Element Quotes (displaying: 1 - 30 of 905 quotes )
Why not other elements besides fire, air, earth and water? There are four of them, just four, those foster parents of beings! What a pity! Why aren't there forty elements instead, or four hundred, or four thousand? How paltry everything is, how miserly, how wretched! Stingily given, aridly invented, heavily made!Why not other elements besides fire, air, earth and water? There are four of them, just four, those foster parents of beings! What a pity! Why aren't there forty elements instead, or four hundred, or four thousand? How paltry everything is, how miserly, how wretched! Stingily given, aridly invented, heavily made!
One of my favourite things to do when I write is to bring a sense of wonder to a normal everyday setting... Yes, there are magical elements, but there are also very down-to-earth elements and often what shines through isn’t the magic, but the lanterns that the characters light against the dark... If you substitute the words “fairy tale” or “myth” for “fantasy,” the reason I use these elements in my own work is that they create resonances that illuminate solutions to the real world struggle without the need for an authorial voice to point them out. Magic never solves the problems–we have to do that on our own–but in fiction it allows the dialogue to have a much more organic approach than the talking heads one can encounter in fiction that doesn’t utilize the same tools. [from the interview Year’s Best 2012: Charles de Lint on “A Tangle of Green Men”]
For the elements have the property of moving back to their place in a straight line, but they have no properties which would cause them to remain where they are, or to move other-wise than in a straight line, These rectilinear motions of these four elements when returning to their original place are are of two kinds, either centrifugal, vziz.> the motion of the air and the fire; or centripedal, viz.> the motion of the earth, and the water; and when the elements have reached their original place, they remain at rest.
The general rule which we have pretty much established among them is that in all experiences which can make them happier or better only the physical facts are 'real' while the spiritual elements are 'subjective'; in all experiences which can discourage or corrupt them the spiritual elements are the main reality and to ignore them is to be an escapist.
There are objects made up of two sense elements, one visual, the other auditory—the colour of a sunrise and the distant call of a bird. Other objects are made up of many elements—the sun, the water against the swimmer's chest, the vague quivering pink which one sees when the eyes are closed, the feeling of being swept away by a river or by sleep. These second degree objects can be combined with others; using certain abbreviations, the process is practically an infinite one. There are famous poems made up of one enormous word, a word which in truth forms a poetic object, the creation of the writer. The fact that no one believes that nouns refer to an actual reality means, paradoxically enough, that there is no limit to the numbers of them.
These were the first moments of a new existence, a strange one in which she already glimpsed the element of timelessness that would surround her. The person who frantically has been counting the seconds on his way to catch a train, and arrives panting just as it disappears, knowing the next one is not due for many hours, feels something of the same sudden surfeit of time, the momentary sensation of drowning in an element become too rich and too plentiful to be consumed, and thereby made meaningless, non-existent.
We fish rest quietly, on all sides supported, within an element which all the time accurately and unfailingly evens itself out. An element which may be said to have taken over our personal experience, in as much as, regardless of individual shape and whether we be flat fish or round fish, our weight and body and calculated according to the quantity of our surroundings which we displace...We run no risks. For our changing of place in existence never creates, or leaves after it, what man calls a way, upon which phenomenon - in reality no phenomenon but an illusion - he will waste inexplicable passionate deliberation. Man, in the end, is alarmed by the idea of time, and unbalanced by incessant wanderings between past and future.
Protestantism harbors within it certain elements – just as the Great Reformer himself harbored such elements within his personality. I am thinking here of a sentimentality, a trancelike self-hypnosis that is not European, that is foreign and hostile to our active hemisphere’s law of life. Just look at him, this Luther. Look at the portraits, both as a young man and later. What a skull, what cheekbones, what a strange set to the eyes. My friend, that is Asia. I would be surprised, would be astonished, if Wendish-Slavic-Sarmatian blood was not at work there, and if it was not this massive phenomenon of a man – and who would deny him that – who proved to be a fatal weight placed on one of the two precariously balanced scales of your nation, on the Eastern scale, which caused – and still causes – the Western scale to fly heavenward.
My house completed, and tried and not wanting by a first Cape Cod year, I went there to spend a fortnight in September. The fortnight ending, I lingered on, and as the year lengthened into autumn, the beauty and mystery of this earth and outer sea so possessed and held me that I could not go. The world to-day is sick to its thin blood for lack of elemental things, for fire before the hands, for water welling from the earth, for air, for the dear earth itself underfoot. In my world of beach and dunes these elemental presences lived and had their being, and under their arch there moved an incomparable pageant of nature and the year.
Thus we arrive at the singular conclusion that of all the information passed by our cultural assets it is precisely the elements which might be of the greatest importance to us and which have the task of solving the riddles of the universe and of reconciling us to the sufferings of life -- it is precisely those elements that are the least well authenticated of any.
It often happens that the real tragedies of life occur in suchan inartistic manner that they hurt us by their crude violence, theirabsolute incoherence, their absurd want of meaning, their entire lackof style. They affect us just as vulgarity affects us. They give usan impression of sheer brute force, and we revolt against that.Sometimes, however, a tragedy that possesses artistic elements ofbeauty crosses our lives. If these elements of beauty are real, thewhole thing simply appeals to our sense of dramatic effect. Suddenlywe find that we are no longer the actors, but the spectators of theplay. Or rather we are both. We watch ourselves, and the mere wonderof the spectacle enthralls us.
Behind all art is an element of desire...Love of life, of existence, love of another human being, love of human beings is in some way behind all art? even the most angry, even the darkest, even the most grief-stricken, and even the most embittered art has that element somewhere behind it. Because how could you be so despairing, so embittered, if you had not had something you loved that you lost?
The Lewis and Clark tale has all the all the elements that one would want to put into a movie. It has the, continual threat for life; it's got the thread of Indians; it's got disease. It has daily risk where these men may go under the water. It's got the fight with the elements. It's got the el the role of the unknown continually threatening them.