
“Wrinkles should merely indicate where the smiles have been.”
A collection of quotes on the topic of wrinkle, age, herring, life.
“Wrinkles should merely indicate where the smiles have been.”
Source: Journal of a Solitude
“Their eyes mid many wrinkles, their eyes,
Their ancient, glittering eyes, are gay.”
Lapis Lazuli, st. 5
Last Poems (1936-1939)
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.
“Age does not bring you wisdom, age brings you wrinkles.”
Estelle Getty, ‘Golden Girls’ Matriarch, Dies at 84, New York Times, July 23, 2008
Fragment 58 Voigt
The Willis Barnstone translations, Old Age
“Wrinkles will only go where the smiles have been.”
Source: Sickened: The Memoir of a Munchausen by Proxy Childhood
“Women shouldn't iron, ever. It's our wrinkles that make us interesting.”
Source: Why My Third Husband Will Be a Dog: The Amazing Adventures of an Ordinary Woman
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.
“Beauty is but a flower
Which wrinkles will devour.”
Source: Summer's Last Will and Testament http://www.elizabethanauthors.com/summ1.htm (1600), lines 1588-1589.
The Autocrat of the Breakfast Table (1858)
“An Unprejudiced Mind,” pp. 319-320
Pretexts: Reflections on Literature and Morality (1964)
Section 4.10
The Crosswicks Journal, A Circle of Quiet (1972)
The Quality You Need Most, from Green Book Magazine (April 1914)
which opens the portals of death.
Un Art de Vivre (The Art of Living) (1939), The Art of Growing Old
The Earthly Paradise (1868-70), The Lady of the Land
"Upon his Picture"
Poems (pub. 1638)
Source: Epigrams, p. 360
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
Source: Introduction to Systems Philosophy (1972), p. 80.
The Song of Seventy.
A Thousand Lines (1846)
“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.
Book II, ode xiv, line 1 (trans. John Conington)
Odes (c. 23 BC and 13 BC)
"Adventures of Isabel" http://www.poemhunter.com/poem/adventures-of-isabel/
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,
“Women are not forgiven for aging. Robert Redford's lines of distinction are my old-age wrinkles.”
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
“Pleasures are always children, pains always have wrinkles.”
Quote in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, pp. 24-25
1920's, My life (1922)
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)
“I have got only one wrinkle, and I am sitting on it.”
Attributed in: Charlotte A. Spencer. Genes, Aging and Immortality. Pearson Prentice Hall, 2005. p. 6
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
“The wrinkles of a nation are as visible as those of an individual.”
The Temptation to Exist (1956)
“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)
Book II, ode xiv
Translations, The Odes and Carmen Saeculare of Horace (1863)
Letter to Colonel A. F. Rockwell (13 August 1866)
1860s
From Self Magazine, December 2010
“Snow White” [play], p. 309.
The Teachings of Don. B: Satires, Parodies, Fables, Illustrated Stories, and Plays of Donald Barthelme (1992)
Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 213.
Source: "Progress Towards Economic Stability", 1969, p. 101
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
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Source: Poems (1898), Rhymes And Rhythms, XIV
Penguins and Golden Calves (2003)
"The Smile of My Child", Naked (2002).
“Age imprints more wrinkles in the mind than it does on the face.”
Book III, Ch. 2
Attributed
Estelle Getty, ‘Golden Girls’ Matriarch, Dies at 84, New York Times, July 23, 2008
Source: Dialogues of the Soul and Mortal Self in Time (1975), p. 76
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.
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.
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.
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.
Source: Diane Sawyer interview (ABC, 1993)
Quoted in But Enough About Me by Nancy K. Miller (Columbia University Press, 2002), p. 96
Exteriors (1993)