Quotes about wrinkle

A collection of quotes on the topic of wrinkle, age, herring, life.

Quotes about wrinkle

Jim Butcher photo

“Wrinkles here and there seem unimportant compared to the Gestalt of the whole person I have become in this past year.”

May Sarton (1912–1995) American poet, novelist, and memoirist

Source: Journal of a Solitude

Sylvia Plath photo
W.B. Yeats photo

“Their eyes mid many wrinkles, their eyes,
Their ancient, glittering eyes, are gay.”

W.B. Yeats (1865–1939) Irish poet and playwright

Lapis Lazuli, st. 5
Last Poems (1936-1939)

Isabelle Adjani photo

“I am a follower of hyaluronic acid – always in small doses of course – to fill wrinkles and fine lines.”

Isabelle Adjani (1955) French actress

Isabelle Adjani: the constant plastic surgery claims http://www.telegraph.co.uk/news/worldnews/europe/france/8578187/Isabelle-Adjani-the-constant-plastic-surgery-claims.html, 16 Jun 2011.

Estelle Getty photo

“Age does not bring you wisdom, age brings you wrinkles.”

Estelle Getty (1923–2008) actress

Estelle Getty, ‘Golden Girls’ Matriarch, Dies at 84, New York Times, July 23, 2008

Sappho photo
Edna St. Vincent Millay photo
Jimmy Buffett photo

“Wrinkles will only go where the smiles have been.”

Jimmy Buffett (1946) American singer–songwriter and businessman
James Patterson photo
Shannon Hale photo
Charles Bukowski photo
Mark Strand photo
Lisa Scottoline photo

“Women shouldn't iron, ever. It's our wrinkles that make us interesting.”

Lisa Scottoline (1955) American writer

Source: Why My Third Husband Will Be a Dog: The Amazing Adventures of an Ordinary Woman

Jim Davis photo

“It is not the terrible occurrences that no one is spared, — a husband’s death, the moral ruin of a beloved child, long, torturing illness, or the shattering of a fondly nourished hope, — it is none of these that undermine the woman’s health and strength, but the little daily recurring, body and soul devouring care s. How many millions of good housewives have cooked and scrubbed their love of life away! How many have sacrificed their rosy checks and their dimples in domestic service, until they became wrinkled, withered, broken mummies. The everlasting question: ‘what shall I cook today,’ the ever recurring necessity of sweeping and dusting and scrubbing and dish-washing, is the steadily falling drop that slowly but surely wears out her body and mind. The cooking stove is the place where accounts are sadly balanced between income and expense, and where the most oppressing observations are made concerning the increased cost of living and the growing difficulty in making both ends meet. Upon the flaming altar where the pots are boiling, youth and freedom from care, beauty and light-heartedness are being sacrificed. In the old cook whose eyes are dim and whose back is bent with toil, no one would recognize the blushing bride of yore, beautiful, merry and modestly coquettish in the finery of her bridal garb.”

Dagobert von Gerhardt (1831–1910) German writer

To the ancients the hearth was sacred; beside the hearth they erected their lares and household-gods. Let us also hold the hearth sacred, where the conscientious German housewife slowly sacrifices her life, to keep the home comfortable, the table well supplied, and the family healthy."
"von Gerhardt, using the pen-name Gerhard von Amyntor in", A Commentary to the Book of Life. Quote taken from August Bebel, Woman and Socialism, Chapter X. Marriage as a Means of Support.

Thomas Nashe photo

“Beauty is but a flower
Which wrinkles will devour.”

Thomas Nashe (1567–1601) English Elizabethan pamphleteer and poet

Source: Summer's Last Will and Testament http://www.elizabethanauthors.com/summ1.htm (1600), lines 1588-1589.

Oliver Wendell Holmes photo
André Gide photo
Homér photo
Masanobu Fukuoka photo
Amy Hempel photo
Laurette Taylor photo
André Maurois photo

“Old age is far more than white hair, wrinkles, the feeling that it is too late and the game finished, that the stage belongs to the rising generations. The true evil is not the weakening of the body, but the indifference of the soul. Upon crossing the shadow line, it is more the desire to act than the power to do so that is lost. Is it possible, after fifty years of experiences and disappointments, to retain the ardent curiosity of youth, the desire to know and understand, the power to love wholeheartedly, the certainty that beauty, intelligence, and kindness unite naturally, and to preserve faith in the efficacy of reason? Beyond the shadow line lies the realm of even, tempered light where the eyes, not being dazzled any more by the blinding sun of desire, can see things and people as they are. How is it possible to believe in the moral perfection of pretty women if you have loved one of them? How is it possible to believe in progress when you have discovered throughout a long and difficult life that no violent change can triumph over human nature and that it is only the most ancient customs and ceremonies that can provide people with the flimsy shelter of civilization? "What's the use?" says the old man to himself. This is perhaps the most dangerous phrase he can utter, for after having said: "What's the use of struggling?" he will say one day: "What's the use of going out?" then: "What's the use of leaving my room?" then: "What's the use of leaving my bed?" and at last comes "What's the use of living?"”

André Maurois (1885–1967) French writer

which opens the portals of death.
Un Art de Vivre (The Art of Living) (1939), The Art of Growing Old

William Morris photo
Ambrose Bierce photo

“The palmist looks at the wrinkles made by closing the hand and says they signify character. The philosopher reads character by what the hand most loves to close upon.”

Ambrose Bierce (1842–1914) American editorialist, journalist, short story writer, fabulist, and satirist

Source: Epigrams, p. 360

Jozef Israëls photo

“But I have to tell you what I saw... I had entered a dark room [in the city Tunis], lit by a small, elongated horizontal window,.. The light cut sharply.... and drew itself on the stone floor... There behind the table was sitting the Jewish scribe with his arms forward, leaning on the parchment. He turned his lordly head in my direction... It was a beautiful head, delicate and translucent pale as alabaster, large and small wrinkles were lining along the small eyes and around the big curved hawk nose. A black cap covered the white skull and a low white-yellow beard lay in large tufts over the written parchment... two crutches lay slantingly on the floor beside him. How much I desired to get my sketchbook out.... but in front of the staring gaze of the scribe, I didn't find the courage to carry out my intention.”

Jozef Israëls (1824–1911) Dutch painter

translation from the original Dutch: Fons Heijnsbroek
version in original Dutch (citaat van de tekst van Jozef Israëls, in het Nederlands): Maar ik moet u vertellen wat ik zag.. Ik was een donkere ruimte binnengetreden, verlicht door een klein langwerpig horizontaal liggend raampje,.. .Scherp sneed het licht.. ..en tekende zich af op de stenen vloer.. .Daar zat achter de tafel de joodse wetschrijver met zijn armen voorover op het perkament geleund en draaide zijn vorstelijk hoofd naar mij toe;. ..Het was een prachtig hoofd, fijn en doorschijnend bleek als albast, rimpels, grote en kleine, liepen langs de kleine ogen en om de grote gekromde haviksneus. Een zwart kapje bedekte de witte schedel en een lage witgele baard lag in grote vlokken over het beschreven perkament.. ..twee krukken lagen naast hem schuin op de grond. Hoe gaarne had ik mijn schetsboek voor de dag gehaald,. ..maar voor de starende blik van de wetschrijver durfde ik mijn voornemen niet ten uitvoer te brengen.
Quote of Israëls from his text Spanje, een reisverhaal, publisher, Martinus Nijhoff, De Haag, 1899, p. unknown
Quotes of Jozef Israels, 1871 - 1900

Ervin László photo
Martin Farquhar Tupper photo

“I am not old, — I cannot be old,
Though tottering, wrinkled, and gray;
Though my eyes are dim, and my marrow is cold,
Call me not old to-day.”

Martin Farquhar Tupper (1810–1889) English writer and poet

The Song of Seventy.
A Thousand Lines (1846)

Vivian Stanshall photo
William Gibson photo
Horace photo

“Ah, Postumus! they fleet away,
Our years, nor piety one hour
Can win from wrinkles and decay,
And Death's indomitable power.”

Eheu fugaces, Postume, Postume, labuntur anni nec pietas moram rugis et instanti senectae adferet indomitaeque morti.

Horace book Odes

Book II, ode xiv, line 1 (trans. John Conington)
Odes (c. 23 BC and 13 BC)

Ogden Nash photo
Aldo Leopold photo
Scott Adams photo

“You might think the word “homemade” is just a word we use as a marketing ploy. But what you don’t realize is that the staff sleeps here at night. If your tablecloth is wrinkled, that’s why.”

Scott Adams (1957) cartoonist, writer

Restaurant menus
Source: "Menus: Stacey’s Homemade Soup Of The Day", Stacey's at Waterford, 2008-01-14 http://www.eatatstaceys.com/staceys-waterford/menus-lunch.php, Atttributed to Adams by "About Us", Stacey's at Waterford, 2008-01-14 http://www.eatatstaceys.com/staceys-waterford/about-us.php,

Colin Wilson photo
Anthony Burgess photo
Jane Fonda photo

“Women are not forgiven for aging. Robert Redford's lines of distinction are my old-age wrinkles.”

Jane Fonda (1937) American actress and activist

Michael Perry. Jane's wrinkled but Fonda herself now. Sydney Morning Herald, 22 December 1985 http://news.google.com/newspapers?id=2a1WAAAAIBAJ&sjid=e-gDAAAAIBAJ&pg=5135,3817429

Marc Chagall photo
Giuseppe Tomasi di Lampedusa photo

“When a peasant gives me his bit of cheese he's making me a bigger present than the Prince of Làscari when he invites me to dinner. That's obvious. The difficulty is that the cheese is nauseating. So all that remains is the heart's gratitude which can't be seen and the nose wrinkled in disgust which can be seen only too well.”

Un contadino che mi dà il suo pezzo di pecorino mi fa un regalo più grande di Giulio Làscari quando m’invita a pranzo. Il guaio è che il pecorino mi dà la nausea; e così non resta che la gratitudine che non si vede e il naso arricciato dal disgusto che si vede fin troppo.
Page 144
Il Gattopardo (1958)

Jeanne Calment photo

“I have got only one wrinkle, and I am sitting on it.”

Jeanne Calment (1875–1934) French supercentenarian who had the longest confirmed human life span in history

Attributed in: Charlotte A. Spencer. Genes, Aging and Immortality. Pearson Prentice Hall, 2005. p. 6

Paula Modersohn-Becker photo

“There are great many Rembrandts here [in Paris]. Even if they are yellow with varnish, I can still learn so much from them, the wrinkled intricacy of things, life itself. There is a little thing here by him.... It is of a women in bed, nude. But the way it's painted, the way the cushions are painted, their shapes, with all those details of lacework, the whole thing is bewitching.”

Paula Modersohn-Becker (1876–1907) German artist

In a letter to her husband Otto Modersohn, from Boulevard Raspail 203, Paris, 18 February 1903; as quoted in Paula Modersohn-Becker – The Letters and Journals, ed: Günther Busch & Lotten von Reinken; (transl, A. Wensinger & C. Hoey; Taplinger); Publishing Company, New York, 1983, p. 297
1900 - 1905

Emil M. Cioran photo

“The wrinkles of a nation are as visible as those of an individual.”

Emil M. Cioran (1911–1995) Romanian philosopher and essayist

The Temptation to Exist (1956)

Pierre Corneille photo

“The wrinkles on his forehead are the marks which his mighty deeds have engraved.”

Ses rides, sur son front, ont grave ses exploits.
Don Diego, act I, scene i.
Le Cid (1636)

Richard Matheson photo

“Ah! Postumus! Devotion fails
The lapse of gliding years to stay,
With wrinkled age it nought avails
Nor conjures conquering Death away.”

John Conington (1825–1869) British classical scholar

Book II, ode xiv
Translations, The Odes and Carmen Saeculare of Horace (1863)

James A. Garfield photo

“If wrinkles must be written upon our brows, let them not be written upon the heart. The spirit should not grow old.”

James A. Garfield (1831–1881) American politician, 20th President of the United States (in office in 1881)

Letter to Colonel A. F. Rockwell (13 August 1866)
1860s

Heidi Klum photo
Donald Barthelme photo
Reginald Heber photo

“Eternity has no gray hairs! The flowers fade, the heart withers, man grows old and dies, the world lies down in the sepulchre of ages, but time writes no wrinkles on the brow of Eternity.”

Reginald Heber (1783–1826) English clergyman

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 213.

Arthur F. Burns photo
Tao Yuanming photo

“White hair covers my temples,
I am wrinkled and gnarled beyond repair,
And though I have got five sons,
They all hate paper and brush.
A-shu is eighteen:
For laziness there is none like him.
A-hsuan does his best,
But really loathes the Fine Arts.
Yung and Tuan are thirteen,
But do not know "six" from "seven."
T'ung-tzu in his ninth year
Is only concerned with things to eat.
If Heaven treats me like this,
What can I do but fill my cup?”

Tao Yuanming (365–427) Chinese poet

白发被双鬓,
肌肤不复实/虽有五男儿,
总不好纸笔/阿舒已二八,
懒惰固无匹/阿宣行治学,
而不爱文术 /雍端年十三 ,
不识六与七/通子垂九龄,
但觅梨与栗/天运够如此,
且进杯中物
"Blaming Sons" (An apology for his own drunkenness, A.D. 406)
Translated by Yuanchong Xu, in Gems of Classical Chinese Poetry in Various English Translations (1988), p. 100
Variant translations:
White hair covers my temples—
My flesh is no longer firm,
And though I have five sons
Not one cares for brush and paper.
Ah-shu is sixteen years of age;
For laziness he surely has no equal.
Ah-hsuan tries his best to learn
But does not really love the arts.
Yung and Tuan at thirteen years
Can hardly distinguish six from seven;
T'ung-tzu with nine years behind him
Does nothing but hunt for pears and chestnuts.
If such was Heaven's decree
In spite of all that I could do,
Bring on, bring on
"the thing within the cup."
William Acker, T'ao the Hermit: Sixty Poems by T'ao Ch'ien (1952), p. 89
My temples are grey, my muscles no longer full.
Five sons have I, and none of them likes school.
Ah-shu is sixteen and as lazy as lazy can be.
Ah-hsuan is fifteen and no taste for reading has he.
Thirteen are Yung and Tuan, yet they can't tell six from seven.
A-tung wants only pears and chestnuts—in two years he'll be eleven.
Then, come! let me empty this cup, if such be the will of Heaven.
Lin Yutang, My Country and My People (1935), p. 68

William Ernest Henley photo
Walter de la Mare photo
Edward St. Aubyn photo

“Your hair shines like gold, says my child.
You are pretty old, says my child.
And I think to myself how I used to be.
There's another wrinkle that I see.
Then he takes my hand and smiles at me.”

Amber (1970) Dutch born German singer, songwriter, label owner and executive producer

"The Smile of My Child", Naked (2002).

Joaquin Miller photo
John Milton photo
Michel De Montaigne photo

“Age imprints more wrinkles in the mind than it does on the face.”

Michel De Montaigne (1533–1592) (1533-1592) French-Occitan author, humanistic philosopher, statesman

Book III, Ch. 2
Attributed

George Gordon Byron photo
Estelle Getty photo
Jane Roberts photo
Joyce Carol Oates photo

“A Wrinkle in Time was almost never published. You can't name a major publisher who didn't reject it.”

Madeleine L'Engle (1918–2007) American writer

Penguins and Golden Calves (2003)
Context: A Wrinkle in Time was almost never published. You can't name a major publisher who didn't reject it. And there were many reasons. One was that it was supposedly too hard for children. Well, my children were 7, 10, and 12 while I was writing it. I'd read to them at night what I'd written during the day, and they'd say, "Ooh, mother, go back to the typewriter!" A Wrinkle in Time had a female protagonist in a science fiction book, and that wasn't done. And it dealt with evil and things that you don't find, or didn't at that time, in children's books. When we'd run through forty-odd publishers, my agent sent it back. We gave up. Then my mother was visiting for Christmas, and I gave her a tea party for some of her old friends. One of them happened to belong to a small writing group run by John Farrar, of Farrar, Straus & Giroux, which at that time did not have a juvenile list. She insisted that I meet John any how, and I went down with my battered manuscript. John had read my first novel and liked it, and read this book and loved it. That's how it happened.

Richard Wright photo
Paul Bourget photo

“I recognize the invincible influence of the dead in the pallor of her cheeks, the wrinkles in her eyelids, the white streaks in her hair. He disputes her with me from the darkness of his coffin; he takes her from me, hour by hour, and I am powerless against that love.”

Paul Bourget (1852–1935) French writer

Source: Andre Cornelis (1886), Ch. 14
Context: Is there any God, any justice, is there either good or evil? None, none, none, none! There is nothing but a pitiless destiny which broods over the human race, iniquitous and blind, distributing joy and grief at haphazard. A God who says, "Thou shalt not kill," to him whose father has been killed? No, I don't believe it. No, if hell were there before me, gaping open, I would make answer: "I have done well," and I would not repent. I do not repent. My remorse is not for having seized the weapon and struck the blow, it is that I owe to him — to him — that infamous good service which he did me — that I cannot to the present hour shake from me the horrible gift I have received from that man. If I had destroyed the paper, if I had gone and given myself up, if I had appeared before a jury, revealing, proclaiming my deed, I should not be ashamed; I could still hold up my head. What relief, what joy it would be if I might cry aloud to all men that I killed him, that he lied, and I lied, that it was I, I, who took the weapon and plunged it into him! And yet, I ought not to suffer from having accepted — no — endured the odious immunity. Was it from any motive of cowardice that I acted thus? What was I afraid of? Of torturing my mother, nothing more. Why, then, do I suffer this unendurable anguish? Ah, it is she, it is my mother who, without intending it, makes the dead so living to me, by her own despair. She lives, shut up in the rooms where they lived together for sixteen years; she has not allowed a single article of furniture to be touched; she surrounds the man's accursed memory with the same pious reverence that my aunt formerly lavished on my unhappy father. I recognize the invincible influence of the dead in the pallor of her cheeks, the wrinkles in her eyelids, the white streaks in her hair. He disputes her with me from the darkness of his coffin; he takes her from me, hour by hour, and I am powerless against that love.

“I think that fantasy must possess the author and simply use him. I know that this is true of A Wrinkle in Time. I can’t possibly tell you how I came to write it. It was simply a book I had to write. I had no choice. And it was only after it was written that I realized what some of it meant.”

Madeleine L'Engle (1918–2007) American writer

The Expanding Universe (1963)
Context: I heard a famous author say once that the hardest part of writing a book was making yourself sit down at the typewriter. I know what he meant. Unless a writer works constantly to improve and refine the tools of his trade they will be useless instruments if and when the moment of inspiration, of revelation, does come. This is the moment when a writer is spoken through, the moment that a writer must accept with gratitude and humility, and then attempt, as best he can, to communicate to others.
A writer of fantasy, fairly tale, or myth must inevitably discover that he is not writing out of his own knowledge or experience, but out of something both deeper and wider. I think that fantasy must possess the author and simply use him. I know that this is true of A Wrinkle in Time. I can’t possibly tell you how I came to write it. It was simply a book I had to write. I had no choice. And it was only after it was written that I realized what some of it meant.
Very few children have any problem with the world of the imagination; it’s their own world, the world of their daily life, and it’s our loss that so many of us grow out of it.

Martin Luther King, Jr. photo

“If it may be said of the slavery era that the white man took the world and gave the Negro Jesus, then it may be said of the Reconstruction era that the southern aristocracy took the world and gave the poor white man Jim Crow. He gave him Jim Crow. And when his wrinkled stomach cried out for the food that his empty pockets could not provide, he ate Jim Crow, a psychological bird that told him that no matter how bad off he was, at least he was a white man, better than the black man.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1960s, How Long, Not Long (1965)
Context: If it may be said of the slavery era that the white man took the world and gave the Negro Jesus, then it may be said of the Reconstruction era that the southern aristocracy took the world and gave the poor white man Jim Crow. He gave him Jim Crow. And when his wrinkled stomach cried out for the food that his empty pockets could not provide, he ate Jim Crow, a psychological bird that told him that no matter how bad off he was, at least he was a white man, better than the black man. And he ate Jim Crow. And when his undernourished children cried out for the necessities that his low wages could not provide, he showed them the Jim Crow signs on the buses and in the stores, on the streets and in the public buildings. And his children, too, learned to feed upon Jim Crow, their last outpost of psychological oblivion. Thus, the threat of the free exercise of the ballot by the Negro and the white masses alike resulted in the establishment of a segregated society. They segregated southern money from the poor whites; they segregated southern mores from the rich whites; they segregated southern churches from Christianity; they segregated southern minds from honest thinking; and they segregated the Negro from everything. That’s what happened when the Negro and white masses of the South threatened to unite and build a great society: a society of justice where none would pray upon the weakness of others; a society of plenty where greed and poverty would be done away; a society of brotherhood where every man would respect the dignity and worth of human personality.

Aldous Huxley photo
Shaun Micallef photo
Charles Manson photo
Annie Ernaux photo
Alfred, Lord Tennyson photo