It was difficult to believe these things had taken place such a very long time ago. The events seemed distant, as though he had only read about them and not experienced them at all. He knew that at this point his death was far closer, far more tangible. That was something he could almost touch. One could feel one's mortal form progressing slowly to ruin, like that old abbey-the signs were undeniable. Things went wrong inside a man and did not come right again. That was the truth that hung over one's head like a blade. Injuries and illnesses were no longer easily repaired. And as with some part of a painting that he could never get right, the great danger was to see nothing but what was wrong. The trap of age.
Sean RussellRelated topics
age almost believe blade closer danger death far form went great hang head inside longer man mortal nothing painting place point read right ruin see something take tangible time touch trap truth wrong thingsRelated quotes
But I believe in the American people. I believe that we are not too far gone. I believe that people can watch and see the difference. They can feel the difference. When you watch Barack Obama, you can just see he is angry. When you watch Mitt Romney, you can see he is not. We are not an angry nation. We don't listen to demagogues like that. It doesn't work. No matter how much power he has amassed, no matter how many friends in the media he has, Americans know. And if they reject it this time, if they're so dead inside - that's a possibility - if they're so dead inside that they can no longer see the difference between good and evil, we have to be destroyed because we will be a remarkable evil on this planet.
Glenn Beck
When I paint an abstract picture (the problem is very much the same in other cases), I neither know in advance what it is meant to look like nor, during the painting process, what I am aiming at and what to do about getting there. Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings – like that of a person who possesses a given set of tools, materials and abilities and has the urgent desire to build something useful which is not allowed to be a house or a chair or anything else that has a name; who therefore hacks away in the vague hope that by working in a proper, professional way he will ultimately turn out something proper and meaningful.
Gerhard Richter
Let true Christians then, with becoming earnestness, strive in all things to recommend their profession, and to put to silence the vain scoffs of ignorant objectors. Let them boldly assert the cause of Christ in an age when so many, who bear the name of Christians, are ashamed of Him: and let them consider as devolved on Them the important duty of suspending for a while the fall of their country, and, perhaps, of performing a still more extensive service to society at large; not by busy interference in politics, in which it cannot but be confessed there is much uncertainty; but rather by that sure and radical benefit of restoring the influence of Religion, and of raising the standard of morality.
William Wilberforce
I have presented the periodic table as a kind of travel guide to an imaginary country, of which the elements are the various regions. This kingdom has a geography: the elements lie in particular juxtaposition to one another, and they are used to produce goods, much as a prairie produces wheat and a lake produces fish. It also has a history. Indeed, it has three kinds of history: the elements were discovered much as the lands of the world were discovered; the kingdom was mapped, just as the world was mapped, and the relative positions of the elements came to take on a great significance; and the elements have their own cosmic history, which can be traced back to the stars.
Peter Atkins
Since the Gothic, European sculpture had become overgrown with moss, weeds – all sorts of surface excrescences which completely concealed shape. It has been Brancusi's special mission to get rid of this overgrowth, and make us once more shape-conscious. To do this he has had to concentrate on very simple direct shapes, to keep his sculpture, as it were, one-cylindered, to refine and polish a single shape to a degree almost too precious.. ..it may now be no longer necessary to close down and restrict sculpture to the single form unit. We can now begin to open out. To relate and combine together several forms of varied sizes, sections, and directions into one organic whole.
Henry Moore
