, tends to fossilize society. If we all believed the same thing and thought the same thoughts and applied the same valuations to all the occurrences about us, we should reach a state of equilibrium closely akin to an intellectual and spiritual paralysis. It is the ferment of ideas, the clash of disagreeing judgments, the privilege of the individual to develop his own thoughts and shape his own character, that makes progress possible. It is not possible to learn much from those who uniformly agree with us. But many useful things are learned from those who disagree with us; and even when we can gain nothing our differences are likely to do us no harm. In this period of after-war rigidity, suspicion, and intolerance our own country has not been exempt from unfortunate experiences. Thanks to our comparative isolation, we have known less of the international frictions and rivalries than some other countries less fortunately situated. But among some of the varying racial, religious, and social groups of our people there have been manifestations of an intolerance of opinion, a narrowness to outlook, a fixity of judgment, against which we may well be warned. It is not easy to conceive of anything that would be more unfortunate in a community based upon the ideals of which Americans boast than any considerable development of intolerance as regards religion. To a great extent this country owes its beginnings to the determination of our hardy ancestors to maintain complete freedom in religion. Instead of a state church we have decreed that every citizen shall be free to follow the dictates of his own conscience as to his religious beliefs and affiliations. Under that guaranty we have erected a system which certainly is justified by its fruits. Under no other could we have dared to invite the peoples of all countries and creeds to come here and unite with us in creating the State of which we are all citizens.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, Toleration and Liberalism (1925)

Maurice Glasman, Baron Glasman photo
Daniel Dennett photo
Thomas Young (scientist) photo
Charles Darwin photo

“Mere chance … alone would never account for so habitual and large an amount of difference as that between varieties of the same species.”

Source: On the Origin of Species (1859), chapter IV: "Natural Selection", page 111 http://darwin-online.org.uk/content/frameset?pageseq=126&itemID=F373&viewtype=image

Mary Wollstonecraft photo
Mary Wollstonecraft Shelley photo
Swami Vivekananda photo
Richard Feynman photo
Alexander Pope photo
Ernest Gellner photo
James Bradley photo
Anil Kumble photo

“There is no providence or wisdom of man, nor of any council of men that can foresee and provide for all events and variety of cases, that will or may arise upon the making of a new law.”

Robert Atkyns (judge) (1621–1710) Lord Chief Baron of the Exchequer and Speaker of the House of Lords

11 How. St. Tr. 1208.
Trial of Sir Edward Hales (1686)

Letitia Elizabeth Landon photo

“Alas, the strange varieties or life!
We live 'mid perils and pleasures, like
Characters 'graven on the sand, or hues
Colouring the rainbow. Wild as a sick fancy
And changeful as a maiden, is this dream,
This brief dream on earth - - -”

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

(7th September 1822) Poetical Sketches. Third series - Sketch the First. The Mine
14th September 1822) Poetical Sketches. Third series - Sketch the Second. Gladesmuir see The Improvisatrice (1824
21st September 1822) Poetical Sketches. Third series - Sketch the Third. The Minstrel of Portugal see The Improvisatrice (1824
28th September 1822) Poetical Sketches. Third series - Sketch the Fourth. The Castilian Nuptuals see The Vow of the Peacock (1835
5th October 1822) Poetical Sketches. Third series - Sketch the Fifth. The Lover's Rock see The Vow of the Peacock (1835
12th October 1822) Poetical Sketches. Third series - Sketch the Sixth. The Basque girl and Henri Quatre see The Improvisatrice (1824
The London Literary Gazette, 1821-1822

Berenice Abbott photo
Pope Benedict XVI photo
Nam June Paik photo