Quotes about veil
page 2

George Eliot photo
Octave Mirbeau photo

“When one tears away the veils and shows them naked, people’s souls give off such a pungent smell of decay.”

Octave Mirbeau (1848–1917) French journalist, art critic, travel writer, pamphleteer, novelist, and playwright

Diary ot a Chambermaid

Piet Mondrian photo

“The abstract human mind will have to receive the intended impression by its own means. I always confine myself to expressing the universal, that is, the eternal (closest to the spirit) and I do so in the simplest of external forms, in order to be able to express the inner meaning as lightly veiled as possible.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Quote of Mondrian in his letter to Theo van Doesburg, 1915; as cited in the 'Stijl' catalogue, 1951, p. 71; quoted in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 6
1910's

Oliver Wendell Holmes photo
William Lane Craig photo

“Heaven may not be a possible world when you take it in isolation by itself. It may be that the only way in which God could actualize a heaven of free creatures all worshiping Him and not falling into sin would be by having, so to speak, this run-up to it, this advance life during which there is a veil of decision-making in which some people choose for God and some people against God. Otherwise you don't know that heaven is an actualizable world. You have no way of knowing that possibility.”

William Lane Craig (1949) American Christian apologist and evangelist

[The Craig-Bradley Debate: Can a Loving God Send People to Hell?, 1994, http://www.leaderu.com/offices/billcraig/docs/craig-bradley0.html], quoted in [William Lane Craig vs. Ray Bradley (debate review), Luke, Muehlhauser, 2011-04-27, Common Sense Atheism, http://commonsenseatheism.com/?p=2523, 2011-10-21]

C. V. Raman photo

“The pages of Euclid are like the opening bars of the music of the Grand Opera of Nature's great drama. So to say, they lift the veil and show to our vision a glimpse of a vast world of natural knowledge awaiting study.”

C. V. Raman (1888–1970) Indian physicist

Chandrasekhara Venkata Raman:A Legend of Modern Indian Science, 22 November 2013, Official Government of India's website Vigyan Prasar http://www.vigyanprasar.gov.in/scientists/cvraman/raman1.htm,

Báb photo
Geoffrey of Monmouth photo

“My father," said she, "is there any daughter that can love her father more than duty requires? In my opinion, whoever pretends to it, must disguise her real sentiments under the veil of flattery. I have always loved you as a father, nor do I yet depart from my purposed duty; and if you insist to have something more extorted from me, hear now the greatness of my affection, which I always bear you, and take this for a short answer to all your questions; look how much you have, so much is your value, and so much do I love you.”
"Est uspiam pater mi filia quae patrem suum plus quam patrem presumat diligere? Non reor equidem ullam esse quae hoc fateri audeat nisi iocosis veritatem celare nitatur. Nempe ego dilexi te semper ut patrem, et adhuc a proposito meo non divertor. Et si ex me magis extorquere insistis, audi cercudinem amoris quae adversum te habeo et interrogationibus tuis finem impone: et enim quantum habes tantum vales tantumque te diligo."

Bk. 2, ch. 11; p. 115.
Historia Regum Britanniae (History of the Kings of Britain)

Plutarch photo

“I am whatever was, or is, or will be; and my veil no mortal ever took up.”

Plutarch (46–127) ancient Greek historian and philosopher

Of Isis and Osiris
Bartlett's Familiar Quotations, 10th ed. (1919)

Burkard Schliessmann photo

“The trends that produced Schumann’s early piano works started out not so much from Weber’s refined brilliance as from Schubert’s more intimate and deeply soul-searching idiom. His creative imagination took him well beyond the harmonic sequences known until his time. He looked at the fugues and canons of earlier composers and discovered in them a Romantic principle. In the interweaving of the voices, the essence of counterpoint found its parallel in the mysterious relationships between the human psyche and exterior phenomena, which Schumann felt impelled to express. Schubert’s broad melodic lyricism has often been contrasted with Schumann’s terse, often quickly repeated motifs, and by comparison Schumann is often erroneously seen as short-winded. Yet it is precisely with these short melodic formulae that he shone his searchlight into the previously unplumbed depths of the human psyche. With them, in a complex canonic web, he wove a dense tissue of sound capable of taking in and reflecting back all the poetical character present. His actual melodies rarely have an arioso form; his harmonic system combines subtle chromatic progressions, suspensions, a rapid alternation of minor and major, and point d’orgue. The shape of Schumann’s scores is characterized by contrapuntal lines, and can at first seem opaque or confused. His music is frequently marked by martial dotted rhythms or dance-like triple time signatures. He loves to veil accented beats of the bar by teasingly intertwining two simultaneous voices in independent motion. This highly inde-pendent instrumental style is perfectly attuned to his own particular compositional idiom. After a period in which the piano had indulged in sensuous beauty of sound and brilliant coloration, in Schumann it again became a tool for conveying poetic monologues in musical terms.”

Burkard Schliessmann classical pianist

Talkings about Chopin and Schumann

Katrina Trask photo
P. D. Ouspensky photo
Bob Nygaard photo

“When the veil drops, victims face financial wreckage… A lot of people call me, and they just want to talk, tell me what happened. But they don't want to go forward. They're too embarrassed. They don't want to see their name in the papers.”

Bob Nygaard private detective specializing in psychic fraud

How Modern Fortunetellers Pull Off Their Scams https://web.archive.org/web/20180222195134/http://www.browardpalmbeach.com/news/how-modern-fortunetellers-pull-off-their-scams-6352098, Broward Palm Beach New Times (6 June 2013)

Robert G. Ingersoll photo
Henry St John, 1st Viscount Bolingbroke photo

“The second proposition admits and encourages the very practice we censure so justly, for which the saint [ Augustine of Hippo ] was so famous, and by which he contributed so much to promote contentions in his own days, and to perpetuate them to ours. The practice of deducing doctrines from the scriptures that are not evidently contained in them… Who does not see that the direct tendency of this practice is exactly the same as the event has proved it to be? It composes and propagates a religion, seemingly under the authority of God, but really under that of man. The principles of revelation are lost in theology, or disfigured by it: and whilst some men are impudent enough to pretend, others are silly enough to believe, that they adhere to the gospel, and maintain the cause of God against infidels and heretics, when they do nothing better, nor more, than espouse the conceits of men, whom enthusiasm, or the ambition of forming sects, or of making a great figure in them, has inspired. If you ask now what the practice of the christian fathers, and of other divines, should have been, in order to preserve the purity of faith, and to promote peace and charity, the answer is obvious… They should have adhered to the word of God: they should have paid no regard to heathen philosophy, jewish cabala, the sallies of enthusiasm, or the refinements of human ingenuity: they should have embraced, and held fast the articles of faith and doctrine, that were delivered in plain terms, or in unequivocal figures: they should not have been dogmatical where the sense was doubtful, nor have presumed even to guess where the Holy Ghost left the veil of mystery undrawn.”

Henry St John, 1st Viscount Bolingbroke (1678–1751) English politician and Viscount

Lord Bolingbroke's Philosophical Works http://books.google.com/books?id=E6ATAAAAQAAJ (1754) Vol.III, Essay IV, Sect XVI

Sri Aurobindo photo
Muhammad bin Qasim photo

“Muhammad Kasim marched from Dhalila, and encamped on the banks of the stream of the Jalwali to the east of Brahmanabad. He sent some confidential messengers to Brahmanabad to invite its people to submission and to the Muhammadan faith, to preach to them Islam, to demand the Jizya, or poll-tax, and also to inform them that if they would not submit, they must prepare to fight…
They sent their messengers, and craved for themselves and their families exemption from death and captivity. Muhammad Kasim granted them protection on their faithful promises, but put the soldiers to death, and took all their followers and dependents prisoners. All the captives, up to about thirty years of age, who were able to work, he made slaves, and put a price upon them…
When the plunder and the prisoners of war were brought before Kasim, and enquiries were made about every captive, it was found that Ladi, the wife of Dahir, was in the fort with two daughters of his by his other wives. Veils were put on their faces, and they were delivered to a servant to keep them apart. One-fifth of all the prisoners were chosen and set aside; they were counted as amounting to twenty thousand in number, and the rest were given to the soldiers. Protection was given to the artificers, the merchants, and the common people, and those who had been seized from those classes were all liberated. But he (Kasim) sat on the seat of cruelty, and put all those who had fought to the sword. It is said that about six thousand fighting men were slain, but, according to some, sixteen thousand were killed, and the rest were pardoned.”

Muhammad bin Qasim (695–715) Umayyad general

Source: The Chach Nama, in: Elliot and Dowson, History of India as told by its own Historians, Volume I, p. 176-181. ( also quoted in Bostom, A. G. M. D., & Bostom, A. G. (2010). The Legacy of Jihad: Islamic Holy War and the Fate of Non-Muslims. Amherst: Prometheus.) note: Quotes from The Chach Nama

Thomas Carlyle photo
Kate Bush photo

“I said
"Lily, Oh Lily I'm so afraid
I fear I am walking in the Veil of Darkness"
And she said
"Child, take what I say
With a pinch of salt
And protect yourself with fire"”

Kate Bush (1958) British recording artist; singer, songwriter, musician and record producer

Song lyrics, The Red Shoes (1993)

George Moore (novelist) photo

“Terrible is the day when each sees his soul naked, stripped of all veil; that dear soul which he cannot change or discard, and which is so irreparably his.”

George Moore (novelist) (1852–1933) Irish novelist, short-story writer, poet, art critic, memoirist and dramatist

Source: Confessions of a Young Man http://www.gutenberg.org/files/12278/12278-h/12278-h.htm (1886), Ch. 1.

Frances Bean Cobain photo

“Humans are an embarrassing species w/ small glimmers of beauty that seep through the veil of bigotry&stupidity, every once in a small while.”

Frances Bean Cobain (1992) American artist

17 June 2014 https://twitter.com/alka_seltzer666/status/479082538904723457
Twitter https://twitter.com/alka_seltzer666 posts

Benjamin Peirce photo
Helen Diner photo
Letitia Elizabeth Landon photo
Báb photo
Ed Bradley photo

“Ed Bradley was much honored by his peers, the best honor always to receive, from those who judge harshest and judge best. It is very appropriate that Ed Bradley would be honored here in the halls of the Congress of the United States. Perhaps he was destined to be honored in any case, because he was a pioneer, a first of his kind. We are still in an era when the first blacks are coming forward and we honor them simply for piercing the iron veil of race, but we honor Ed Bradley in this Chamber today as a leader of his profession.”

Ed Bradley (1941–2006) News correspondent

[Congresswoman Eleanor Holmes Norton, Congressional Record, http://www.gpo.gov/fdsys/pkg/CREC-2006-12-06/html/CREC-2006-12-06-pt2-PgH8798-3.htm, Honoring the Contributions and Life of Edward R. Bradley, H8798-H8800; Volume 152, Number 133, December 6, 2006, United States House of Representatives , printed by the United States Government Printing Office]
About

Letitia Elizabeth Landon photo
George William Russell photo
Luís de Camões photo

“Ah, Dinamene,
Thou hast forsaken him
Whose love for thee has never ceased,
And no more will he behold thee on this earth!
How early didst thou deem life of little worth!
I found thee
— Alas, to lose thee all too soon!
How strong, how cruel the waves!
Thou canst not ever know
My longing and my grief!
Did cold death still thy voice
Or didst thou of thyself
Draw the sable veil before thy lovely face?
O sea, O sky, O fate obscure!
To live without thee, Dinamene, avails me not.”

Luís de Camões (1524–1580) Portuguese poet

<p>Ah! minha Dinamene! Assim deixaste
Quem não deixara nunca de querer-te!
Ah! Ninfa minha, já não posso ver-te,
Tão asinha esta vida desprezaste!</p><p>Como já pera sempre te apartaste
De quem tão longe estava de perder-te?
Puderam estas ondas defender-te
Que não visses quem tanto magoaste?</p><p>Nem falar-te somente a dura Morte
Me deixou, que tão cedo o negro manto
Em teus olhos deitado consentiste!</p><p>Oh mar! oh céu! oh minha escura sorte!
Que pena sentirei que valha tanto,
Que inda tenha por pouco viver triste?</p>
Lyric poetry, Não pode tirar-me as esperanças, Ah! minha Dinamene! Assim deixaste

Giorgio de Chirico photo

“.. can you [contemporary painters] ever get close, even vaguely, to the solidity, the transparency, the lyric strength of colour, to the clarity, the mystery, the emotion of any of the paintings of Fra Angelico, Piero della Francesca, Botticelli, Dürer, Holbein or of young Raphael? Friends, have you ever realized that with the oil colours used today this is absolutely impossible?... In the museums of Europe I have observed the work of the Flemish painters at length – those earlier, later as well as contemporary to the [brothers] Van Eycks – and I am convinced that the above mentioned brothers were not the discoverers of oil paint in its true sense, as is held today, but that what they did was introduce oil in emulsion with other substances, especially live and fossil resins, into so-called oil tempera emulsion, which was already known in the Flanders, to enable them through the use of veiling to give a greater finish, cleanliness and strength of colour to their painting.
'These oils which are their tempera' said Vasari, speaking of the Flemish [painters] in his Life of Antonello; and without doubt he was alluding to Flemish oil tempera emulsion, but it is sure, absolutely sure, that.... we are dealing with.... a tempera based mixture (egg, glue, resin, tempera etc) in which oil was only used as a means of unity and for the finish of the painting.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Chirico's text 'Pro tempera oratio', c. 1920; from 'PRO TEMPERA ORATIO' http://www.fondazionedechirico.org/wp-content/uploads/475-480Metafisica5_6.pdf, p. 475
1920s and later

Cormac McCarthy photo
Norman Spinrad photo

“Flaming torches arching from hand to hand, the silken rolling of flesh on flesh, tautened wire vibrating to the human word, ideogrammatic gestures of fear, love, and rage, the mathematical grace of bodies moving through space—all seemed revealed as shadows on the void, the pauvre panoply of man’s attempt to transcend the universe of space and time through the transmaterial purity of abstract form.
Yet beyond this noble dance of human art, the highest expression of our spirit’s striving to transcend the realm of time and form, lay that which could not be encompassed by the artifice of man. From nothing are we born, to nothing do we go; the universe we know is but the void looped back upon itself, and form is but illusion’s final veil.
We touch that which lies beyond only in those fleeting rare moments when the reality of form dissolves—through molecule and charge, the perfection of the meditative trance, orgasmic ego-loss, transcendent peaks of art, mayhap the instant of our death.
Vraiment, is not the history of man from pigments smeared on the walls of caves to our present starflung age, our sciences and arts, our religions and our philosophies, our cultures and our noble dreams, our heroics and our darkest deeds, but the dance of spirit round this central void, the striving to transcend, and the deadly fear of same?”

Source: The Void Captain's Tale (1983), Chapter 10 (p. 117)

Phillis Wheatley photo
Letitia Elizabeth Landon photo
Letitia Elizabeth Landon photo

“The path was new, and there was thrown
A sweet veil over pleasure's ray;
But ignorance is happiness,
When young Hope is to show the way;”

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

(12th January 1822) Ten Years Ago.
The London Literary Gazette, 1821-1822

Mark Hawthorne (author) photo
Jean Paul photo

“The past and future are veiled; but the past wears the widow's veil; the future, the virgin's.”

Jean Paul (1763–1825) German novelist

As quoted in Treasury of Thought (1872) by Maturin M. Ballou, p. 521

Nick Cave photo

“Another ship ready to dock… the rigging comes loose… like Jennifer's Veil.”

Nick Cave (1957) Australian musician

Song lyrics, Mutiny (1993), Jennifer's Veil

Surendra Pratap Singh photo
Pierre-Jean de Béranger photo
H. Rider Haggard photo
James Thomson (poet) photo
James Mattis photo

“You go into Afghanistan, you got guys who slap women around for five years because they didn't wear a veil. You know, guys like that ain't got no manhood left anyway. So it's a hell of a lot of fun to shoot them. Actually it's quite fun to fight them, you know. It's a hell of a hoot. It's fun to shoot some people. I'll be right up there with you. I like brawling.”

James Mattis (1950) 26th and current United States Secretary of Defense; United States Marine Corps general

Panel discussion in San Diego, California (1 February 2005) as quoted in "General: It's 'fun to shoot some people'" CNN (4 February 2005) http://www.cnn.com/2005/US/02/03/general.shoot/(For a more contextualized explanation of General Mattis' remarks, see this essay by one of the Marines who served under Mattis: "Breaking the Warrior Code" The American Spectator (February 11, 2005) by John R. Guardiano https://spectator.org/48978_breaking-warrior-code/

Grant Morrison photo

“Most human lives are forgotten after four generations. We build our splendid houses on the edge of the abyss then distract and dazzle ourselves with entertainers and sex while we slowly at first, then more rapidly, spin around the ever-thirsty plughole in the middle. My treasured possessions -- all the silly little mementoes and toys and special books I’ve carried with me for decades -- will wind up on flea market tables or rot on garbage heaps. Someone else will inhabit the rooms that were mine. Everything that was important to me will mean nothing to the countless generations that follow our own. In the grand sprawl of it all, I have no significance at all. I don’t believe a giant gaseous pensioner will reward or censure me when my body stops working and I don’t believe individual consciousness survives for long after brain death so I lack the consolations of religion. I wanted Annihilator to peek into that implacable moment where everything we are comes to an end so I had to follow the Black Brick Road all the way down and seriously consider the abject pointlessness of all human endeavours. I found these contemplations thrilling and I was drawn to research pure nihilism, which led me to Ray Brassier’s Nihil Unbound and back to Ligotti. I have a fundamentally optimistic and positive view of human existence and the future and I think it’s important to face intelligent, well-argued challenges to that view on a regular basis. While I agree with Ligotti that the universe is, on the face of it, a blind emergent process, driven by chance over billions of years of trial and error to ultimately produce creatures capable of little more than flamboyant expressions of the agonizing awareness of their own imminent deaths, I don’t share his slightly huffy disappointment at this state of affairs. If the universe is intrinsically meaningless, if the mindless re-arrangement of atomic debris into temporarily arising then dissipating forms has no point, I can only ask, why do I see meaning everywhere, why can I find a point in everything? Why do other human beings like me seem to see meaning in everything too? If the sun is only an apocalyptic series of hydrogen fusion reactions, why does it look like an angel and inspire poetry? Why does the flesh and fur-covered bone and jelly of my cat’s face melt my heart? Is all that surging, roaring incandescent meaning inside me, or is it out there? “Meaning” to me is equivalent to “Magic.” The more significance we bring to things, even to the smallest and least important things, the more special, the more “magical” they seem to become. For all that materialistic science and existential philosophy tells us we live in a chaotic, meaningless universe, the evidence of my senses and the accounts of other human beings seem to indicate that, in fact, the whole universe and everything in it explodes second-to-second with beauty, horror, grandeur and significance when and wherever it comes into contact with consciousness. Therefore, it’s completely down to us to revel in our ability to make meaning, or not. Ligotti, like many extreme Buddhist philosophers, starts from the position that life is an agonizing, heartbreaking grave-bound veil of tears. This seems to be a somewhat hyperbolic view of human life; as far as I can see most of us round here muddle through ignoring death until it comes in close and life’s mostly all right with just enough significant episodes of sheer joy and connection and just enough sh-tty episodes of pain or fear. The notion that the whole span of our lives is no more than some dreadful rehearsal for hell may resonate with the deeply sensitive among us but by and large life is pretty okay generally for most of us. And for some, especially in the developed countries, “okay” equals luxurious. To focus on the moments of pain and fear we all experience and then to pretend they represent the totality of our conscious experience seems to me a little effete and indulgent. Most people don’t get to be born at all, ever. To see in that radiant impossibility only pointlessness, to see our experience as malignantly useless, as Ligotti does, seems to me a bit camp.”

Grant Morrison (1960) writer

2014
http://www.blastr.com/2014-9-12/grant-morrisons-big-talk-getting-deep-writer-annihilator-multiversity
On life

Paula Modersohn-Becker photo
André Maurois photo
Bernard Harcourt photo

“The different strands of radical thought seek to lift a veil from our eyes in order to emancipate us from domination, cowardice, or repression. They unmask in order to liberate.”

Bernard Harcourt (1963) American academic

“Radical Thought from Marx, Nietzsche, and Freud, through Foucault, to the Present: Comments on Steven Lukes's ‘In Defense of False Consciousness,’” The University Of Chicago Legal Forum, 2011, p. 34

Joe Strummer photo

“I'd define it as self-awareness: an ability to trust your own judgment. An ability to see through veils of bullshit or spins on stories or propaganda. Maybe an ability to think for yourself.”

Joe Strummer (1952–2002) British musician, singer, actor and songwriter

About punk.
Joe Strummer: Putting a Scare into he Hearts of All Things Corporate (2002)

Joyce Kilmer photo

“I saw him through a thousand veils,
And has not this sufficed?
Now, must I look on the Devil robed
In the radiant Robe of Christ?”

Joyce Kilmer (1886–1918) American poet, editor, literary critic, soldier

Main Street and Other Poems (1917), The Robe of Christ
Context: Oh, he can be the forest,
And he can be the sun,
Or a buttercup, or an hour of rest
When the weary day is done.
I saw him through a thousand veils,
And has not this sufficed?
Now, must I look on the Devil robed
In the radiant Robe of Christ?

George Eliot photo
Henry John Stephen Smith photo

“If we except the great name of Newton (and the exception is one that the great Gauss himself would have been delighted to make) it is probable that no mathematician of any age or country has ever surpassed Gauss in the combination of an abundant fertility of invention with an absolute vigorousness in demonstration, which the ancient Greeks themselves might have envied. It may be admitted, without any disparagement to the eminence of such great mathematicians as Euler and Cauchy that they were so overwhelmed with the exuberant wealth of their own creations, and so fascinated by the interest attaching to the results at which they arrived, that they did not greatly care to expend their time in arranging their ideas in a strictly logical order, or even in establishing by irrefragable proof propositions which they instinctively felt, and could almost see to be true. With Gauss the case was otherwise. It may seem paradoxical, but it is probably nevertheless true that it is precisely the effort after a logical perfection of form which has rendered the writings of Gauss open to the charge of obscurity and unnecessary difficulty. The fact is that there is neither obscurity nor difficulty in his writings, as long as we read them in the submissive spirit in which an intelligent schoolboy is made to read his Euclid. Every assertion that is made is fully proved, and the assertions succeed one another in a perfectly just analogical order… But when we have finished the perusal, we soon begin to feel that our work is but begun, that we are still standing on the threshold of the temple, and that there is a secret which lies behind the veil and is as yet concealed from us. No vestige appears of the process by which the result itself was obtained, perhaps not even a trace of the considerations which suggested the successive steps of the demonstration. Gauss says more than once that for brevity, he gives only the synthesis, and suppresses the analysis of his propositions. Pauca sed matura—few but well matured… If, on the other hand, we turn to a memoir of Euler's, there is a sort of free and luxuriant gracefulness about the whole performance, which tells of the quiet pleasure which Euler must have taken in each step of his work; but we are conscious nevertheless that we are at an immense distance from the severe grandeur of design which is characteristic of all Gauss's greater efforts.”

Henry John Stephen Smith (1826–1883) mathematician

As quoted by Alexander Macfarlane, Lectures on Ten British Physicists of the Nineteenth Century (1916) p. 95, https://books.google.com/books?id=43SBAAAAIAAJ&pg=PA95 "Henry John Stephen Smith (1826-1883) A Lecture delivered March 15, 1902"

John Polkinghorne photo

“Quantum theory also tells us that the world is not simply objective; somehow it's something more subtle than that. In some sense it is veiled from us, but it has a structure that we can understand.”

John Polkinghorne (1930) physicist and priest

Divine Action: An Interview with John Polkinghorne http://www.aril.org/polkinghorne.htm by Lyndon F. Harris in Cross Currents, Spring 1998, Vol. 48 Issue 1.

B.K.S. Iyengar photo

“The union of nature and soul removes the veil of ignorance that covers our intelligence.”

B.K.S. Iyengar (1918–2014) Indian yoga teacher and scholar

Source: Light on Life: The Yoga Journey to Wholeness, Inner Peace, and Ultimate Freedom, p. 9-10

Henri-Frédéric Amiel photo
Letitia Elizabeth Landon photo
Ralph Waldo Emerson photo

“Announced by all the trumpets of the sky
Arrives the snow, and, driving o'er the fields,
Seems nowhere to alight: the whited air
Hides hills and woods, the river and the heaven,
And veils the farm-house at the garden's end.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

The Snow-Storm http://www.emersoncentral.com/poems/snow_storm.htm
1840s, Poems (1847)

Joseph Conrad photo

“This stretch of the Thames from London Bridge to the Albert Docks is to other watersides of river ports what a virgin forest would be to a garden. It is a thing grown up, not made. It recalls a jungle by the confused, varied, and impenetrable aspect of the buildings that line the shore, not according to a planned purpose, but as if sprung up by accident from scattered seeds. Like the matted growth of bushes and creepers veiling the silent depths of an unexplored wilderness, they hide the depths of London’s infinitely varied, vigorous, seething life. In other river ports it is not so. They lie open to their stream, with quays like broad clearings, with streets like avenues cut through thick timber for the convenience of trade… But London, the oldest and greatest of river ports, does not possess as much as a hundred yards of open quays upon its river front. Dark and impenetrable at night, like the face of a forest, is the London waterside. It is the waterside of watersides, where only one aspect of the world’s life can be seen, and only one kind of men toils on the edge of the stream. The lightless walls seem to spring from the very mud upon which the stranded barges lie; and the narrow lanes coming down to the foreshore resemble the paths of smashed bushes and crumbled earth where big game comes to drink on the banks of tropical streams.Behind the growth of the London waterside the docks of London spread out unsuspected, smooth, and placid, lost amongst the buildings like dark lagoons hidden in a thick forest. They lie concealed in the intricate growth of houses with a few stalks of mastheads here and there overtopping the roof of some four-story warehouse.”

London Bridge to the Royal Albert Dock
The Mirror of the Sea (1906), On the River Thames, Ch. 16

“[P]op prophets tell us that Muslims in Europe are reproducing so fast and European societies are so weak and listless that, before you know it, the continent will become "Eurabia," with all the topless gals on the Rivera wearing veils. Well, maybe not. The notion that continental Europeans, who are world-champion haters, will let the impoverished Muslim immigrants they confine to ghettos take over their societies and extent the caliphate from the Amalfi Coast to Amsterdam has it exactly wrong.”

Ralph Peters (1952) American military officer, writer, pundit

p. 332 https://books.google.com/books?id=2DvhkRE9GP4C&pg=PA332&lpg=PA332&dq=%22perfected+genocide+and+ethnic+cleansing%22&source=bl&ots=zTru_TC0-I&sig=8Q5OPLD7HV58GnGLALxqqeBnxy4&hl=en&sa=X&ved=2ahUKEwjt7q3u7MXdAhUkWN8KHZU8B20Q6AEwAnoECAgQAQ#v=onepage&q=%22perfected%20genocide%20and%20ethnic%20cleansing%22&f=false
2000s, Wars of Blood and Faith: The Conflicts That Will Shape the Twenty-First Century (2007)

Robinson Jeffers photo
W.E.B. Du Bois photo
Clive Staples Lewis photo

“The Value of myth is that it takes all the things you know and restores to them the rich significance which has been hidden by the veil of familiarity.”

Clive Staples Lewis (1898–1963) Christian apologist, novelist, and Medievalist

Source: Tolkien's The Lord of the Rings, p. 90

“What agents would choose in certain well- defined conditions of ignorance (in the “original position”) is, for Rawls, an important criterion for determining which conception of “justice” is normatively acceptable. Why should we agree that choice under conditions of ignorance is a good criterion for deciding what kind of society we would wish to have? William Morris in the late nineteenth century claimed to prefer a society of more or less equal grinding poverty for all (e. g., the society he directly experienced in Iceland) to Britain with its extreme discrepancies of wealth and welfare, even though the least well-off in Britain were in absolute terms better off than the peasants and fishermen of Iceland.” This choice seems to have been based not on any absolute preference for equality (or on a commitment to any conception of fairness), but on a belief about the specific social (and other) evils that flowed from the ways in which extreme wealth could be used in an industrial capitalist society.” Would no one in the original position entertain views like these? Is Morris’s vote simply to be discounted? On what grounds? The “veil of ignorance” is artificially defined so as to allow certain bits of knowledge “in” and to exclude other bits. No doubt it would be possible to rig the veil of ignorance so that it blanks out knowledge of the particular experiences Morris had and the theories he developed, and renders them inaccessible in the original position, but one would then have to be convinced that this was not simply a case of modifying the conditions of the thought experiment and the procedure until one got the result one antecedently wanted.”

Source: Philosophy and Real Politics (2008), pp. 87-88.

Alfred Noyes photo

“Medea quickly turned aside, covering her eyes with her veil so as not to see her brother's blood spilt.”

Source: Argonautica (3rd century BC), Book IV. Homeward Bound, Lines 465–467; the murder of Absyrtus.

Muhammad bin Qasim photo

“When Muhammad bin Qasim invaded Sind, he took captives wherever he went and sent many prisoners, especially women prisoners, to his homeland. Parimal Devi and Suraj Devi, the two daughters of Raja Dahir, who were sent to Hajjaj to adorn the harem of the Caliph, were part of a large bunch of maidens remitted as one-fifth share of the state (Khums) from the booty of war (Ghanaim). The Chachnama gives the details. After the capture of the fort of Rawar, Muhammad bin Qasim “halted there for three day, during which time he masscered 6,000 …men. Their followers and dependents, as well as their women and children were taken prisoner.” When the (total) number of prisoners was calculated, it was found to amount to thirty thousand persons (Kalichbeg has sixty thousand), amongst whom thirty were the daughters of the chiefs. They were sent to Hajjaj. The head of Dahir and the fifth part of prisoners were forwarded in charge of the Black Slave Kaab, son of Mubarak Rasti.96 In Sind itself female slaves captured after every campaign of the marching army, were married to Arab soldiers who settled down in colonies established in places like Mansura, Kuzdar, Mahfuza and Multan. The standing instructions of Hajjaj to Muhammad bin Qasim were to “give no quarter to infidels, but to cut their throats”, and take the women and children as captives. In the final stages of the conquest of Sind, “when the plunder and the prisoners of war were brought before Qasim… one-fifth of all the prisoners were chosen and set aside; they were counted as amounting to twenty thousand in number… (they belonged to high families) and veils were put on their faces, and the rest were given to the soldiers”.97 Obviously, a few lakhs of women were enslaved and distributed among the elite and the soldiers.”

Muhammad bin Qasim (695–715) Umayyad general

Chachnama, in Lal, K. S. (1992). The legacy of Muslim rule in India. New Delhi: Aditya Prakashan. Chapter 7

Karl Barth photo
Báb photo

“Our Real Self is a ceaseless, ever-changing, and vital expression of eternal energies, even though this timeless nature remains veiled from us because of our present level of consciousness.”

Guy Finley (1949) American self-help writer, philosopher, and spiritual teacher, and former professional songwriter and musician

Seeker's Guide to Self-Freedom

Caitlín R. Kiernan photo
Swami Vivekananda photo

“Work and worship are necessary to take away the veil, to lift off the bondage and illusion.”

Swami Vivekananda (1863–1902) Indian Hindu monk and phylosopher

Pearls of Wisdom

Oliver Cowdery photo
Edgar Degas photo

“Draw all kind of everyday object placed, in such a way that they have in them the life of the man or woman – corsets that have just been removed, for example, and which retain the form of the body. Do a series in aquatint on mourning, different blacks – black veils of deep mourning floating on the face – black gloves – mourning carriages, undertaker’s vehicles – carriages like Venetian gondolas. On smoke – smoker’s smoke, pipes, cigarettes, cigars – smoke from locomotives, from tall factory chimneys, from steam boats, etc. On evening – infinite variety of subjects in cafes, different tones of glass robes reflected in the mirrors. On bakery, bread. Series of baker's boys, seen in the cellar itself or through the basement windows from the street – backs the colour of the pink flour – beautiful curves of dough – still-life's of different breads, large, oval, long, round, etc. Studies in color of the yellows, pinks, grays, whites of bread…… Neither monuments nor houses have ever been done from below, close up as they appear when you walk down the street. [a working note in which Degas planned series of views of modern Paris, the same time when he sketched the backstreet brothels, making graphic unflinching and even his realistic 'pornographic' sketches he called his 'glimpses through the keyhole', in which he also experimented with perspectives]”

Edgar Degas (1834–1917) French artist

Quote from Degas' Notebooks; Clarendon Press, Oxford 1976, nos 30 & 34 circa 1877; as quoted in The private lives of the Impressionists, Sue Roe, Harpen Collins Publishers, New York 2006, p. 182
quotes, undated

George Lippard photo
Báb photo
Statius photo

“But no clouds in a red sky promised daylight's return, nor in lessening shadows did a long twilight gleam with reflected sun. Black night that no ray can pierce comes ever denser from earth, veiling the heavens.”
Sed nec puniceo rediturum nubila caelo promisere jubar, nec rarescentibus umbris longa repercusso nituere crepuscula Phoebo: densior a terris et nulli peruia flammae subtexit nox atra polos.

Source: Thebaid, Book I, Line 342

Constantine P. Cavafy photo

“From my most unnoticed actions,
my most veiled writing —
from these alone will I be understood.”

Constantine P. Cavafy (1863–1933) Greek poet

Hidden Things
Collected Poems (1992)

Godfrey Higgins photo
Dante Gabriel Rossetti photo
Werner von Siemens photo

“Its decadence, satiety, and languor [of Roman civilization] interested me. And I kept looking and returning to their wall paintings with their veiled melancholy and their elegant plasticity. I admired the way they used their geology in their art — the sense of mineral, clay. rock, marble, and stone.”

William Baziotes (1912–1963) American painter

from his letter to Alfred H. Barr, Jr. 6 November, 1955; as cited in the text of 'The Baziotes Memorial Exhibition' and its accompanying catalogue by Lawrence Alloway; Solomon R. Guggenheim Museum 1965, p. 11
1950s

Honoré de Balzac photo

“Clouds signify the veil of the Most High.”

Source: Seraphita (1835), Ch. 3: Seraphita - Seraphitus.

Jones Very photo
Honoré de Balzac photo

“A girl's coquetry is of the simplest, she thinks that all is said when the veil is laid aside; a woman's coquetry is endless, she shrouds herself in veil after veil, she satisfies every demand of man's vanity, the novice responds but to one.
And there are terrors, fears, and hesitations — trouble and storm in the love of a woman of thirty years, never to be found in a young girl's love. At thirty years a woman asks her lover to give her back the esteem she has forfeited for his sake; she lives only for him, her thoughts are full of his future, he must have a great career, she bids him make it glorious; she can obey, entreat, command, humble herself, or rise in pride; times without number she brings comfort when a young girl can only make moan.”

La jeune fille n'a qu'une coquetterie, et croit avoir tout dit quand elle a quitté son vêtement; mais la femme en a d'innombrables et se cache sous mille voiles; enfin elle caresse toutes les vanités, et la novice n'en flatte qu'une. Il s'émeut d'ailleurs des indécisions, des terreurs, des craintes, des troubles et des orages chez la femme de trente ans, qui ne se rencontrent jamais dans l'amour d'une jeune fille.Arrivée à cet âge, la femme demande à un jeune homme de lui restituer l'estime qu'elle lui a sacrifiée; elle ne vit que pour lui, s'occupe de son avenir, lui veut une belle vie, la lui ordonne glorieuse; elle obéit, elle prie et commande, s'abaisse et s'élève, et sait consoler en mille occasions, où la jeune fille ne sait que gémir.
Source: A Woman of Thirty (1842), Ch. III: At Thirty Years.

Irshad Manji photo
John Dee photo
Herbert Read photo

“Why do we forget our childhood? With rare exceptions we have no memory of our first four, five, or six years, and yet we have only to watch the development of our own children during this period to realize that these are precisely the most exciting, the most formative years of life. Schachtel’s theory is that our infantile experiences, so free, so uninhibited, are suppressed because they are incompatible with the conventions of an adult society which we call ‘civilized’. The infant is a savage and must be tamed, domesticated. The process is so gradual and so universal that only exceptionally will an individual child escape it, to become perhaps a genius, perhaps the selfish individual we call a criminal. The significance of this theory for the problem of sincerity in art (and in life) is that occasionally the veil of forgetfulness that hides our infant years is lifted and then we recover all the force and vitality that distinguished our first experiences—the ‘celestial joys’ of which Traherne speaks, when the eyes feast for the first time and insatiably on the beauties of God’s creation. Those childhood experiences, when we ‘enjoy the World aright’, are indeed sincere, and we may therefore say that we too are sincere when in later years we are able to recall these innocent sensations.”

Herbert Read (1893–1968) English anarchist, poet, and critic of literature and art

Source: Collected Poems (1966), pp. 16-17

Philip K. Dick photo
Dinesh D'Souza photo

“America, the freest nation on Earth, is also the most virtuous nation on Earth. This point seems counter-intuitive, given the amount of conspicuous vulgarity, vice and immorality in America. Some Islamic fundamentalists argue that their regimes are morally superior to the United States because they seek to foster virtue among the citizens. Virtue, these fundamentalists argue, is a higher principle than liberty. Indeed it is. And let us admit that in a free society, freedom will frequently be used badly. Freedom, by definition, includes the freedom to do good or evil, to act nobly or basely. But if freedom brings out the worst in people, it also brings out the best. The millions of Americans who live decent, praiseworthy lives desire our highest admiration because they have opted for the good when the good is not the only available option. Even amid the temptations of a rich and free society, they have remained on the straight path. Their virtue has special luster because it is freely chosen. By contrast, the societies that many Islamic fundamentalists seek would eliminate the possibility of virtue. If the supply of virtue is insufficient in a free society like America, it is almost nonexistent in an unfree society like Iran's. The reason is that coerced virtues are not virtues at all. Consider the woman who is required to wear a veil. There is no modesty in this, because she is being compelled. Compulsion cannot produce virtue, it can only produce the outward semblance of virtue. Thus a free society like America's is not merely more prosperous, more varied, more peaceful, and more tolerant; it is also morally superior to the theocratic and authoritarian regimes that America's enemies advocate.”

Dinesh D'Souza (1961) Indian-American political commentator, filmmaker, author

Articles, 10 Things to Celebrate: Why I'm an Anti-Anti-American (June 2003)

James Fenimore Cooper photo
Roger Williams (theologian) photo
Bernard Lewis photo
Angela Merkel photo

“German law takes precedence over sharia. The full face veil should be banned, wherever legally possible.”

Angela Merkel (1954) Chancellor of Germany

"Angela Merkel calls for burka ban in Germany" http://www.telegraph.co.uk/news/2016/12/06/angela-merkel-calls-burka-ban-wherever-legally-possible/, The Telegraph (6 December 2016).
2016

F. Scott Fitzgerald photo
Louis Pasteur photo

“I am on the edge of mysteries and the veil is getting thinner and thinner.”

Louis Pasteur (1822–1895) French chemist and microbiologist

Letter (December 1851); as quoted in The Great Influenza: The Epic Story of the Deadliest Plague In History (2004) by John M. Barry
Variant translations:
I am on the verge of mysteries and the veil is getting thinner and thinner. The nights seem to me too long... I am often scolded by Madame Pasteur, but I tell her I shall lead her to fame.
Microbe Hunters (1926) by Paul De Kruif
My plan of study is traced for this coming year... I am hoping to develop it shortly in the most successful manner... I think that I have already told you that I am on the verge of mysteries, and that the veil which covers them is getting thinner and thinner. The nights seem to me too long, yet I do not complain... I am often scolded by Mme. Pasteur, but I console her by telling her that I shall lead her to fame.
The Life of Pasteur (1916) by René Vallery-Radot