Feels Quotes - page 23
Webster is not concerned with humanity. He is the poet of bile and brainstorm, the sweet singer of apoplexy; ideally, one feels, he would have had all his characters drowned in a sea of cold sweat. His muse drew nourishment from Bedlam, and might, a few centuries later, have done the same from Belsen.
John Webster
When man is raised from his slumber in the senses, he feels that he is a man, he surveys his surroundings, and finds that he is in a state. He was introduced into this state, by the power of circumstances, before he could freely select his own position. But as a moral being he cannot possibly rest satisfied with a political condition forced upon him by necessity, and only calculated for that condition; and it would be unfortunate if this did satisfy him. In many cases man shakes off this blind law of necessity, by his free spontaneous action, of which among many others we have an instance, in his ennobling by beauty and suppressing by moral influence the powerful impulse implanted in him by nature in the passion of love.
Friedrich Schiller
Muslim politicians do not recognize secular categories of life as the basis of their politics because to them it means the weakening of the community in its fight against the Hindus. The poor Muslims will not join the poor Hindus to get justice from the rich. Muslim tenants will not join Hindu tenants to prevent the tyranny of the landlord. Muslim labourers will not join Hindu labourers in the fight of labour against the capitalist. Why? The answer is simple. The poor Muslim sees that if he joins in the fight of the poor aginst the rich, he may be fighting against a rich Muslim. The Muslim labourer feels that if he joins in the onslaught of labour against capitalist he will be injuring a Muslim mill-owner. He is conscious that any injury to a rich Muslim, to a Muslim landlord or to a Muslim mill-owner, is a disservice to the Muslim community, for it is thereby weakened in its struggle against the Hindu community.
Bhimrao Ramji Ambedkar
Carving is interrelated masses conveying an emotion; a perfect relationship between the mind and the colour, light and weight which is the stone, made by the hand which feels. It must be so essentially sculpture that it can exist in no other way, something completely the right size but which has growth, something still and yet having movement, so very quiet and yet with a real vitality.
Barbara Hepworth
Our sense of touch is a fundamental sensibility which comes into action at birth – our stereognostic sense – the ability to feel weight and form and assess its significance. The form which have had special meaning for me since childhood have been the standing form (which is the translation of my feelings towards the human being standing in the landscape) the two forms (which is the tender relation of one living thing besides another); and the closed form, such as the oval, spherical or pierced form (sometimes incorporating colour) which translates for me the association and meaning of gesture in landscape; in the repose of say a mother and child.... In all these shapes the translation of what one feels about man and nature must be conveyed by the sculptor in terms of mass, inner tension, and rhythm, scale in relation to our human size and the quality of surface which speaks through our hands and eyes.
Barbara Hepworth
A bullfighter can never see the work of art that he is making. He has no chance to correct it as a painter or writer has. He cannot hear it as a musician can. He can only feel it and hear the crowd's reaction to it. When he feels it and knows that it is great it takes hold of him so that nothing else in the world matters. All the time that he is making his work of art he knows that he must keep within the limits of his skill and his knowledge of the animal. Those matadors are called cold who visibly show that they are thinking of this. Antonio was not cold and the public belonged to him now. He looked up at them and let them know, modestly but not humbly, that he knew it and as he circled the ring with the ear in his hand he looked at the different segments of Bilbao, a city that he loved, as they stood up as he passed and was happy that he owned them.
Ernest Hemingway
Every so often, every artist feels: 'I'll never paint again. The muse has gone out the window.' In 1985 I hardly painted at all for three months, and it was agonizing. I looked at reproductions. I stared at Matisse. I stared at the Old Masters. I stared at the Quattrocento. And I thought to myself - Don't push it! If you try too hard to get at something, you almost push it away.
Helen Frankenthaler
