Depth Quotes - page 7
All old Poems, Homer's and the rest, are authentically Songs. I would say, in strictness, that all right Poems are; that whatsoever is not sung is properly no Poem, but a piece of Prose cramped into jingling lines,-to the great injury of the grammar, to the great grief of the reader, for most part! What we wants to get at is the thought the man had, if he had any: why should he twist it into jingle, if he could speak it out plainly? It is only when the heart of him is rapt into true passion of melody, and the very tones of him, according to Coleridge's remark, become musical by the greatness, depth and music of his thoughts, that we can give him right to rhyme and sing; that we call him a Poet, and listen to him as the Heroic of Speakers,-whose speech is Song.
Thomas Carlyle
As Cioran correctly points out, a principal danger of being overcivilized is that one all to easily relapses, out of sheer exhaustion and the unsatisfied need to be "stimulated,” into a vulgar and passive barbarism. Thus, "the man who unmasks his fictions” through an indiscriminate pursuit of the lucidity that is promoted by modern liberal culture "renounces his own resources and, in a sense, himself. Consequently, he will accept other fictions which will deny him, since they will not have cropped up from his own depth.” There, he concludes, "no man concerned with his own equilibrium may exceed a certain degree of lucidity and analysis.”.
Susan Sontag
Of the various plastic orientations developed over the past twenty-five years, abstract art is the most important, the most interesting.. .It is an extreme state which only a few creators and admirers are capable of achieving. The danger of this formula lies in the very elevation of its intention. Modelings, contrasts, objects have disappeared, leaving only very pure, very precise relations, and a few colors, a few lines; blank spaces, without depth. Add to this a respect for the vertical plane – thin, rigid, sharp. It is a true, incorruptible purism.
Fernand Léger
It must be emphasized that in seeing a work of art that has been composed by precise means, the viewer does not perceive dominant details. His impression is one of perfect balance to which all the parts contribute, an impression which not only applies to the parts as such, but is transmitted also to the relation existing between the work of art and the viewer. Although it is very difficult to express in words the effect of a work of art, it may be said that the viewer's deepest impression can best be defined as the achievement of a balance between objective meaning and subjective meaning, both directly penetrated by awareness. He has a sensation of height and of depth which are no longer in any way bound to natural conditions or to spatial dimensions, a sensation which places the viewer in a state of consciousness harmony.
Theo van Doesburg
My aim is always to get hold of the magic of reality and to transfer this reality in painting – to make the invisible visible through reality... What helps me most in this task is the penetration of space. Height, width and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space. My figures come and go, suggested by fortune or misfortune. I try to fix them divested of their apparent accidental quality.
Max Beckmann
Ah cannae feel any remorse, only anger and contempt. Ah seethed when ah saw that fuckin Union Jack oan his coffin, and that smarmy, wimpy cunt ay an officer, obviously oot ay his fuckin depth here, tryin to talk tae my Ma. Worse still, these Glasgow cunts, the auld boy's side, are here through en masse. They're fill ay shite aboot how Billy died in service ay his country n all that servile Hun crap. Billy wis a daft cunt, pure and simple. No a hero, no a martyr, just a daft cunt.
Irvine Welsh
![Very few people, including authors willing to commit to paper, ever really read primary sources-certainly not in necessary depth and comtemplation, and often not at all. [...] When writers close themselves off to the documents of scholarship, and then rely only on seeing or asking, they become conduits and sieves rather than thinkers. When, on the other hand, you study the great works of predecessors engaged in the same struggle, you enter a dialogue with human history and the rich variety of our own intellectual traditions. You insert yourself, and your own organizing powers, into this history-and you become an acive agent, not merely a "reporter.”. (Stephen Jay Gould)](https://cdn.quotesdtb.com/img/quotes_images_webp/91/stephen-jay-gould-agent-287591.webp)
As much as people pretend 'I fit in, I understand, I get the rules,' there are always times spent away from that where you go, 'I thought I knew. It seemed so clear to me, and then...' That sense of loneliness, or the sense of not fitting in or being out of depth, is probably the most common denominator.
David Fincher
When I contemplate the green serenity of the fields or look into the depths of clear eyes through which shines a fellow-soul, my consciousness dilates, I feel the diastole of the soul and am bathed in the flood of the life that flows about me, and I believe in my future; but instantly the voice of mystery whispers to me, "Thou shalt cease to be!" the angel of Death touches me with his wing, and the systole of the soul floods the depth of my spirit with the blood of divinity.
Miguel de Unamuno
The decisive weakness in neoclassical and neo-Keynesian economics is not the error in the assumptions by which it elides the problem of power. The capacity for erroneous belief is very great, especially where it coincides with convenience. Rather, in eliding power - in making economics a nonpolitical subject - neoclassical theory destroys its relation to the real world. In that world, power is decisive in what happens. And the problems of that world are increasing both in number and in the depth of their social affliction. In consequence, neoclassical and neo-Keynesian economics is relegating its players to the social sidelines where they either call no plays or use the wrong ones. To change the metaphor, they manipulate levers to which no machinery is attached.
John Kenneth Galbraith
