Ship Quotes - page 24
For we Englysshe men ben borne under the domynacyon of the mone, whiche is never stedfaste but ever waverynge, wexynge one season and waneth and dyscreaseth another season. And that comyn Englysshe that is spoken in one shyre varyeth from a-nother, in so moche that in my dayes happened that certayn marchauntes were in a ship in Tamyse for to have sayled over the see into Zelande, and, for lacke of wynde, thei taryed atte Forlond, and wente to lande for to refreshe them. And one of theym named Sheffelde, a mercer, cam in to an hows and axed for mete and specyally he axyd after eggys, and the goode wyf answerde that she could speke no Frenshe. And the marchaunt was angry, for he also coude speke no Frenshe, but wolde have hadde egges; and she understode hym not. And thenne at laste a-nother sayd that he wolde have eyren. Then the good wyf sayd that she understod hym wel. Loo, what sholde a man in thyse dayes now wryte, egges, or eyren?
William Caxton
One time I was sitting in Sitka, Alaska-did you ever get a chance to go there? Beautiful. Like sometimes you just go someplace. I was at a writers' workshop. I was in Sitka, Alaska, and I was watching-you know, the eagles were capturing the salmon that had come in. And so there was like eagles diving down into the ocean, and, you know, the salmon. And there were bears. And I looked out there, and I saw this cruise ship coming into the left of my vision. And it came in, and I was like, "Oh, I don't like that.” The cruise ship came in, and then I watched that cruise ship turn a 180 and go exactly back out. And that's basically what we've got to do. You know, we have to make the next economy, and that next economy is going to be green. That next economy is going to have people like me making decisions. I'd like to be an architect for the next economy. I didn't like the last one.
Winona LaDuke
I remember one evening on the Tamar [river in South-west England]; the sun had set, and the shadows become very deep. Demaria, looking at a seventy-four [ship] lying under Saltash in Cornwall, said, 'You were right, Mr. Turner; the ports cannot be seen. The ship is one dark mass'. 'I told you so', said Turner: 'now you see it all is one mass of shade'. 'Yes, I see that is the truth, and yet the ports are there'. [Turner:] 'We can take only what we see, no matter what is there. There are people in the ship: we don't see them through the planks'. 'True', replied Demaria. There had been a discussion on the subject before between the two professional men, in which Turner had rightly observed that after sunset, under the hills, the port-holes were undiscernible. We now had ocular proof of it.
J. M. W. Turner
A composer's awareness of the plurality of functions of his own tools forms the basis for his responsibility just as, in everyday life, every man's responsibility begins with the recognition of the multiplicity of human races, conditions, needs, and ideals. I would go as far as to say (as my anger comes back) that any attempt to codify musical reality into a kind of imitation grammar (I refer mainly to the efforts associated with the Twelve-Tone System) is a brand of fetishism which shares with Fascism and racism the tendency to reduce live processes to immobile, labeled objects, the tendency to deal with formalities rather than substance. Claude Lévi-Strauss describes (though to illustrate a different point) a captain at sea, his ship reduced to a frail raft without sails, who, by enforcing a meticulous protocol on his crew, is able to distract them from nostalgia for a safe harbor and from the desire for a destination.
Luciano Berio