Andrew > Andrew's Quotes

“The Louis XIII style in perfumery, composed of the elements dear to that period - orris-powder, musk, civet and myrtle-water, already known by the name of angel-water - was scarcely adequate to express the cavalierish graces, the rather crude colours of the time which certain sonnets by Saint-Amand have preserved for us. Later on, with the aid of myrrh and frankincense, the potent and austere scents of religion, it became almost possible to render the stately pomp of the age of Louis XIV, the pleonastic artifices of classical oratory, the ample, sustained, wordy style of Bossuet and the other masters of the pulpit. Later still, the blase, sophisticated graces of French society under Louis XV found their interpreters more easily in frangipane and marechale, which offered in a way the very synthesis of the period. And then, after the indifference and incuriosity of the First Empire, which used eau-de-Cologne and rosemary to excess, perfumery followed Victor Hugo and Gautier and went for inspiration to the lands of the sun; it composed its own Oriental verses, its own highly spiced salaams, discovered intonations and audacious antitheses, sorted out and revived forgotten nuances which it complicated, subtilized and paired off, and in short resolutely repudiated the voluntary decrepitude to which it had been reduced by its Malesherbes, its Boileaus, its Andrieux, its Baour-Lormians, the vulgar distillers of its poems.”
― Joris-Karl Huysmans, Against Nature

“All the Navel therefore and conjunctive part we can suppose in Adam, was his dependency on his Maker, and the connexion he must needs have unto heaven, who was the Sonne of God. For holding no dependence on any preceding efficient but God; in the act of his production there may be conceived some connexion, and Adam to have been in a moment all Navel with his Maker. And although from his carnality and corporal existence, the conjunction seemeth no nearer than of causality and effect; yet in his immortall and diviner part he seemed to hold a nearer coherence, and an umbilicality even with God himself. And so indeed although the propriety of this part be found but in some animals, and many species there are which have no Navell at all; yet is there one link and common connexion, one general ligament, and necessary obligation of all whatever unto God. Whereby although they act themselves at distance, and seem to be at loose; yet doe they hold a continuity with their Maker. Which catenation or conserving union when ever his pleasure shall divide, let goe, or separate, they shall fall from their existence, essence, and operations; in brief, they must retire unto their primitive nothing, and shrink into that Chaos again.”
― Thomas Browne, Sir Thomas Browne's Pseudodoxia Epidemica

“Oh be careful! There they go again!" said the old queen as his string broke spilling his balls over the floor.... "Stop them will you, James, you worthless old shit! Don't just stand there and let the master's balls roll into the coal-bin!”
― William Burroughs, Naked Lunch

“Whatever a man knows, whatever is not mere rumbling and roaring that he has heard, can be said in three words.”
― Ferdinand Kürnberger

“As we drew nearer we could see that the three men fishing seemed old and solemn-looking men. They sat on three chairs in the punt and watched intently their lines. And the red sunset threw a mystic light upon the waters and tinged with fire the towering woods and made a golden glory of the piled-up clouds. It was an hour of deep enchantment of ecstatic hope and longing. The little sail stood out against the purple sky the gloaming lay around us wrapping the world in rainbow shadows and behind us crept the night.

We seemed like knights of some old legend sailing across some mystic lake into the unknown realm of twilight unto the great land of the sunset.

We did not go into the realm of twilight we went slap into that punt where those three old men were fishing. We did not know what had happened at first because the sail shut out the view but from the nature of the language that rose up upon the evening air we gathered that we had come into the neighbourhood of human beings and that they were vexed and discontented.”
― Jerome K. Jerome

“War does not determine who is right — only who is left.”
― Anonymous

“Gerard Manley Hopkins somewhere describes how he mesmerized a duck by drawing a line of chalk out in front of it. Think of me as the duck; the chalk, softly wearing itself away against the tiny pebbles embedded in the corporate concrete, is Joyce's forward-luring rough-smooth voice on the cassettes she gives me. Or, to substitute another image, since one is hardly sufficient in Joyce's case, when I let myself really enter her tape, when I let it surround me, it is as if I'm sunk into the pond of what she is saying, as if I'm some kind of patient, cruising amphibian, drifting in black water, entirely submerged except for my eyes, which blink every so often. Each word comes floating up to me like a thick, healthy lily pad and brushes past my head.”
― Nicholson Baker, The Fermata

“I saw an advertisement the other day for the secret of life. It said 'The secret of life can be yours for twenty-five shillings. Sent to Secret of Life Institute, Willesden.' So I wrote away, seemed a good bargain, secret of life, twenty-five shillings. And I got a letter back saying, 'If you think you can get the secret of life for twenty-five shillings, you don't deserve to have it. Send fifty shillings for the secret of life.”
― Peter Cook

“How vivid, still, are the seagoing smells? Oily bilges, fish entrails, a freshly lit cigarette drawn through salt paper? And at night, if you were not diving, the compressor's exhaust fumes, its lethal monoxides, barking and blattering our darkened boat's position for anyone to hear. But a shift of wind might gently lay its hand on a cheek and turn your head like a weathervane, pointing your nostrils into the smell of unseen land: forest and rot and copra, jasmine, mimosa and ylang-ylang. And you may have thought of the strangeness of it, sitting there in night's scented cocoon, propped up by nails and timber in the middle of the water while men you knew like brothers worked away in the fish mines far beneath the boat, their dim torchlight opening up fugitive seams and corridors. Their wooden goggles and floating hair.”
― James Hamilton-Paterson

“Tragedy's language stresses that whatever is within us is obscure, many faceted, impossible to see. Performance gave this question of what is within a physical force. The spectators were far away from the performers, on that hill above the theatre. At the centre of their vision was a small hut, into which they could not see. The physical action presented to their attention was violent but mostly unseen. They inferred it, as they inferred inner movement, from words spoken by figures whose entrances and exits into and out of the visible space patterned the play. They saw its results when that facade opened to reveal a dead body. This genre, with its dialectics of seen and unseen, inside and outside, exit and entrance, was a simultaneously internal and external, intellectual and somatic expression of contemporary questions about the inward sources of harm, knowledge, power, and darkness.”
― Ruth Padel, In and Out of the Mind: Greek Images of the Tragic Self

“A tap is a zero-length swipe.”
― Apple Inc.

“the pleached bower,
Where honeysuckles ripened by the sun
Forbid the sun to enter, like favorites
Made proud by princes, that advance their pride
Against that power that bred it.”
― William Shakespeare, Much Ado About Nothing

“هندوانه
بودای سبز
بر پیشخوان میوه فروش
لبخندش را گاز میزنیم
و دندانهایش را تف میکنیم

::

Watermelons
Green Buddhas
On the fruit stand.
We eat the smile
And spit out the teeth.”
― Charles Simic

“I look at the human sciences as poetic sciences in which there is no objectivity, and I see film as not being objective, and cinema verite as a cinema of lies that depends on the art of telling yourself lies. If you’re a good storyteller then the lie is more true than reality, and if you’re a bad one, the truth is worse than a half lie.”
― Jean Rouch

“When one tugs at a single thing in nature, he finds it attached to the rest of the world.”
― John Muir

“Love at first sight is a hypnosis: I am fascinated by an image: at first shaken, electrified, stunned, "paralysed" as Menon was by Socrates, the model of loved objects, of captivating images, or again converted by an apparition, nothing distinguishing the path of enamoration from the Road to Damascus; subsequently ensnared, held fast, immobilised, nose stuck to the image (the mirror). In that moment when the other's image comes to ravish me for the first time, I am nothing more than the Jesuit Athanasius Kirchner's wonderful Hen: feet tied, the hen went to sleep with her eyes fixed on the chalk line, which was traced not far from her beak; when she was untied, she remained motionless, fascinated, "submitting to her vanquisher," as the Jesuit says (1646); yet, to waken her from her enchantment, to break off the violence of her Image-repertoire (vehemens animalis imaginatio), it was enough to tap her on the wing; she shook herself and began pecking in the dust again.”
― Roland Barthes, A Lover's Discourse: Fragments

“I am courteous enough to assume that everyone in this so aesthetically voluptuous age, so potent and aroused that conception occurs as easily as with the partridge which, Aristotle says, needs only to hear the voice of the cock or its flight overhead - to assume that at the mere sound of the word 'concealment' everyone can easily shake a dozen romances and comedies from his sleeve.”
― Søren Kierkegaard, Fear and Trembling

“To say that a poet is justified in employing a disintegrating form in order to express a feeling of disintegration, is merely a sophistical justification for bad poetry, akin to the Whitmanian notion that one must write loose and sprawling poetry to "express" the loose and sprawling American continent. In fact, all feeling, if one gives oneself (that is, one's form) up to it, is a way of disintegration; poetic form is by definition a means to arrest the disintegration and order the feeling; and in so far as any poetry tends toward the formless, it fails to be expressive of anything.”
― Yvor Winters

“If it be true that there can be no metaphysics transcending human reason, it is no less true that there can be no empirical knowledge that is not already caught and limited by the a priori structure of cognition.”
― C.G. Jung, The Archetypes and the Collective Unconscious

“Animals have no unconscious, because they have a territory. Men have only had an unconscious since they lost a territory.”
― Jean Baudrillard, Simulacra and Simulation

“In another building, I was shown his [Mr Brunel's] manufactory of shoes, which, like the other, is full of ingenuity, and, in regard to subdivision of labour, brings this fabric on a level with the oft-admired manufactory of pins. Every step in it is effected by the most elegant and precise machinery; while as each operation is performed by one hand, so each shoe passes through twenty-five hands, who complete from the hide, as supplied by the currier, a hundred pair of strong and well-finished shoes per day. All the details are performed by ingenious applications of the mechanic powers, and all the parts are characterized by precision, uniformity, and accuracy. As each man performs but one step in the process, which implies no knowledge of what is done by those who go before or follow him, so the persons employed are not shoemakers, but wounded soldiers, who are able to learn their respective duties in a few hours. The contract at which these shoes are delivered to government is 6s. 6d. per pair, being at least 2s. less than what was paid previously for an unequal and cobbled article.

While, however, we admire these triumphs of mechanics, and congratulate society on the prospect of enjoying more luxuries at less cost of human labour, it ought not to be forgotten, that the general good in such cases is productive of great partial evils, against which a paternal government ought to provide. No race of workmen being proverbially more industrious than shoemakers, it is altogether unreasonable, that so large a portion of valuable members of society should be injured by improvements which have the ultimate effect of benefiting the whole.”
― Richard Phillips, A Morning's Walk from London to Kew

“Among the many things that I showed Sir John [Herschel] while at Hammerfield, was a piece of white calico on which I had got printed one million spots. This was for the purpose of exhibiting one million in visible form. In astronomical subjects a million is a sort of unit, and it occurred to me to show what a million really is. Sir John was delighted and astonished at the sight. He went carefully over the outstretched piece with his rule, measured its length and breadth, and verified its correctness.”
― James Nasmyth, James Nasmyth, Engineer: An Autobiography

“The sky [above Tehran] was like a star-eaten black blanket, and so far as I could read them its constellations were unfamiliar. Lawrence speaks somewhere of drawing 'strength from the depths of the universe'; Malcolm Lowry speaks about the deadness of the stars except when he looked at them with a particular girl; I had neither feeling. The founder of the Jesuits used to spend many hours under the stars; it is hard to be certain whether his first stirrings of scientific speculation or pre-scientific wonder about space and the stars in their own nature were some element in his affinity with starlight, or whether for him they were only a point of departure, but in this matter I think I am about fifty years more modern than Saint Ignatius; stars mean to me roughly what they meant to Donne's generation, a bright religious sand imposing the sense of an intrusion into human language, and arousing a certain personal thirst to be specific.”
― Peter Levi, The Light Garden of the Angel King: Travels in Afghanistan with Bruce Chatwin