TERMS STARTING WITH
Colour and light are always close to each other, colour being more indicative, light more dynamic. Colour incandescent be- comes light.
Colour indicates the pby of forces mental, physical and vital, but forces making for ealigbteiunent of these parts of the being.
Colours ::: , ,
Colours
colour depth {bits per pixel}
colourful ::: 1. Having striking colour; full of colour. 2. Striking in variety and interest.
colour ::: (graphics) (US color) Colours are usually represented as RGB triples in a digital image because this corresponds most closely to the electronic signals for each colour component, or each pixel may store a logical colour number which is looked up in a hardware colour palette to find the colour to display.Printers may use the CMYK or Pantone representations of colours as well as RGB. (1999-08-02)
colour "graphics" (US "color") Colours are usually represented as {RGB} triples in a {digital} {image} because this corresponds most closely to the electronic signals needed to drive a {CRT}. Several equivalent systems ("{colour models}") exist, e.g. {HSB}. A colour {image} may be stored as three separate images, one for each of red, green, and blue, or each {pixel} may encode the colour using separate {bit-fields} for each colour component, or each pixel may store a logical colour number which is looked up in a hardware {colour palette} to find the colour to display. Printers may use the {CMYK} or {Pantone} representations of colours as well as RGB. (1999-08-02)
colour look-up table {colour palette}
colour model "graphics" Any system for representing {colours} as {ordered sets} of numbers. The most common colour models are {RGB}, {CMYK}, and {HSB}. There are several others, e.g. {CMY}, and the "Lab" system(?). See also: {Pantone}. (1999-10-21)
colour model ::: (graphics) Any system for representing colours as ordered sets of numbers. The most common colour models are RGB, CMYK, and HSB. There are several others, e.g. CMY, and the Lab system(?).See also: Pantone. (1999-10-21)
colour ::: n. --> See Color.
colour palette "graphics, hardware" (colour look-up table, CLUT) A device which converts the {logical} colour numbers stored in each {pixel} of {video} memory into {physical} colours, normally represented as {RGB} triplets, that can be displayed on the {monitor}. The palette is simply a block of fast {RAM} which is addressed by the logical colour and whose output is split into the red, green and blue levels which drive the actual display (e.g. {CRT}). The number of entries (logical colours) in the palette is the total number of colours which can appear on screen simultaneously. The width of each entry determines the number of colours which the palette can be set to produce. A common example would be a palette of 256 colours (i.e. addressed by eight-bit pixel values) where each colour can be chosen from a total of 16.7 million colours (i.e. eight bits output for each of red, green and blue). Changes to the palette affect the whole screen at once and can be used to produce special effects which would be much slower to produce by updating pixels. (1997-06-03)
colour palette ::: (graphics, hardware) (colour look-up table, CLUT) A device which converts the logical colour numbers stored in each pixel of video memory into physical logical colour and whose output is split into the red, green and blue levels which drive the actual display (e.g. CRT).The number of entries (logical colours) in the palette is the total number of colours which can appear on screen simultaneously. The width of each entry determines the number of colours which the palette can be set to produce.A common example would be a palette of 256 colours (i.e. addressed by eight-bit pixel values) where each colour can be chosen from a total of 16.7 million colours (i.e. eight bits output for each of red, green and blue).Changes to the palette affect the whole screen at once and can be used to produce special effects which would be much slower to produce by updating pixels. (1997-06-03)
colour processing/vision: refers to the ability to see chromatic colours (hues) such as yellow, green and blue. Two theories have been proposed trichromatic and opponent process - but no satisfactory complete explanation exists.
COLOURS. ::: When the colours begin to lake definite shapes in the visions, it is a sign of some dynamic work of formation in the consciousness. The waves of colour mean a dynamic rush of forces.
TERMS ANYWHERE
1. A gradation or variety of a colour; tint. 2. Colour. 3. Form or appearance. 4. The complexion, appearance or aspect of a person. hues, hued, hueless, hue-robed, hue-winged, hundred-hued, many-hued.
1. A loose pliable covering for the head and neck, often attached to a robe or jacket. 2. Something resembling this in shape or use. 3. In animals, a conformation of parts (as in the cobra and the hooded seal), or arrangement of colour about the head or neck, resembling or suggesting a hood. hoods.
1. Disappeared gradually; vanished. 2. Having lost freshness, brilliance of colour, etc.
1. Not stained or discoloured; spotless, clean, pure. 2. Not morally stained or sullied; unblemished, untarnished.
1. To give light to; illuminate; shine on. 2. Make lighter or brighter. 3. To bestow spiritual enlightenment. 4. To enlighten, as with knowledge. 5. To make lucid or clear; throw light on (a subject). 6. To make resplendent or illustrious. 7. To decorate (a manuscript, book, etc.) with colours and gold or silver, as was often done in the Middle Ages. illumines, illumined, illumining, half-illumined.
1. Touchstone; a very smooth, fine-grained, black or dark-coloured variety of quartz or jasper (also called basanite), used for testing the quality of gold and silver alloys by the colour of the streak produced by rubbing them upon it; a piece of such stone used for this purpose. 2. *fig.* That which serves to test or try the genuineness or value of anything; a test, criterion.
3DO "company, games, standard" A set of specifications created and owned by the 3DO company, which is a partnership of seven different companies. These specs are the blueprint for making a 3DO Interactive Multiplayer and are licensed to hardware and software producers. A 3DO system has an {ARM60} 32-bit {RISC} {CPU} and a graphics engine based around two custom designed graphics and animation processors. It has 2 Megabytes of {DRAM}, 1 Megabyte of {VRAM}, and a double speed {CD-ROM} drive for main storage. The {Panasonic} 3DO system can run 3DO Interactive software, play audio CDs (including support for CD+G), view {Photo-CDs}, and will eventually be able to play {Video CDs} with a special add-on {MPEG}1 {full-motion video} cartridge. Up to 8 {controllers} can be {daisy-chain}ed on the system at once. A keyboard, mouse, light gun, and other peripherals may also some day be hooked into the system, although they are not currently available (December 1993). The 3DO can display {full-motion video}, fully {texture map}ped 3d landscapes, all in 24-bit colour. {Sanyo} and {AT&T} will also release 3DO systems. Sanyo's in mid 1994 and AT&T in late 1994. There will be a 3DO add-on cartridge based on the {PowerPC} to enable the 3DO to compete with {Sony}'s {Playstation} console and {Sega}'s {Saturn} console, both of which have a higher specification than the original 3DO. The add-on is commonly known as the M2 or Bulldog. It should hit the shops by Christmas 1995 and will (allegedly) do a million flat shaded polygons per second. {3DO Home (http://3do.com/)}. {Usenet} newsgroup: {news:rec.games.video.3do}. (1994-12-13)
8514 "hardware" An {IBM} graphics {display standard} supporting a {resolution} of 1024 x 768 {pixels} with 256 colours at 43.5 Hz ({interlaced}), or 640 x 480 at 60 Hz interlaced. 8514 was introduced at the same time as {VGA} and was superseded by {XGA}. (1999-08-01)
ablaze ::: 1. Burning; on fire. 2. Gleaming with bright lights, bold colours, etc.
absolute reality ::: Sri Aurobindo: "I would myself say that bliss and oneness are the essential condition of the absolute reality, and love as the most characteristic dynamic power of bliss and oneness must support fundamentally and colour their activities; . . . .” Letters on Yoga
accord ::: agreement or harmonious correspondence of things or their properties, as of colours or tints. Of sounds: Agreement in pitch and tone; harmony.
adityavarna ::: [having the colour of the sun]. [cf. Gita 8.9]
adj. 1. Lacking in colour or brightness, vividness, clearness, loudness, strength, etc. 2. Indistinct, ill-defined; dim; faded; slight. 3. Feeble through hunger, fear, exhaustion, etc. 4. Inclined to ‘faint" or swoon. faintest, faint-foot. v. 5. To lose strength, brightness, colour, courage etc.; to fade. 6. To grow weak. 7. To feel weak, dizzy or exhausted; falter; about to lose consciousness. 8. To weaken in purpose or spirit. faints, fainted, fainting.
ADVAITA. :::One Existence; the One without a second; non-dual, absolute and indivisible unity; Monism.
People are apt to speak of the Advaita as if it were identical with Mayavada monism, just as they speak of Vedanta as if it were identical with Advaita only; that is not the case. There are several forms of Indian philosophy which base themselves upon the One Reality, but they admit also the reality of the world, the reality of the Many, the reality of the differences of the Many as well as the sameness of the One (bhedābheda). But the Many exist in the One and by the One, the differences are variations in manifestation of that which is fundamentally ever the same. This we actually see in the universal law of existence where oneness is always the basis with an endless multiplicity and difference in the oneness; as for instance there is one mankind but many kinds of man, one thing called leaf or flower, but many forms, patterns, colours of leaf and flower. Through this we can look back into one of the fundamental secrets of existence, the secret which is contained in the one reality itself. The oneness of the Infinite is not something limited, fettered to its unity; it is capable of an infinite multiplicity. The Supreme Reality is an Absolute not limited by either oneness or multiplicity but simultaneously capable of both; for both are its aspects, although the oneness is fundamental and the multiplicity depends upon the oneness.
Wide Realistic Advaita.
. a ::: fiery colour; varn.a mixed with an element of agni .
Again, the pentagram or five-pointed star may take the place of the central point, in which case the pentagram symbolizes the microcosm or man, within the macrocosm or universe. “The double triangle representing symbolically, the Macrocosm, or great universe, contains in itself besides the idea of the duality (as shown in the two colours, and two triangles — the universe of Spirit and that of Matter) — those of the Unity, of the Trinity, of the Pythagorean Tetractys — the perfect Square — and up to the Dodecagon and the Dodecahedron” (BCW 3:313). See also SENARY; SEAL OF THE THEOSOPHICAL SOCIETY
AGNI. ::: Fire; Fire of Sacrifice; the Fire-God; Flame of Divine Force; illumined will; Divine Will; Fire of human aspiration; flame of purification or transformation in the psychic being; psychic fire.
The psychic fire is the fire of aspiration, purification and Tapasya.
Without Agni the sacrificial flame cannot bum on the altar of the soul. That flame of Agni is the seven-tongued power of the Will, a Force of God instinct with Knowledge. This conscious and forceful will is the immortal guest in our mortality, a pure priest and a divine worker, the mediator between earth and heaven. It carries what we offer to the higher Powers and brings back in return their force and light and joy into our humanity.
Agni and colours ::: the principle of Fire can manifest all the colours and the pure white fire is that which contains in itself all the colours.
ainsi n"est il pas assez rouge pour vous [French] ::: isn"t it red enough for you like this? (British possessions were traditionally coloured red or pink on world maps.)
akashic material ::: "subtle-gross etheric material" of any of seven kinds (called in ascending order chaya [shadow], dhūma [smoke], tejas [brilliance], jyotih. [light], vidyut [lightning] or varn.a [colour], agni [fire], and prakasa [radiance]) out of which akasarūpa and akasalipi are formed.
All depends upon the order of thin gs which the colours indi- cate in a particular case. There is an order of significances in which they indicate various psycbolo^cal dynamisms, c.g. faith, love, protection, etc. There is another order of significances In which they indicate the aura or the activity of divine beings,
Amal: “In occult vision the colour of the mind is either yellow or blue. The yellow intensifies into the gold of the Supramental and the blue into the Divine Mother’s compassionate infinity.”
Amal: “It’s a reference to a supra-terrestrial region. As far as I remember, Sri Aurobindo added another similar line when I wrote to him some Latin lines from Virgil about a region where everything was ‘purple’. The adjective ‘purple’ in Latin means a region beyond the earth, which has either this colour or is simply ‘shining’. Sri Aurobindo’s new line: ‘And griefless countries under purple suns’.”
amber ::: A pale yellow, sometimes reddish or brownish, fossil resin of vegetable origin, translucent, brittle, and capable of gaining a negative electrical charge by friction and of being an excellent insulator. 2. The yellowish-brown colour of resin.
amber ::: a pale yellow, sometimes reddish or brownish, fossil resin of vegetable origin, translucent, brittle, and capable of gaining a negative electrical charge by friction and of being an excellent insulator. 2. The yellowish-brown colour of resin.
amethyst ::: A purple or violet quartz; having the clear colour as of the precious stone. (Sri Aurobindo employs the word as an adj.)
amethyst ::: a purple or violet quartz; having the clear colour as of the precious stone. Sri Aurobindo uses the word as an adj."for Amethyst (the Mother)she has revealed that it has a power of protection” Huta
amethyst ::: A purple or violet quartz; having the clear colour as of the precious stone. Sri Aurobindo uses the word as an adj.
Amiga "computer" A range of home computers first released by {Commodore Business Machines} in early 1985 (though they did not design the original - see below). Amigas were popular for {games}, {video processing}, and {multimedia}. One notable feature is a hardware {blitter} for speeding up graphics operations on whole areas of the screen. The Amiga was originally called the Lorraine, and was developed by a company named "Amiga" or "Amiga, Inc.", funded by some doctors to produce a killer game machine. After the US game machine market collapsed, the Amiga company sold some {joysticks} but no Lorraines or any other computer. They eventually floundered and looked for a buyer. Commodore at that time bought the (mostly complete) Amiga machine, infused some money, and pushed it through the final stages of development in a hurry. Commodore released it sometime[?] in 1985. Most components within the machine were known by nicknames. The {coprocessor} commonly called the "Copper" is in fact the "{Video} Timing Coprocessor" and is split between two chips: the instruction fetch and execute units are in the "Agnus" chip, and the {pixel} timing circuits are in the "Denise" chip (A for address, D for data). "Agnus" and "Denise" were responsible for effects timed to the {real-time} position of the video scan, such as midscreen {palette} changes, {sprite multiplying}, and {resolution} changes. Different versions (in order) were: "Agnus" (could only address 512K of {video RAM}), "Fat Agnus" (in a {PLCC} package, could access 1MB of video RAM), "Super Agnus" (slightly upgraded "Fat Agnus"). "Agnus" and "Fat Agnus" came in {PAL} and {NTSC} versions, "Super Agnus" came in one version, jumper selectable for PAL or NTSC. "Agnus" was replaced by "Alice" in the A4000 and A1200, which allowed for more {DMA} channels and higher bus {bandwidth}. "Denise" outputs binary video data (3*4 bits) to the "Vidiot". The "Vidiot" is a hybrid that combines and amplifies the 12-bit video data from "Denise" into {RGB} to the {monitor}. Other chips were "Amber" (a "flicker fixer", used in the A3000 and Commodore display enhancer for the A2000), "Gary" ({I/O}, addressing, G for {glue logic}), "Buster" (the {bus controller}, which replaced "Gary" in the A2000), "Buster II" (for handling the Zorro II/III cards in the A3000, which meant that "Gary" was back again), "Ramsey" (The {RAM} controller), "DMAC" (The DMA controller chip for the WD33C93 {SCSI adaptor} used in the A3000 and on the A2091/A2092 SCSI adaptor card for the A2000; and to control the {CD-ROM} in the {CDTV}), and "Paula" ({Peripheral}, Audio, {UART}, {interrupt} Lines, and {bus Arbiter}). There were several Amiga chipsets: the "Old Chipset" (OCS), the "Enhanced Chipset" (ECS), and {AGA}. OCS included "Paula", "Gary", "Denise", and "Agnus". ECS had the same "Paula", "Gary", "Agnus" (could address 2MB of Chip RAM), "Super Denise" (upgraded to support "Agnus" so that a few new {screen modes} were available). With the introduction of the {Amiga A600} "Gary" was replaced with "Gayle" (though the chipset was still called ECS). "Gayle" provided a number of improvments but the main one was support for the A600's {PCMCIA} port. The AGA chipset had "Agnus" with twice the speed and a 24-bit palette, maximum displayable: 8 bits (256 colours), although the famous "{HAM}" (Hold And Modify) trick allows pictures of 256,000 colours to be displayed. AGA's "Paula" and "Gayle" were unchanged but AGA "Denise" supported AGA "Agnus"'s new screen modes. Unfortunately, even AGA "Paula" did not support High Density {floppy disk drives}. (The Amiga 4000, though, did support high density drives.) In order to use a high density disk drive Amiga HD floppy drives spin at half the rotational speed thus halving the data rate to "Paula". Commodore Business Machines went bankrupt on 1994-04-29, the German company {Escom AG} bought the rights to the Amiga on 1995-04-21 and the Commodore Amiga became the Escom Amiga. In April 1996 Escom were reported to be making the {Amiga} range again but they too fell on hard times and {Gateway 2000} (now called Gateway) bought the Amiga brand on 1997-05-15. Gateway licensed the Amiga operating system to a German hardware company called {Phase 5} on 1998-03-09. The following day, Phase 5 announced the introduction of a four-processor {PowerPC} based Amiga {clone} called the "{pre\box}". Since then, it has been announced that the new operating system will be a version of {QNX}. On 1998-06-25, a company called {Access Innovations Ltd} announced {plans (http://micktinker.co.uk/aaplus.html)} to build a new Amiga chip set, the {AA+}, based partly on the AGA chips but with new fully 32-bit functional core and 16-bit AGA {hardware register emulation} for {backward compatibility}. The new core promised improved memory access and video display DMA. By the end of 2000, Amiga development was under the control of a [new?] company called {Amiga, Inc.}. As well as continuing development of AmigaOS (version 3.9 released in December 2000), their "Digital Environment" is a {virtual machine} for multiple {platforms} conforming to the {ZICO} specification. As of 2000, it ran on {MIPS}, {ARM}, {PPC}, and {x86} processors. {(http://amiga.com/)}. {Amiga Web Directory (http://cucug.org/amiga.html)}. {amiCrawler (http://amicrawler.com/)}. Newsgroups: {news:comp.binaries.amiga}, {news:comp.sources.amiga}, {news:comp.sys.amiga}, {news:comp.sys.amiga.advocacy}, {news:comp.sys.amiga.announce}, {news:comp.sys.amiga.applications}, {news:comp.sys.amiga.audio}, {news:comp.sys.amiga.datacomm}, {news:comp.sys.amiga.emulations}, {news:comp.sys.amiga.games}, {news:comp.sys.amiga.graphics}, {news:comp.sys.amiga.hardware}, {news:comp.sys.amiga.introduction}, {news:comp.sys.amiga.marketplace}, {news:comp.sys.amiga.misc}, {news:comp.sys.amiga.multimedia}, {news:comp.sys.amiga.programmer}, {news:comp.sys.amiga.reviews}, {news:comp.sys.amiga.tech}, {news:comp.sys.amiga.telecomm}, {news:comp.Unix.amiga}. See {aminet}, {Amoeba}, {bomb}, {exec}, {gronk}, {guru meditation}, {Intuition}, {sidecar}, {slap on the side}, {Vulcan nerve pinch}. (2003-07-05)
Amiga ::: (computer) A range of home computers first released by Commodore Business Machines in early 1985 (though they did not design the original - see below). feature is a hardware blitter for speeding up graphics operations on whole areas of the screen.The Amiga was originally called the Lorraine, and was developed by a company named Amiga or Amiga, Inc., funded by some doctors to produce a killer game joysticks but no Lorraines or any other computer. They eventually floundered and looked for a buyer.Commodore at that time bought the (mostly complete) Amiga machine, infused some money, and pushed it through the final stages of development in a hurry. Commodore released it sometime[?] in 1985.Most components within the machine were known by nicknames. The coprocessor commonly called the Copper is in fact the Video Timing Coprocessor and is Agnus chip, and the pixel timing circuits are in the Denise chip (A for address, D for data).Agnus and Denise were responsible for effects timed to the real-time position of the video scan, such as midscreen palette changes, sprite the A4000 and A1200, which allowed for more DMA channels and higher bus bandwidth.Denise outputs binary video data (3*4 bits) to the Vidiot. The Vidiot is a hybrid that combines and amplifies the 12-bit video data from Denise into RGB to the monitor.Other chips were Amber (a flicker fixer, used in the A3000 and Commodore display enhancer for the A2000), Gary (I/O, addressing, G for glue logic), card for the A2000; and to control the CD-ROM in the CDTV), and Paula (Peripheral, Audio, UART, interrupt Lines, and bus Arbiter).There were several Amiga chipsets: the Old Chipset (OCS), the Enhanced Chipset (ECS), and AGA. OCS included Paula, Gary, Denise, and Agnus.ECS had the same Paula, Gary, Agnus (could address 2MB of Chip RAM), Super Denise (upgraded to support Agnus so that a few new screen modes were Gayle (though the chipset was still called ECS). Gayle provided a number of improvments but the main one was support for the A600's PCMCIA port.The AGA chipset had Agnus with twice the speed and a 24-bit palette, maximum displayable: 8 bits (256 colours), although the famous HAM (Hold And Modify) use a high density disk drive Amiga HD floppy drives spin at half the rotational speed thus halving the data rate to Paula.Commodore Business Machines went bankrupt on 1994-04-29, the German company Escom AG bought the rights to the Amiga on 1995-04-21 and the Commodore Amiga range again but they too fell on hard times and Gateway 2000 (now called Gateway) bought the Amiga brand on 1997-05-15.Gateway licensed the Amiga operating system to a German hardware company called Phase 5 on 1998-03-09. The following day, Phase 5 announced the introduction of a four-processor PowerPC based Amiga clone called the pre\box. Since then, it has been announced that the new operating system will be a version of QNX.On 1998-06-25, a company called Access Innovations Ltd announced to build a new Amiga chip set, the AA+, based partly on the AGA chips but with backward compatibility. The new core promised improved memory access and video display DMA.By the end of 2000, Amiga development was under the control of a [new?] company called Amiga, Inc.. As well as continuing development of AmigaOS (version 3.9 multiple platforms conforming to the ZICO specification. As of 2000, it ran on MIPS, ARM, PPC, and x86 processors. . . .Newsgroups: comp.binaries.amiga, comp.sources.amiga, comp.sys.amiga, comp.sys.amiga.advocacy, comp.sys.amiga.announce, comp.sys.amiga.applications, comp.sys.amiga.multimedia, comp.sys.amiga.programmer, comp.sys.amiga.reviews, comp.sys.amiga.tech, comp.sys.amiga.telecomm, comp.Unix.amiga.See aminet, Amoeba, bomb, exec, gronk, guru meditation, Intuition, sidecar, slap on the side, Vulcan nerve pinch.(2003-07-05)
EMOTIONAL CONSCIOUSNESS
Consciousness of the monad, in the emotional envelope (48:2-7).
By nature emotional consciousness is exclusively desire, or what the individual at the emotional stage perceives as dynamic will. At the stage of barbarism, before the individual&
angry fruit salad "abuse" A bad visual-interface design that uses too many colours. (This term derives, of course, from the bizarre day-glo colours found in canned fruit salad). Too often one sees similar effects from interface designers using colour window systems such as {X}; there is a tendency to create displays that are flashy and attention-getting but uncomfortable for long-term use. [{Jargon File}] (1995-11-24)
angry fruit salad ::: (abuse) A bad visual-interface design that uses too many colours. (This term derives, of course, from the bizarre day-glo colours found in canned fruit window systems such as X; there is a tendency to create displays that are flashy and attention-getting but uncomfortable for long-term use.[Jargon File] (1995-11-24)
Animated GIF "graphics, file format" (GIF89a) A variant of the {GIF} {image} format, often used on {web} pages to provide moving {icons} and banners. The GIF89a format supports multiple "frames" that give the impression of motion when displayed in sequence, much like a flip book. The animation may repeat continuously or play once. Animated GIFs aren't supported by earlier {web browsers}, however the first frame of the image is still shown. There are many utilities to create animated GIFs from a sequence of individual GIF files. There are also utilities that will produce animated GIFs automatically from a piece of text or a single image. One problem with this format is the size of the files produced, as they are by definition a sequence of individual images. Apart from minimising the number of frames, the best way to decrease file size is to assist the {LZW} compression by using blocks of solid colour, avoid {dithering}, and use fewer colours. If areas of an image don't change from one frame to another, they don't need to be redrawn so make the area a transparent block in the second frame. (1999-08-01)
Anthropolatry: (Gr.) The worshipping or cult of a human being conceived as a god, and conversely of a god conceived as a human being. The deification of individual human beings was practiced by most early civilizations, and added much colour to the folklore and religion of such countries as Egypt, Greece, India and Japan. The human origin of anthropolatry is illustrated by the failure of Alexander the Great to obtain divine honours from his soldiers. In contrast, the Shinto religion in Japan still considers the emperor as a "visible deity", and maintains shrines devoted to brave warriors or heroes. Monotheistic religions consider anthropolatry as a superstition. -- T.G.
anti-aliasing "graphics" A technique used on a {grey-scale} or colour {bitmap display} to make diagonal edges appear smoother by setting {pixels} near the edge to intermediate colours according to where the edge crosses them. The most common example is black characters on a white background. Without anti-aliasing, diagonal edges appear jagged, like staircases, which may be noticeable on a low {resolution} display. If the display can show intermediate greys then anti-aliasing can be applied. A pixel will be black if it is completely within the black area, or white if it is completely outside the black area, or an intermediate shade of grey according to the proportions of it which overlap the black and white areas. The technique works similarly with other foreground and background colours. "Aliasing" refers to the fact that many points (which would differ in the real image) are mapped or "aliased" to the same pixel (with a single value) in the digital representation. (1998-03-13)
anti-aliasing ::: (graphics) A technique used on a grey-scale or colour bitmap display to make diagonal edges appear smoother by setting pixels near the edge to intermediate colours according to where the edge crosses them.The most common example is black characters on a white background. Without anti-aliasing, diagonal edges appear jagged, like staircases, which may be overlap the black and white areas. The technique works similarly with other foreground and background colours.Aliasing refers to the fact that many points (which would differ in the real image) are mapped or aliased to the same pixel (with a single value) in the digital representation. (1998-03-13)
aryam varnam (Arya Varna) ::: [the colour (varna) of the arya]. [Ved.]
As Sri Aurobindo once wrote to Dilip Kumar Roy, (I paraphrase) ‘ The earth is a conscious being and the world is only the form it takes to manifest.’ This statement of the Avatar, predating the GAIA theory by many years and far surpassing it in its infinite scope, promises an earth returned to beauty to manifest, unknown to man, an inconceivable perfection. I once wrote to Mother with a question about what would happen to plants and flowers in the New Creation. Her reply filled me with joy and gratitude for She said that the flowers would be among the first to change (be transformed) because their entire life is an aspiration for light. Imagine the beauty to come with flowers brilliant with the Divine Light, colours such as never seen before, fragrances that can transofrm suffering and sorrow into a life free of pain and filled with joy.
aura ::: Aura An invisible energy field surrounding the human body, animals and plants. That part of the aura which surrounds the head is often depicted by artists as a halo to denote saints and enlightened beings. Everyone has an aura filled with many colours of different intensity which reflect the thoughts and emotions active in the nervous system, and which change according to a person's state of mind. The colours and intensity of a person's aura are said to show that person's true nature and intentions, as we cannot 'fake' the colour or characteristics of our auras.
aurasoma ::: Aura-Soma Aura-Soma is a method of divination using colour. It was devised in 1983 by Vicky Wall (1918-1991), a blind British chiropodist, pharmacist and herbalist who claimed she could see auras around people, animals and plants.
ava ::: the combination of all four aspects of daivi prakr.ti, in which Mahakali is the "inhabitant" of the Mahasarasvati"continent" on the basis of the calm of Mahesvari and with the colouring of Mahalaks.mi. quaternary d dasya
azure ::: a light shade of blue resembling the colour of the clear sky in the daytime.
Colour and light are always close to each other, colour being more indicative, light more dynamic. Colour incandescent be- comes light.
Colour indicates the pby of forces mental, physical and vital, but forces making for ealigbteiunent of these parts of the being.
Colours ::: , ,
Colours
beauty ::: the quality present in a thing or person that gives intense pleasure or deep satisfaction to the mind, whether arising from sensory manifestations (as shape, colour, sound, etc.), a meaningful design or pattern, or something else, (as a personality in which high spiritual qualities are manifest). Beauty, beauty"s, Beauty"s, beauty-drenched, earth-beauty"s.
bitmap "graphics, file format" A data file or structure which corresponds {bit} for bit with an {image} displayed on a screen, probably in the same format as it would be stored in the display's {video memory} or maybe as a {device independent bitmap}. A bitmap is characterised by the width and height of the image in {pixels} and the number of bits per pixel which determines the number of shades of grey or colours it can represent. A bitmap representing a coloured image (a "{pixmap}") will usually have pixels with between one and eight bits for each of the red, green, and blue components, though other colour encodings are also used. The green component sometimes has more bits that the other two to cater for the human eye's greater discrimination in this component. See also {vector graphics}, {image formats}. (1996-09-21)
bitonal image "graphics" An {image} consisting only of a foreground colour and a background colour. Compare {monochrome}. (1998-03-14)
bitonal image ::: (graphics) An image consisting only of a foreground colour and a background colour.Compare monochrome. (1998-03-14)
bits per pixel ::: (hardware, graphics) (bpp) The number of bits of information stored per pixel of an image or displayed by a graphics adapter. The more bits there are, the more colours can be represented, but the more memory is required to store or display the image.A colour can be described by the intensities of red, green and blue (RGB) components. Allowing 8 bits (1 byte) per component (24 bits per pixel) gives 256 human eye can distinguish. Microsoft Windows [and others?] calls this truecolour. An image of 1024x768 with 24 bpp requires over 2 MB of memory.High colour uses 16 bpp (or 15 bpp), 5 bits for blue, 5 bits for red and 6 bits for green. This reduced colour precision gives a slight loss of image quality at a 1/3 saving on memory.Standard VGA uses a palette of 16 colours (4 bpp), each colour in the palette is 24 bit. Standard SVGA uses a palette of 256 colours (8 bpp).Some graphics hardware and software support 32-bit colour depths, including an 8-bit alpha channel for transparency effects. (1999-08-01)
bits per pixel "hardware, graphics" (bpp) The number of {bits} of information stored per {pixel} of an {image} or displayed by a {graphics adapter}. The more bits there are, the more colours can be represented, but the more memory is required to store or display the image. A colour can be described by the intensities of red, green and blue ({RGB}) components. Allowing 8 {bits} (1 {byte}) per component (24 bits per pixel) gives 256 levels for each component and over 16 million different colours - more than the human eye can distinguish. {Microsoft Windows} [and others?] calls this {truecolour}. An image of 1024x768 with 24 bpp requires over 2 MB of memory. "High colour" uses 16 bpp (or 15 bpp), 5 bits for blue, 5 bits for red and 6 bits for green. This reduced colour precision gives a slight loss of image quality at a 1/3 saving on memory. Standard {VGA} uses a {palette} of 16 colours (4 bpp), each colour in the palette is 24 bit. Standard {SVGA} uses a {palette} of 256 colours (8 bpp). Some graphics hardware and software support 32-bit colour depths, including an 8-bit "{alpha channel}" for transparency effects. (1999-08-01)
BJC4000 A colour {bubble jet} printer from {Canon}. Released in September 1994. It features 720 x 360 dots per inch in black and white mode and 360 x 360 in colour. It has two cartridges: one for black and one for the three primary colours so it prints true black when printing in colour. (1994-11-29)
BJC4000 ::: A colour bubble jet printer from Canon. Released in September 1994. It features 720 x 360 dots per inch in black and white mode and 360 x 360 in colour. It has two cartridges: one for black and one for the three primary colours so it prints true black when printing in colour. (1994-11-29)
blaze ::: n. 1. A brilliant burst of fire, a bright glowing flame. 2. A brilliant, striking display; a brilliant light; resplendent with bright colour. 3. A steady, clear light. 4. Fig. An intense outburst of passion, etc. ::: sun-blaze. v. 5. blazed.
Bliss and oneness are the essential condition of the absolute reality, and love as the most characteristic dynamic power of bliss and oneness must support fundamentally and colour their activities.
Blue ::: Fundamental colour of the Ananda ; Krishna’s special and significant colour, the colour of his aura when he manifests ;
book titles "publication" There is a tradition in hackerdom of informally tagging important textbooks and standards documents with the dominant colour of their covers or with some other conspicuous feature of the cover. Many of these are described in {this dictionary} under their own entries. See {Aluminum Book}, {Blue Book}, {Cinderella Book}, {Devil Book}, {Dragon Book}, {Green Book}, {Orange Book}, {Pink-Shirt Book}, {Purple Book}, {Red Book}, {Silver Book}, {White Book}, {Wizard Book}, {Yellow Book}, {bible}, {rainbow series}. [{Jargon File}] (1996-12-03)
book titles ::: (publication) There is a tradition in hackerdom of informally tagging important textbooks and standards documents with the dominant colour of their Pink-Shirt Book, Purple Book, Red Book, Silver Book, White Book, Wizard Book, Yellow Book, bible, rainbow series.[Jargon File] (1996-12-03)
brain ventricles: cavities in the brain that contain a clear, colourless fluid called cerebrospinal fluid which acts as a buffer against damage caused by blows to the head.
brightness "graphics" (Or "tone", "luminance", "value", "luminosity", "lightness") The coordinate in the {HSB} {colour model} that determines the total amount of light in the colour. Zero brightness is black and 100% is white, intermediate values are "light" or "dark" colours. The other coordinates are {hue} and {saturation}. (1999-07-05)
brightness ::: (graphics) (Or tone, luminance, value, luminosity, lightness) The coordinate in the HSB colour model that determines the total amount of light in the colour. Zero brightness is black and 100% is white, intermediate values are light or dark colours.The other coordinates are hue and saturation. (1999-07-05)
broadcast quality video "communications, multimedia" Roughly, {video} with more than 30 frames per second at a {resolution} of 800 x 640 {pixels}. The quality of moving pictures and sound is determined by the complete chain from camera to receiver. Relevant factors are the colour temperature of the lighting, the balance of the red, green and blue vision pick-up tubes to produce the correct display colour temperature (which will be different) and the {gamma} pre-correction to cancel the non-linear characteristic of {cathode-ray tubes} in television receivers. The {resolution} of the camera tube and video coding system will determine the maximum number of {pixels} in the picture. Different colour coding systems have different defects. The NTSC system (National Television Systems Committee) can produce {hue} errors. The PAL system (Phase Alternation by Line) can produce {saturation} errors. Television modulation systems are specified by ITU CCIR Report 624. Low-resolution systems have {bandwidths} of 4.2 MHz with 525 to 625 lines per frame as used in the Americas and Japan. Medium resolution of 5 to 6.5 MHz with 625 lines is used in Europe, Asia, Africa and Australasia. {High-Definition Television} (HDTV) will require 8 MHz or more of bandwidth. A medium resolution (5.5 MHz in UK) picture can be represented by 572 lines of 402 pixels. Note the ratio of pixels to lines is not the same as the {aspect ratio}. A {VGA} display (480n lines of 640 pixels) could thus display 84% of the height of one picture frame. Most compression techniques reduce quality as they assume a restricted range of detail and motion and discard details to which the human eye is not sensitive. Broadcast quality implies something better than amateur or domestic video and therefore can't be retained on a domestic video recorder. Broadcasts use quadriplex or U-matic recorders. The lowest frame rate used for commercial entertainment is the 24Hz of the 35mm cinema camera. When broadcast on a 50Hz television system, the pictures are screened at 25Hz reducing the running times by 4%. On a 60Hz system every five movie frames are screened as six TV frames, still at the 4% increased rate. The six frames are made by mixing adjacent frames, with some degradation of the picture. A computer system to meet international standard reproduction would at least VGA resolution, an interlaced frame rate of 24Hz and 8 bits to represent the luminance (Y) component. For a component display system using red, green and blue (RGB) electron guns and phosphor dots each will require 7 bits. Transmission and recording is different as various coding schemes need less bits if other representations are used instead of RGB. Broadcasts use YUV and compression can reduce this to about 3.5 bits per pixel without perceptible degradation. High-quality video and sound can be carried on a 34 Mbaud channel after being compressed with {ADPCM} and {variable length coding}, potentially in real time. (1997-07-04)
broadcast quality video ::: (communications, multimedia) Roughly, video with more than 30 frames per second at a resolution of 800 x 640 pixels.The quality of moving pictures and sound is determined by the complete chain from camera to receiver. Relevant factors are the colour temperature of the television receivers. The resolution of the camera tube and video coding system will determine the maximum number of pixels in the picture.Different colour coding systems have different defects. The NTSC system (National Television Systems Committee) can produce hue errors. The PAL system (Phase Alternation by Line) can produce saturation errors.Television modulation systems are specified by ITU CCIR Report 624. Low-resolution systems have bandwidths of 4.2 MHz with 525 to 625 lines per 625 lines is used in Europe, Asia, Africa and Australasia. High-Definition Television (HDTV) will require 8 MHz or more of bandwidth.A medium resolution (5.5 MHz in UK) picture can be represented by 572 lines of 402 pixels. Note the ratio of pixels to lines is not the same as the aspect ratio. A VGA display (480n lines of 640 pixels) could thus display 84% of the height of one picture frame.Most compression techniques reduce quality as they assume a restricted range of detail and motion and discard details to which the human eye is not sensitive.Broadcast quality implies something better than amateur or domestic video and therefore can't be retained on a domestic video recorder. Broadcasts use quadriplex or U-matic recorders.The lowest frame rate used for commercial entertainment is the 24Hz of the 35mm cinema camera. When broadcast on a 50Hz television system, the pictures are six frames are made by mixing adjacent frames, with some degradation of the picture.A computer system to meet international standard reproduction would at least VGA resolution, an interlaced frame rate of 24Hz and 8 bits to represent the after being compressed with ADPCM and variable length coding, potentially in real time. (1997-07-04)
Caltech Intermediate Form ::: (language) (CIF) A geometry language for VLSI design, in which the primitives are coloured rectangles.[Introduction to VLSI Systems, Mead & Conway, A-W 1980, Section 4.5]. (1995-01-25)
Caltech Intermediate Form "language" (CIF) A geometry language for {VLSI} design, in which the primitives are coloured rectangles. ["Introduction to VLSI Systems", Mead & Conway, A-W 1980, Section 4.5]. (1995-01-25)
Cascading Style Sheets "web" (CSS) An extension to {HTML} to allow styles, e.g. colour, {font}, size to be specified for certain elements of a {hypertext} document. Style information can be included in-line in the HTML file or in a separate CSS file (which can then be easily shared by multiple HTML files). Multiple levels of CSS can be used to allow selective overriding of styles. {(http://w3.org/Style/CSS/)}. (2000-07-26)
Cascading Style Sheets ::: (World-Wide Web) (CSS) An extension to HTML to allow styles, e.g. colour, font, size to be specified for certain elements of a hypertext document. Style (which can then be easily shared by multiple HTML files). Multiple levels of CSS can be used to allow selective overriding of styles. .(2000-07-26)
chameleon ::: any of numerous Old World lizards of the family Chamaeleontidae, characterized by the ability to change the colour of their skin, very slow locomotion, and a projectile tongue.
charge-coupled device "electronics" (CCD) A semiconductor technology used to build light-sensitive electronic devices such as cameras and image scanners. CCDs can be made to detect either colour or black-and-white. Each CCD chip consists of an array of light-sensitive photocells. The photocell is sensitised by giving it an electrical charge prior to exposure. (2006-04-29)
Chenresi (Tibetan) spyan ras gzigs (chen-re-zi, or chen-re-si) [short for spyan ras gzigs dbang phyug (chen-re-zi-wang-chung) from spyan ras penetrating vision (cf Sanskrit avalokita) + gzigs forms (cf Sanskrit rūpa) + dbang phyug lord (cf Sanskrit īśvara)] The Lord who sees forms with his penetrating vision; translation of Sanskrit Avalokitesvara. Exoterically Chenresi is the greatest protector of Asia in general and Tibet in particular, mystically considered to have eleven heads and a thousand arms, each with an eye in the palm of the hand, these arms radiating from his body like a forest of rays: the thousand eyes representing him as on the outlook to discover distress and to succor the troubled. In this form his name is Chantong (he of the thousand eyes) and Jigtengonpo (protector and savior against evil). “Even the exoteric appearance of Dhyani Chenresi is suggestive of the esoteric teaching. He is evidently, like Daksha, the synthesis of all the preceding Races and the progenitor of all the human Races after the Third, the first complete one, and thus is represented as the culmination of the four primeval races in his eleven-faced form. It is a column built in four rows, each series having three faces or heads of different complexions: the three faces for each race being typical of its three fundamental physiological transformations. The first is white (moon-coloured); the second is yellow, the third, red-brown; the fourth, in which are only two faces — the third face being left a blank — (a reference to the untimely end of the Atlanteans) is brown-black. Padmapani (Daksha) is seated on the column, and forms the apex” (SD 2:178).
chequerboard ::: a board on which chess and checkers are played, divided into 64 squares of two alternating colours.
chequered ::: 1. Marked by numerous and various shifts and changes. 2. Marked by dubious episodes; suspect in character or quality. 3. Diversified in colour, variegated.
Christmas tree packet "networking" (Or kamikaze packet) A {packet} with every single option set for whatever {protocol} is in use. The term doubtless derives from a fanciful image of each little option bit being represented by a different-coloured light bulb, all turned on. {RFC 1025}, "TCP and IP Bake Off" says: 10 points for correctly being able to process a "Kamikaze" packet (AKA {nastygram}, Christmas tree packet, lamp test segment, et al.). That is, correctly handle a segment with the maximum combination of features at once (e.g. a SYN URG PUSH FIN segment with options and data). Compare: {Chernobyl packet}. [{Jargon File}] (1994-11-09)
Christmas tree packet ::: (networking) (Or kamikaze packet) A packet with every single option set for whatever protocol is in use. The term doubtless derives from a fanciful image of each little option bit being represented by a different-coloured light bulb, all turned on.RFC 1025, TCP and IP Bake Off says:10 points for correctly being able to process a Kamikaze packet (AKA nastygram, Christmas tree packet, lamp test segment, et al.). That is, correctly handle a segment with the maximum combination of features at once (e.g. a SYN URG PUSH FIN segment with options and data).Compare: Chernobyl packet.[Jargon File] (1994-11-09)
chromatic number ::: (mathematics) The smallest number of colours necessary to colour the nodes of a graph so that no two adjacent nodes have the same colour.See also: four colour map theorem. . . .(2000-03-18)
chromatic number "mathematics" The smallest number of colours necessary to colour the nodes of a {graph} so that no two adjacent nodes have the same colour. See also: {four colour map theorem}. {Graph Theory Lessons (http://utc.edu/~cpmawata/petersen/lesson8.htm)}. {Eric Weisstein's World Of Mathematics (http://mathworld.wolfram.com/ChromaticNumber.html)}. {The Geometry Center (http://geom.umn.edu/~zarembe/grapht1.html)}. (2000-03-18)
chrysoprase ::: a brittle, translucent, semiprecious chalcedony (q.v.), a variety of the silica mineral quartz. It owes its bright apple-green colour to colloidally dispersed hydrated nickel silicate. Valued in ancient times as it shone in the dark.
CLUT {colour palette}
CMYK "graphics" cyan, magenta, yellow, key. A {colour model} that describes each {colour} in terms of the quantity of each secondary colour (cyan, magenta, yellow), and "key" (black) it contains. The CMYK system is used for printing. For mixing of pigments, it is better to use the secondary colours, since they mix subtractively instead of additively. The secondary colours of light are cyan, magenta and yellow, which correspond to the primary colours of pigment (blue, red and yellow). In addition, although black could be obtained by mixing these three in equal proportions, in four-colour printing it always has its own ink. This gives the CMYK model. The K stands for "Key' or 'blacK,' so as not to cause confusion with the B in {RGB}. Alternative colour models are {RGB} and {HSB}. (1994-12-22)
CMYK ::: (graphics) cyan, magenta, yellow, key.A colour model that describes each colour in terms of the quantity of each secondary colour (cyan, magenta, yellow), and key (black) it contains. The printing it always has its own ink. This gives the CMYK model. The K stands for Key' or 'blacK,' so as not to cause confusion with the B in RGB.Alternative colour models are RGB and HSB. (1994-12-22)
color {colour}
color model {colour model}
color ::: (spelling) American spelling of colour. (1996-12-13)
colour depth {bits per pixel}
colourful ::: 1. Having striking colour; full of colour. 2. Striking in variety and interest.
colour ::: (graphics) (US color) Colours are usually represented as RGB triples in a digital image because this corresponds most closely to the electronic signals for each colour component, or each pixel may store a logical colour number which is looked up in a hardware colour palette to find the colour to display.Printers may use the CMYK or Pantone representations of colours as well as RGB. (1999-08-02)
colour "graphics" (US "color") Colours are usually represented as {RGB} triples in a {digital} {image} because this corresponds most closely to the electronic signals needed to drive a {CRT}. Several equivalent systems ("{colour models}") exist, e.g. {HSB}. A colour {image} may be stored as three separate images, one for each of red, green, and blue, or each {pixel} may encode the colour using separate {bit-fields} for each colour component, or each pixel may store a logical colour number which is looked up in a hardware {colour palette} to find the colour to display. Printers may use the {CMYK} or {Pantone} representations of colours as well as RGB. (1999-08-02)
colour look-up table {colour palette}
colour model "graphics" Any system for representing {colours} as {ordered sets} of numbers. The most common colour models are {RGB}, {CMYK}, and {HSB}. There are several others, e.g. {CMY}, and the "Lab" system(?). See also: {Pantone}. (1999-10-21)
colour model ::: (graphics) Any system for representing colours as ordered sets of numbers. The most common colour models are RGB, CMYK, and HSB. There are several others, e.g. CMY, and the Lab system(?).See also: Pantone. (1999-10-21)
colour ::: n. --> See Color.
colour palette "graphics, hardware" (colour look-up table, CLUT) A device which converts the {logical} colour numbers stored in each {pixel} of {video} memory into {physical} colours, normally represented as {RGB} triplets, that can be displayed on the {monitor}. The palette is simply a block of fast {RAM} which is addressed by the logical colour and whose output is split into the red, green and blue levels which drive the actual display (e.g. {CRT}). The number of entries (logical colours) in the palette is the total number of colours which can appear on screen simultaneously. The width of each entry determines the number of colours which the palette can be set to produce. A common example would be a palette of 256 colours (i.e. addressed by eight-bit pixel values) where each colour can be chosen from a total of 16.7 million colours (i.e. eight bits output for each of red, green and blue). Changes to the palette affect the whole screen at once and can be used to produce special effects which would be much slower to produce by updating pixels. (1997-06-03)
colour palette ::: (graphics, hardware) (colour look-up table, CLUT) A device which converts the logical colour numbers stored in each pixel of video memory into physical logical colour and whose output is split into the red, green and blue levels which drive the actual display (e.g. CRT).The number of entries (logical colours) in the palette is the total number of colours which can appear on screen simultaneously. The width of each entry determines the number of colours which the palette can be set to produce.A common example would be a palette of 256 colours (i.e. addressed by eight-bit pixel values) where each colour can be chosen from a total of 16.7 million colours (i.e. eight bits output for each of red, green and blue).Changes to the palette affect the whole screen at once and can be used to produce special effects which would be much slower to produce by updating pixels. (1997-06-03)
colour processing/vision: refers to the ability to see chromatic colours (hues) such as yellow, green and blue. Two theories have been proposed trichromatic and opponent process - but no satisfactory complete explanation exists.
COLOURS. ::: When the colours begin to lake definite shapes in the visions, it is a sign of some dynamic work of formation in the consciousness. The waves of colour mean a dynamic rush of forces.
computer vision "application" A branch of {artificial intelligence} and {image processing} concerned with computer processing of images from the real world. Computer vision typically requires a combination of low level {image processing} to enhance the image quality (e.g. remove noise, increase contrast), {pattern recognition} to recognise features such as lines, areas and colours and {image understanding} to translate these features into knowledge about the objects in the scene. {Usenet} newsgroup: {news:comp.ai.vision}. (2012-12-25)
cones: photoreceptor cells located in the centre of the retina that allow us to see colour.
::: "Consciousness is usually identified with mind, but mental consciousness is only the human range which no more exhausts all the possible ranges of consciousness than human sight exhausts all the gradations of colour or human hearing all the gradations of sound — for there is much above or below that is to man invisible and inaudible. So there are ranges of consciousness above and below the human range, with which the normal human has no contact and they seem to it unconscious, — supramental or overmental and submental ranges.” *Letters on Yoga
“Consciousness is usually identified with mind, but mental consciousness is only the human range which no more exhausts all the possible ranges of consciousness than human sight exhausts all the gradations of colour or human hearing all the gradations of sound—for there is much above or below that is to man invisible and inaudible. So there are ranges of consciousness above and below the human range, with which the normal human has no contact and they seem to it unconscious,—supramental or overmental and submental ranges.” Letters on Yoga
constraint satisfaction "application" The process of assigning values to {variables} while meeting certain requirements or "{constraints}". For example, in {graph colouring}, a node is a variable, the colour assigned to it is its value and a link between two nodes represents the constraint that those two nodes must not be assigned the same colour. In {scheduling}, constraints apply to such variables as the starting and ending times for tasks. The {Simplex} method is one well known technique for solving numerical constraints. The search difficulty of constraint satisfaction problems can be determined on average from knowledge of easily computed structural properties of the problems. In fact, hard instances of {NP-complete} problems are concentrated near an abrupt transition between under- and over-constrained problems. This transition is analogous to phase transitions in physical systems and offers a way to estimate the likely difficulty of a constraint problem before attempting to solve it with search. {Phase transitions in search (ftp://parcftp.xerox.com/pub/dynamics/constraints.html)} (Tad Hogg, {XEROX PARC}). (1995-02-15)
constraint satisfaction ::: (application) The process of assigning values to variables while meeting certain requirements or constraints. For example, in graph colouring, a node same colour. In scheduling, constraints apply to such variables as the starting and ending times for tasks.The Simplex method is one well known technique for solving numerical constraints.The search difficulty of constraint satisfaction problems can be determined on average from knowledge of easily computed structural properties of the problems. the likely difficulty of a constraint problem before attempting to solve it with search. (1995-02-15)
content-free ::: 1. (By analogy with context-free) Used of a message that adds nothing to the recipient's knowledge. Though this adjective is sometimes applied to flamage, it hand. Perhaps most used with reference to speeches by company presidents and other professional manipulators.See also four-colour glossies.2. Within British schools the term refers to general-purpose software such as a word processor, a spreadsheet or a program that tests spelling of words supplied software can be more cost-effective as it can be reused for many lessons throughout the syllabus.[Jargon File] (1998-08-26)
content-free "jargon" 1. (By analogy with "context-free") Used of a message that adds nothing to the recipient's knowledge. Though this adjective is sometimes applied to {flamage}, it more usually connotes derision for communication styles that exalt form over substance or are centred on concerns irrelevant to the subject ostensibly at hand. Perhaps most used with reference to speeches by company presidents and other professional manipulators. See also {four-colour glossies}. "education" 2. Within British schools the term refers to general-purpose {software} such as a {word processor}, a {spreadsheet} or a program that tests spelling of words supplied by the teacher. This is in contrast to software designed to teach a particular topic, e.g. a plant growth simulation, an interactive periodic table or a program that tests spelling of a predetermined list of words. Content-free software can be more cost-effective as it can be reused for many lessons throughout the syllabus. [{Jargon File}] (2014-10-30)
Creen is the vital energy of work and action. Green light is a vital force, a dynamic force of the emotional vital which has the force to purify, harmonise or cure. Active energy of the divine Truth for work. It can signify various things according to the context ::: in the emotional vital. It is the colour of a cer- tain form of emotional generosity; in the vital proper, an activity with vital abundance or vital generosity behind it ; in the vital physical, it signifies a force of health.
Crimson ::: Light of Love in (he vital and physical. Usually the colour of the physical (force).
CRIMSON, vide Colours.
cyberspace "jargon" /si:'ber-spays/ 1. (Coined by {William Gibson}) Notional "information-space" loaded with visual cues and navigable with brain-computer interfaces called "cyberspace decks"; a characteristic prop of {cyberpunk} SF. In 1991 serious efforts to construct {virtual reality} interfaces modelled explicitly on Gibsonian cyberspace were already under way, using more conventional devices such as glove sensors and binocular TV headsets. Few hackers are prepared to deny outright the possibility of a cyberspace someday evolving out of the network (see {network, the}). 2. Occasionally, the metaphoric location of the mind of a person in {hack mode}. Some hackers report experiencing strong eidetic imagery when in hack mode; interestingly, independent reports from multiple sources suggest that there are common features to the experience. In particular, the dominant colours of this subjective "cyberspace" are often grey and silver, and the imagery often involves constellations of marching dots, elaborate shifting patterns of lines and angles, or moire patterns. [{Jargon File}] (1999-02-01)
dark lady sonnets: A number of sonnets written by Shakespeare (sonnet numbers 127-152) addressing a dark lady (a reference due to her colouring). It is unknown whether she is an actual person, someone Shakespeare knew or a fictional character.
delicate ::: 1. Distinguishing subtle differences. 2. Of instruments: precise, skilled, or sensitive in action or operation. 3. Marked by sensitivity of discrimination and skillful in expression, technique, etc. 4. Exquisitely or beautifully fine in texture, construction, or finish. 5. Exquisite, fine, or subtle in quality, character, construction, etc. 6. (of colour, tone, taste, etc.) Pleasantly subtle, soft, or faint.
desktop publishing "text, application" (DTP) Using computers to lay out text and graphics for printing in magazines, newsletters, brochures, etc. A good DTP system provides precise control over templates, styles, fonts, sizes, colour, paragraph formatting, images and fitting text into irregular shapes. Example programs include {FrameMaker}, {PageMaker}, {InDesign} and {GeoPublish}. {(http://cs.purdue.edu/homes/gwp/dtp/dtp.html)}. {Usenet} newsgroup: {news:comp.text.desktop}. (2005-03-14)
desktop publishing ::: (text, application) (DTP) Using computers to lay out text and graphics for printing in magazines, newsletters, brochures, etc. A good DTP system provides precise control over templates, styles, fonts, sizes, colour, paragraph formatting, images and fitting text into irregular shapes.Example programs include FrameMaker, PageMaker, InDesign and GeoPublish. .Usenet newsgroup: comp.text.desktop.(2005-03-14)
device independent bitmap "graphics, file format" (DIB) An {image} format in which the sequence and depth of {pixels} in the file is not specifically related to their layout in any particular device. This allows any device dependent bitmap (DDB) image to be converted to or DIB format without loss of information, and this can then later be converted to other DDB formats for, e.g., printing or display. Rather than requiring converters from each DDB format to all other formats, only converters to and from DIB are needed. DIB images are normally transferred in {metafiles}, {bmp} files, and the {clipboard}. Transferring colour bitmaps from one device to another was not possible in versions of {Microsoft Windows} earlier than 3.0. {Application programs} can build DIB images without any interaction with Windows. If Windows lacks a drawing primitive, the application can simulate it directly into the DIB instead of using the existing {graphics device interface} (GDI) primitives. Unfortunately, under Windows versions 3.0 and 3.1, {GDI} cannot perform output operations directly to a DIB. Conversion between DIB and DDB is performed by the {device driver}. Where the driver does not have this facility, the conversion is performed by GDI but only in monochrome. DIBs are slower to use than device dependent bitmaps due to the conversions required. (1996-09-20)
device independent bitmap ::: (graphics, file format) (DIB) An image format in which the sequence and depth of pixels in the file is not specifically related to their layout in any requiring converters from each DDB format to all other formats, only converters to and from DIB are needed.DIB images are normally transferred in metafiles, bmp files, and the clipboard.Transferring colour bitmaps from one device to another was not possible in versions of Microsoft Windows earlier than 3.0. Application programs can build under Windows versions 3.0 and 3.1, GDI cannot perform output operations directly to a DIB.Conversion between DIB and DDB is performed by the device driver. Where the driver does not have this facility, the conversion is performed by GDI but only in monochrome. DIBs are slower to use than device dependent bitmaps due to the conversions required. (1996-09-20)
dhumra ::: smoke-coloured.
dingy ::: 1. Of a dark, dull, or dirty colour or aspect; lacking brightness or freshness. 2. Shabby; dismal.
discolouring ::: changing or causing to change in colour; fading or staining, often in an undesired manner.
discrimination: unequal and unlawful treatment based upon race, colour, creed, religion, sex, national origin, age, disability, veteran status, or sexual orientation.
display standard ::: (hardware) IBM and others have introduced a bewildering plethora of graphics and text display standards for IBM PCs. The standards are mostly connecting the appropriate monitor to it. Each new standard subsumes its predecessors. For example, an EGA board can also do CGA and MDA.With the PS/2, IBM introduced the VGA standard and built it into the main system board motherboard. VGA is also available as a plug-in board for PCs from graphics standard. An 8514 adaptor board plugs into the PS/2, providing a dual-monitor capability.Graphics software has to support the major IBM graphics standards and many non-IBM, proprietary standards for high-resolution displays. Either software software package. In either case, switching software or switching display systems is fraught with compatibility problems. Display Resolution Colours Sponsor Systems T: text, G: graphics.More colours are available from third-party vendors for some display types.See also MDA, CGA, EGA, PGA, Hercules, MCGA, VGA, SVGA, 8514, VESA.
display standard "hardware, standard" {IBM} and others have introduced a bewildering plethora of graphics and text display {standards} for {IBM PC}s. The standards are mostly implemented by plugging in a video display board (or "{graphics adaptor}") and connecting the appropriate monitor to it. Each new standard subsumes its predecessors. For example, an {EGA} board can also do {CGA} and {MDA}. With the {PS/2}, IBM introduced the {VGA} standard and built it into the main system board {motherboard}. VGA is also available as a plug-in board for PCs from third-party vendors. Also with the PS/2, IBM introduced the {8514} high-resolution graphics standard. An 8514 adaptor board plugs into the PS/2, providing a dual-monitor capability. Graphics software had to support the major IBM graphics standards and many non-IBM, proprietary standards for displays. Either software vendors provided {display drivers} or display vendors provided drivers for the software package. In either case, switching software or switching display systems was fraught with compatibility problems. Display Resolution Colours Sponsor Systems MDA 720x350 T 2 IBM PC CGA 320x200 4 IBM PC EGA 640x350 16 IBM PC PGA 640x480 256 IBM PC Hercules 729x348 2 non-IBM PC MCGA 720x400 T 320x200 G 256 PS/2 VGA 720x400 T 640x480 G 16 SVGA 800x600 16 VESA XVGA 1024x768 256 (IBM name: 8514) T: text, G: graphics. More colours are available from third-party vendors for some display types. See also {MDA}, {CGA}, {EGA}, {PGA}, {Hercules}, {MCGA}, {VGA}, {SVGA}, {8514}, {VESA}. [What were the corresponding "mode" numbers"?] (2011-03-20)
dithering ::: (data, algorithm) A technique used in quantisation processes such as graphics and audio to reduce or remove the correlation between noise and signal.Dithering is used in computer graphics to create additional colors and shades from an existing palette by interspersing pixels of different colours. On a can either be distributed randomly or regularly. The higher the resolution of the display, the smoother the dithered colour will appear to the eye.Dithering doesn't reduce resolution. There are three types: regular dithering which uses a very regular predefined pattern; random dither where the pattern is a random noise; and pseudo random dither which uses a very large, very regular, predefined pattern.Dithering is used to create patterns for use as backgrounds, fills and shading, as well as for creating halftones for printing. When used for printing is it very sensitive to paper properties. Dithering can be combined with rasterising. It is not related to anti-aliasing.(2003-07-20)
dithering "data, algorithm" A technique used in {quantisation} processes such as {graphics} and {audio} to reduce or remove the correlation between noise and signal. Dithering is used in {computer graphics} to create additional colors and shades from an existing {palette} by interspersing {pixels} of different colours. On a {monochrome} display, areas of grey are created by varying the proportion of black and white pixels. In colour displays and printers, colours and textures are created by varying the proportions of existing colours. The different colours can either be distributed randomly or regularly. The higher the {resolution} of the display, the smoother the dithered colour will appear to the eye. Dithering doesn't reduce resolution. There are three types: regular dithering which uses a very regular predefined pattern; random dither where the pattern is a random noise; and pseudo random dither which uses a very large, very regular, predefined pattern. Dithering is used to create patterns for use as backgrounds, fills and shading, as well as for creating {halftones} for printing. When used for printing is it very sensitive to paper properties. Dithering can be combined with {rasterising}. It is not related to {anti-aliasing}. (2003-07-20)
“ . . . Divine Love which is at the heart of all creation and the most powerful of all redeeming and creative forces has yet been the least frontally present in earthly life, the least successfully redemptive, the least creative. Human nature has been unable to bear it in its purity for the very reason that it is the most powerful, pure, rare and intense of all the divine energies; what little could be seized has been corrupted at once into a vital pietistic ardour, a defenceless religious or ethical sentimentalism, a sensuous or even sensual erotic mysticism of the roseate coloured mind or passionately turbid life-impulse and with these simulations compensated its inability to house the Mystic Flame that could rebuild the world with its tongues of sacrifice. The Synthesis of Yoga
dot pitch "hardware" The distance between a dot and the closest dot of the same colour (red, green or blue) on a color {CRT}. Dot pitch is typically from 0.28 to 0.51 mm but large presentation monitors may go up to 1.0 mm. The smaller the dot pitch, the crisper the image, 0.31 or less provides a sharp image, especially when displaying text. Dot pitch measurements between conventional tubes and {Sony}'s {Trinitron} tubes are roughly, but not exactly comparable. Sony's {CRTs} use vertical stripes, not dots, and its measurement is the distance between stripes, not the diagonal distance between dots. ["The Computer Glossary", Alan Freedman]. (1995-12-14)
dot pitch ::: (hardware) The distance between a dot and the closest dot of the same colour (red, green or blue) on a color CRT. Dot pitch is typically from 0.28 to pitch, the crisper the image, 0.31 or less provides a sharp image, especially when displaying text.Dot pitch measurements between conventional tubes and Sony's Trinitron tubes are roughly, but not exactly comparable. Sony's CRTs use vertical stripes, not dots, and its measurement is the distance between stripes, not the diagonal distance between dots.[The Computer Glossary, Alan Freedman]. (1995-12-14)
drawing ::: a picture or plan made by means of lines on a surface, esp. one made with a pencil or pen without the use of colour; a sketch, plan or outline.
dream ::: 1. A series of images, ideas, emotions, and sensations occurring involuntarily in the mind during certain stages of sleep. 2. A vision occurring to a person while awake. 3. A person or thing that is as pleasant, or seemingly unreal, as a dream 4. An ideal or aspiration; goal; aim. 5. A wild or vain fancy. Dream, dream"s, Dream"s, dreams, dream-brood, dream-brush, dream-built, dream-caught, dream-fact, dream-fate, dream-god"s, dream-happiness, dream-hued, dream-life, dream-light, dream-made, dream-mind, dream-notes, dream-print, dream-sculptured, dream-shores, dream-smiles, dream-splendour, dream-truth, dream-vasts, dream-white, dream-world, half-dream, self-dream, sun-dream, world-dream. *adj. 6. Of a colour: misty, dim, or cloudy. v. 7. To have an image (of) or fantasy (about) in or as if in a dream. dreams, dreamed, *dreaming.
ebony ::: a deep, lustrous black (after the wood of the same colour).
EMOTIONAL THINKING At his present stage of development, man is an emotional being with a possibility of intermittent use of his still undeveloped reason.
Sense perception excepted, emotionality can be said to include everything psychological that does not belong to the purely rational, and the purely rational does not embrace much. Our consciousness is centred in emotionality, which colours sense perceptions as well as thoughts. Our consciousness is centred in emotionality, which colours sense perceptions as well as thoughts. P 1.2.1f
Emotional thinking rules in all domains that can directly or indirectly affect personal interests. P 3.16.3
ENERGY, EXCHANGE OF All atoms in all material aggregates receive and in their turn emit energies.
The energies coming in from without have their own types and individual characters.
The energies transmitted further always have their individual characters coloured to a certain degree in the new aggregates they flow through. K 2.13.10
Enhanced Graphics Adapter ::: (graphics, hardware) (EGA) An IBM PC display standard with a resolution of 640 x 350 pixels of 16 colours. (1995-06-28)
Enhanced Graphics Adapter "graphics, hardware" (EGA) An {IBM PC} {display standard} with a {resolution} of 640 x 350 {pixels} of 16 colours. (1995-06-28)
enrich ::: to improve in quality, colour, flavour, etc.; to add greater value or significance to; to enhance. enriched.
escape sequence "character" (Or "escape code") A series of characters starting with the {escape} character (ASCII 27). Escape sequences are often used to control display devices such as {VDUs}. An escape sequence might change the colour of subsequent text, reassign keys on the keyboard, change printer settings or reposition the cursor. The escape sequences of the {DEC} {vt100} {video terminal} have become a {de facto standard} for this purpose. The term is also used for any sequence of characters that temporarily suspends normal processing of a stream of characters to perform some special function. For example, the {Hayes} {modem} uses the sequence "+++" to escape to command mode in which characters are interpreted as commands to the modem itself rather than as data to pass through. [Was the character named after this use or vice versa?] (1997-11-27)
Experiences of sounds, lights etc . ::: The sounds of bells and the seeing of lights and colours are signs of the opening of the inner consciousness which brings with it an opening also to sights and sounds of other planes than the physical. Some of these things like the sound of bells, crickets, etc. seem even to help the opening.
eXtended Graphics Array ::: (hardware) (XGA) An IBM display standard introduced in 1990.XGA supports a resolution of 1024 x 768 pixels with a palette of 256 colours, or 640 x 480 with high colour (16 bits per pixel).XGA-2 added 1024 x 768 support for high colour and higher refresh rates, improved performance, and supports 1360 x 1024 in 16 colours.XGA is probably not the same as 8514-A.See also VESA's EVGA released at a similar time. (1999-08-01)
eXtended Graphics Array "hardware" (XGA) An {IBM} {display standard} introduced in 1990. XGA supports a {resolution} of 1024 x 768 {pixels} with a {palette} of 256 colours, or 640 x 480 with {high colour} (16 {bits per pixel}). XGA-2 added 1024 x 768 support for high colour and higher refresh rates, improved performance, and supports 1360 x 1024 in 16 colours. XGA is probably not the same as {8514-A}. See also {VESA}'s {EVGA} released at a similar time. (1999-08-01)
eXtended Video Graphics Array ::: (hardware) (XVGA) A display standard with a resolution of 1024 by 768 pixels of 256 colours. IBM call this mode 8514.[Same as Extended Video Graphics Array (EVGA)?] (1997-12-11)
eXtended Video Graphics Array "hardware" (XVGA) A {display standard} with a {resolution} of 1024 by 768 {pixels} of 256 colours. {IBM} call this mode "{8514}". [Same as "{Extended Video Graphics Array}" (EVGA)?] (1997-12-11)
fall through "programming" (The American misspelling "fall thru" is also common) 1. To exit a loop by exhaustion, i.e. by having fulfilled its exit condition rather than via a break or exception condition that exits from the middle of it. This usage appears to be *really* old, dating from the 1940s and 1950s. 2. To fail a test that would have passed control to a subroutine or some other distant portion of code. 3. In C, "fall-through" occurs when the flow of execution in a {switch statement} reaches a "case" label other than by jumping there from the switch header, passing a point where one would normally expect to find a "break". A trivial example: switch (colour) { case GREEN: do_green(); break; case PINK: do_pink(); /* FALL THROUGH */ case RED: do_red(); break; default: do_blue(); break; } The effect of the above code is to "do_green()" when colour is "GREEN", "do_red()" when colour is "RED", "do_blue()" on any other colour other than "PINK", and (and this is the important part) "do_pink()" __and then__ "do_red()" when colour is "PINK". Fall-through is {considered harmful} by some, though there are contexts (such as the coding of state machines) in which it is natural; it is generally considered good practice to include a comment highlighting the fall-through where one would normally expect a break. See also {Duff's Device}.
fall through ::: (programming) (The American misspelling fall thru is also common)1. To exit a loop by exhaustion, i.e. by having fulfilled its exit condition rather than via a break or exception condition that exits from the middle of it. This usage appears to be *really* old, dating from the 1940s and 1950s.2. To fail a test that would have passed control to a subroutine or some other distant portion of code.3. In C, fall-through occurs when the flow of execution in a switch statement reaches a case label other than by jumping there from the switch header, passing a point where one would normally expect to find a break. A trivial example: switch (colour){ where one would normally expect a break. See also Duff's Device.
fence ::: 1. A sequence of one or more distinguished (out-of-band) characters (or other data items), used to delimit a piece of data intended to be treated as a unit 0000000) character that terminates strings in C is a fence. Hex FF is also (though slightly less frequently) used this way. See zigamorph.2. An extra data value inserted in an array or other data structure in order to allow some normal test on the array's contents also to function as a termination without having to check at each pass whether the end of the array had been reached.3. [among users of optimising compilers] Any technique, usually exploiting knowledge about the compiler, that blocks certain optimisations. Used when a dummy procedure there to force a flush of the optimiser's register-colouring info can be expressed by the shorter That's a fence procedure.[Jargon File] (1999-01-08)
fence 1. A sequence of one or more distinguished ({out-of-band}) characters (or other data items), used to delimit a piece of data intended to be treated as a unit (the computer-science literature calls this a "sentinel"). The NUL (ASCII 0000000) character that terminates strings in C is a fence. {Hex} FF is also (though slightly less frequently) used this way. See {zigamorph}. 2. An extra data value inserted in an array or other data structure in order to allow some normal test on the array's contents also to function as a termination test. For example, a highly optimised routine for finding a value in an array might artificially place a copy of the value to be searched for after the last slot of the array, thus allowing the main search loop to search for the value without having to check at each pass whether the end of the array had been reached. 3. [among users of optimising compilers] Any technique, usually exploiting knowledge about the compiler, that blocks certain optimisations. Used when explicit mechanisms are not available or are overkill. Typically a hack: "I call a dummy procedure there to force a flush of the optimiser's register-colouring info" can be expressed by the shorter "That's a fence procedure". [{Jargon File}] (1999-01-08)
fish- or insect-eating birds that have a large head and a long, stout bill and are usually crested and brilliantly coloured.
flame ::: n. 1. Burning gas or vapor, as from wood or coal, that is undergoing combustion; a portion of ignited gas or vapor. 2. Fig. A brilliant light; fiery glow. 3. Fig. Intense ardour, zeal, passion, vitality. 4. Spiritual fire. 5. Inner fire. 6. Bright colouring; a streak or patch of color. Flame, flames, flame-ascensions, flame-born, flame-bright, flame-child, flame-discovery, flame-edge, flame-eyed, flame-foot, flame-hills, flame-pure, flame-signs, flame-stabs, flame-throw, flame-white, flame-wrapped, moon-flame. v. 8. To burn with a flame or flames; burst into flames; blaze. 7. To burn or glow as if with fire; become red or fiery 8. To burn or burst forth with strong emotion. flames, flamed. ::: flames out. Bursts out in or as if in flames.
flavour ::: (jargon) (US: flavor) 1. Variety, type, kind. DDT commands come in two flavors. These lights come in two flavors, big red ones and small green ones. See vanilla.2. The attribute that causes something to be flavourful. Usually used in the phrase yields additional flavour. This convention yields additional flavor by allowing one to print text either right-side-up or upside-down. See vanilla.This usage was certainly reinforced by the terminology of quantum chromodynamics, in which quarks (the constituents of, e.g. protons) come in six flavors (up, down, strange, charm, top, bottom) and three colours (red, blue, green), however, hackish use of flavor at MIT predated QCD.3. The term for class (in the object-oriented sense) in the LISP Machine Flavors system. Though the Flavors design has been superseded (notably by the Common LISP CLOS facility), the term flavor is still used as a general synonym for class by some Lisp hackers. (1994-11-01)
flecks ::: a spot or small patch of colour, light, etc. wonder-flecks.
flickered ::: 1. To shine with, or be illuminated by, an unsteady or wavering light; flare, shimmer. 2. To quiver, vibrate unsteadily; flutter. 3. To appear or occur briefly. flickers, flickering, flickering-coloured.
Foonly 1. The {PDP-10} successor that was to have been built by the Super Foonly project at the {Stanford Artificial Intelligence Laboratory} along with a new operating system. The intention was to leapfrog from the old DEC {time-sharing} system SAIL was then running to a new generation, bypassing TENEX which at that time was the {ARPANET} {standard}. {ARPA} funding for both the Super Foonly and the new operating system was cut in 1974. Most of the design team went to DEC and contributed greatly to the design of the PDP-10 model KL10. 2. The name of the company formed by Dave Poole, one of the principal Super Foonly designers, and one of hackerdom's more colourful personalities. Many people remember the parrot which sat on Poole's shoulder and was a regular companion. 3. Any of the machines built by Poole's company. The first was the F-1 (a.k.a. Super Foonly), which was the computational engine used to create the graphics in the movie "TRON". The F-1 was the fastest PDP-10 ever built, but only one was ever made. The effort drained Foonly of its financial resources, and the company turned toward building smaller, slower, and much less expensive machines. Unfortunately, these ran not the popular {TOPS-20} but a TENEX variant called Foonex; this seriously limited their market. Also, the machines shipped were actually wire-wrapped engineering prototypes requiring individual attention from more than usually competent site personnel, and thus had significant reliability problems. Poole's legendary temper and unwillingness to suffer fools gladly did not help matters. By the time of the Jupiter project cancellation in 1983, Foonly's proposal to build another F-1 was eclipsed by the {Mars}, and the company never quite recovered. See the {Mars} entry for the continuation and moral of this story. [{Jargon File}]
Foonly ::: 1. The PDP-10 successor that was to have been built by the Super Foonly project at the Stanford Artificial Intelligence Laboratory along with a new operating system was cut in 1974. Most of the design team went to DEC and contributed greatly to the design of the PDP-10 model KL10.2. The name of the company formed by Dave Poole, one of the principal Super Foonly designers, and one of hackerdom's more colourful personalities. Many people remember the parrot which sat on Poole's shoulder and was a regular companion.3. Any of the machines built by Poole's company. The first was the F-1 (a.k.a. Super Foonly), which was the computational engine used to create the graphics in never quite recovered. See the Mars entry for the continuation and moral of this story.[Jargon File]
four-colour glossies 1. Literature created by {marketroids} that allegedly contains technical specs but which is in fact as superficial as possible without being totally {content-free}. "Forget the four-colour glossies, give me the tech ref manuals." Often applied as an indication of superficiality even when the material is printed on ordinary paper in black and white. Four-colour-glossy manuals are *never* useful for finding a problem. 2. [rare] Applied by extension to manual pages that don't contain enough information to diagnose why the program doesn't produce the expected or desired output.
four-colour glossies ::: 1. Literature created by marketroids that allegedly contains technical specs but which is in fact as superficial as possible without being totally content-free. paper in black and white. Four-colour-glossy manuals are *never* useful for finding a problem.2. [rare] Applied by extension to manual pages that don't contain enough information to diagnose why the program doesn't produce the expected or desired output.
four colour map theorem "mathematics, application" (Or "four colour theorem") The theorem stating that if the plane is divided into connected regions which are to be coloured so that no two adjacent regions have the same colour (as when colouring countries on a map of the world), it is never necessary to use more than four colours. The proof, due to Appel and Haken, attained notoriety by using a computer to check tens of thousands of cases and is thus not humanly checkable, even in principle. Some thought that this brought the philosophical status of the proof into doubt. There are now rumours of a simpler proof, not requiring the use of a computer. See also {chromatic number} (1995-03-25)
four colour map theorem ::: (mathematics, application) (Or four colour theorem) The theorem stating that if the plane is divided into connected regions which are to be coloured so that no two adjacent regions have the same colour (as when colouring countries on a map of the world), it is never necessary to use more than four colours.The proof, due to Appel and Haken, attained notoriety by using a computer to check tens of thousands of cases and is thus not humanly checkable, even in principle. Some thought that this brought the philosophical status of the proof into doubt.There are now rumours of a simpler proof, not requiring the use of a computer.See also chromatic number (1995-03-25)
four-colour problem: A classic mathematical problem that was inspired by the number of colours needed so that adjacent countries always have different colours, no matter how the land is divided. The mathematical problem is essentially the same as that considered although some conditions are added, such as countries are only allowed connected land masses, so that two pieces of land not adjacent to each other cannot be forced to have the same colour by virtue that they belong to the same country, as is the case for Russia(St. Petersburg) and the United States(Alaska) in the real world.
four colour theorem {four colour map theorem}
FOURTH HUMAN TYPE is the one who strives after harmony in all, the designer, architect, city-planner, artistic constructor, etc., with a pronounced sense of form and colour. K 2.7.12
gamma correction ::: (hardware) Adjustments applied during the display of a digital representation of colour on a screen in order to compensate for the fact that power of some constant, called gamma. Its value varies from one display to another, but is usually around 2.5.Because it is more intuitive for the colour components (red, green and blue) to be varied linearly in the computer, the actual voltages sent to the monitor by the display hardware which simply scales the outputs of the display memory before sending them to the digital-to-analogue converters.More expensive graphics cards and workstations (particularly those used for CAD applications) will have a gamma correction facility.In combination with the white-point gamma correction is used to achieve precise colour matching. .[ (1999-02-01)
gamma correction "hardware" Adjustments applied during the display of a digital representation of colour on a screen in order to compensate for the fact that the {Cathode Ray Tubes} used in computer {monitors} (and televisions) produce a light intensity which is not proportional to the input {voltage}. The light intensity is actually proportional to the input voltage raised to the inverse power of some constant, called gamma. Its value varies from one display to another, but is usually around 2.5. Because it is more intuitive for the colour components (red, green and blue) to be varied linearly in the computer, the actual voltages sent to the monitor by the {display hardware} must be adjusted in order to make the colour component intensity on the screen proportional to the value stored in the computer's {display memory}. This process is most easily achieved by a dedicated module in the display hardware which simply scales the outputs of the {display memory} before sending them to the {digital-to-analogue converters}. More expensive {graphics cards} and {workstations} (particularly those used for {CAD} applications) will have a gamma correction facility. In combination with the "{white-point}" gamma correction is used to achieve precise colour matching. {Robert Berger's explanation of monitor gamma (http://cs.cmu.edu/afs/cs.cmu.edu/user/rwb/www/gamma.html)}. [{"Digital Imaging in C and the World Wide Web", W. David Schwaderer (http://itknowledge.com/)}]. (1999-02-01)
gamut ::: The gamut of a monitor is the set of colours it can display. There are some colours which can't be made up of a mixture of red, green and blue phosphor emissions and so can't be displayed by any monitor.[Examples?] (1994-11-29)
gamut The gamut of a {monitor} is the set of colours it can display. There are some colours which can't be made up of a mixture of red, green and blue phosphor emissions and so can't be displayed by any monitor. [Examples?] (1994-11-29)
gas plasma display ::: (electronics) A type of display containing super-energised neon gas, used mostly in flat monitor and television screens. Each pixel has a transistor that controls its colour and brightness. . .[How does it work?] (1998-04-30)
gas plasma display "electronics" A type of display containing super-energised neon gas, used mostly in flat {monitor} and television {screens}. Each {pixel} has a {transistor} that controls its colour and brightness. {Plasma (http://kipinet.com/mmp/mmp_apr96/dep_techwatch.html)}. {Flat Screen Technology (http://montegonet.com/plasma.html)}. {More about Gas Plasma (http://advancedplasma.com/whatis.html)}. [How does it work?] (1998-04-30)
GEM "operating system" One of the first commercially available {GUIs}. Borrowing heavily from the {Macintosh} {WIMP}-style interface it was available for both the {IBM} compatible market (being packaged with {Amstrad}'s original {PC} series) and more successfully for the {Atari} ST range. The PC version was produced by {Digital Research} (more famous for {DR-DOS}, their {MS-DOS} clone), and was not developed very far. The Atari version, however, continued to be developed until the early 1990s and the later versions supported 24-bit colour modes, full colour {icons} and a nice looking sculpted 3D interface. (1997-01-10)
GEM ::: (operating system) One of the first commercially available GUIs. Borrowing heavily from the Macintosh WIMP-style interface it was available for developed until the early 1990s and the later versions supported 24-bit colour modes, full colour icons and a nice looking sculpted 3D interface. (1997-01-10)
gif: is not a freak or an abnormaiity ; it is a universal faculty present in all human beings, but latent in most, in some rarely or intermittently active, occurring as if by accident in others, frequent or normally active in a few. But just as anyone can, uith some training, learn science and do things which would have seemed miracles to his forefathers, so almost anyone, if he wants, can with a little concentration and training develop the faculty of supraphjsical vision. When one starts Yoga, this power is often, though not in\'ariably — for some find it difficult — one of the first to come out from its latent condition and manifest itself, most often without any efTori, Intention or previous know- ledge on the part of the sadhaka. It comes more easily with the eyes shut than with the eyes open, but it does come in both ways. Tlic first sign of its opening in the externalised way is very often that seeing of “sparkles’* or small luminous dots, shapes, etc. ; a second is, often enough, most easily, round lumi- nous objects like a star ; seeing of colours 1$ a third initial experi- cnee — but (hey do not alw'ay's come in that order.
gift is not a freak or an abnonnality ; it is a universal faculty present in all human beings, but latent In most, in some rarely or intermittently active, occurring as if by accident in others, frequent or normally active in a few. But just as aayoas can, with some training, learn sdence and do things which would have seemed miracles to his forefathers, so almost anyone, if he wants, can with a little concentration and training develop the faculty of supraphysical rision. When one starts Yoga, this power is often, though not invariably — for some find it diScult — one of the first to come out from its latent condition and manifest itself, most often without any effort, intention or previous know- ledge on the part of the sadbaka. It comes more easily with the eyes shut than with the eyes open, but it does come in both ways. The first sign of its opening in the externalised way is very often that seeing of “ sparkles ” or small luminous dots, shapes, etc. ; a second is, often enough, most easily, round lumi- nous objects like a star ; seeing of colours is a third initial experi- ence'— but they do not always come in that order.
gilded ::: 1. Made from or covered with gold. 2. Having a deep golden colour.
glow ::: n. 1. A light emitted by or as if by a substance heated to luminosity; incandescence. 2. Brilliance or warmth of colour. 3. Intensity of emotion; ardour. joy-glow, petal-glow. v. 4. To shine intensely, as if from great heat. 5. To show a strong bright colour. glows, glowed, glowing.
graph coloring {graph colouring}
graph colouring ::: (application) A constraint-satisfaction problem often used as a test case in research, which also turns out to be equivalent to certain real-world constraint that any two connected nodes cannot be assigned the same colour. This is an example of an NP-complete problem.See also four colour map theorem.
graph colouring "application" A {constraint-satisfaction} problem often used as a test case in research, which also turns out to be equivalent to certain real-world problems (e.g. {register allocation}). Given a {connected graph} and a fixed number of colours, the problem is to assign a colour to each node, subject to the constraint that any two connected nodes cannot be assigned the same colour. This is an example of an {NP-complete} problem. See also {four colour map theorem}.
graphics adaptor ::: (hardware, graphics) (Or graphics adapter, graphics card, video adaptor, etc.) A circuit board fitted to a computer, especially an IBM PC, containing the necessary video memory and other electronics to provide a bitmap display.Adaptors vary in the resolution (number of pixels) and number of colours they can display, and in the refresh rate they support. These parameters are also display standards, e.g. SVGA, have become common and different software requires or supports different sets. (1996-09-16)
graphics adaptor "hardware, graphics" (Or "graphics adapter", "graphics card", "video adaptor", etc.) A circuit board fitted to a computer, especially an {IBM PC}, containing the necessary {video memory} and other electronics to provide a {bitmap display}. Adaptors vary in the {resolution} (number of {pixels}) and number of colours they can display, and in the {refresh rate} they support. These parameters are also limited by the {monitor} to which the adaptor is connected. A number of such {display standards}, e.g. {SVGA}, have become common and different {software} requires or supports different sets. (1996-09-16)
green card ::: [after the IBM System/360 Reference Data card] A summary of an assembly language, even if the colour is not green. Less frequently used now because of can check the addressing mode for that instruction. Some green cards are actually booklets.The original green card became a yellow card when the System/370 was introduced, and later a yellow booklet. An anecdote from IBM refers to a scene that took passed the first a thick yellow booklet. At this point the luser turned a delicate shade of olive and rapidly left the room, never to return.[Jargon File]
green card [after the "IBM System/360 Reference Data" card] A summary of an assembly language, even if the colour is not green. Less frequently used now because of the decrease in the use of assembly language. "I'll go get my green card so I can check the {addressing mode} for that instruction." Some green cards are actually booklets. The original green card became a yellow card when the System/370 was introduced, and later a yellow booklet. An anecdote from IBM refers to a scene that took place in a programmers' terminal room at Yorktown in 1978. A luser overheard one of the programmers ask another "Do you have a green card?" The other grunted and passed the first a thick yellow booklet. At this point the luser turned a delicate shade of olive and rapidly left the room, never to return. [{Jargon File}]
green lightning [IBM] 1. Apparently random flashing streaks on the face of 3278-9 terminals while a new symbol set is being downloaded. This hardware bug was left deliberately unfixed, as some genius within IBM suggested it would let the user know that "something is happening". That, it certainly does. Later microprocessor-driven IBM colour graphics displays were actually *programmed* to produce green lightning! 2. [proposed] Any bug perverted into an alleged feature by adroit rationalisation or marketing. "Motorola calls the CISC {cruft} in the 88000 architecture "compatibility logic", but I call it green lightning". See also {feature}.
green lightning ::: [IBM] 1. Apparently random flashing streaks on the face of 3278-9 terminals while a new symbol set is being downloaded. This hardware bug was left microprocessor-driven IBM colour graphics displays were actually *programmed* to produce green lightning!2. [proposed] Any bug perverted into an alleged feature by adroit rationalisation or marketing. Motorola calls the CISC cruft in the 88000 architecture compatibility logic, but I call it green lightning. See also feature.
GREEN, vide Colours.
halftone "graphics" The reproducion of {greyscale} {images} using dots of a single shade but varying size to simulate the different shades of grey. {Laser printers} that cannot print different sized dots, halftones are produced by varying the numbers of dots in a given area. This process is also used to produce a black and white version of a colour original using shades of grey in place of colours. See also {device independent bitmap}. (1996-09-20)
halftone ::: (graphics) The reproducion of greyscale images using dots of a single shade but varying size to simulate the different shades of grey.Laser printers that cannot print different sized dots, halftones are produced by varying the numbers of dots in a given area.This process is also used to produce a black and white version of a colour original using shades of grey in place of colours.See also device independent bitmap. (1996-09-20)
haze ::: 1. An aggregation in the atmosphere of very fine, widely dispersed, solid or liquid particles, or both, giving the air an opalescent appearance that subdues colours. 2. Reduced visibility in the air as a result of condensed water vapour, dust, etc., in the atmosphere. 3. Vagueness of obscurity, as of the mind or perception; confused or vague thoughts, feelings, etc.
high colour "hardware" A {colour depth} of 16 (or 15) {bits per pixel}. Compare {true colour}. (1999-08-01)
high colour ::: (hardware) A colour depth of 16 (or 15) bits per pixel.Compare true colour. (1999-08-01)
hue ::: (graphics) (Or tint) The coordinate in the HSB colour model that determines the frequency of light or the position in the spectrum or the definition of colour, e.g. red, orange, violet etc. The other coordinates are saturation and brightness. (1999-07-05)
hue "graphics" (Or "tint") The coordinate in the {HSB} {colour model} that determines the frequency of light or the position in the spectrum or the relative amounts of red, green and blue. Hue corresponds to the common definition of colour, e.g. "red", "orange", "violet" etc. The other coordinates are {saturation} and {brightness}. (1999-07-05)
hue, saturation, brightness ::: (graphics) (HSB) A colour model that describes colours in terms of hue, saturation, and brightness.In the tables below, a hue is a pure colour, i.e. one with no black or white in it. A shade is a dark colour, i.e. one produced by mixing a hue with black. A tint is a light colour, i.e. one produced by mixing a hue with white. A tone is a colour produced by mixing a hue with a shade of grey.Microsoft Windows colour dialogs, PagePlus, and Paint Shop Pro use HSB but call the third dimension luminosity or lightness. It ranges from 0% (black) to 100% (white). A pure hue is 50% luminosity, 100% saturation. Colour type S LBlack Any 0% of 100% can produce white, a pure hue, or anything in between, depending on the saturation. Colour type S BBlack Any 0% (1999-07-05)
hue, saturation, brightness "graphics" (HSB) A {colour model} that describes colours in terms of {hue}, {saturation}, and {brightness}. In the tables below, a hue is a "pure" colour, i.e. one with no black or white in it. A shade is a "dark" colour, i.e. one produced by mixing a hue with black. A tint is a "light" colour, i.e. one produced by mixing a hue with white. A tone is a colour produced by mixing a hue with a shade of grey. {Microsoft Windows} colour dialogs, {PagePlus}, and {Paint Shop Pro} use {HSB} but call the third dimension "luminosity" or "lightness". It ranges from 0% (black) to 100% (white). A pure hue is 50% luminosity, 100% saturation. Colour type S L Black Any 0% White Any 100% Grey 0% 1-99% Hue 100% 50% Shade 100% 1-49% Tint 100% 51-99% Tone 1-99% 1-99% {Quattro Pro}, {CorelDraw}, and {PhotoShop} use a variant (Quattro Pro calls the third parameter "brightness") in which a brightness of 100% can produce white, a pure hue, or anything in between, depending on the saturation. Colour type S B Black Any 0% White 0% 100% Grey 0% 1-99% Hue 100% 100% Shade 100% 1-99% Tint 1-99% 100% Tone 1-99% 1-99% [Same as {HSV}?] (1999-07-05)
hue, saturation, value "graphics" (HSV) A {colour model} that describes colours in terms of {hue} (or "tint"), {saturation} (or "shade") and {value} (or "tone" or "luminance"). [Same as {HSB}?] (1999-07-05)
hue, saturation, value ::: (graphics) (HSV) A colour model that describes colours in terms of hue (or tint), saturation (or shade) and value (or tone or luminance).[Same as HSB?] (1999-07-05)
hyperlink ::: (hypertext) A reference (link) from some point in one hypertext document to (some point in) another document or another place in the same document. A different colour, font or style. When the user activates the link (e.g. by clicking on it with the mouse) the browser will display the target of the link. (1995-02-10)
Hypertext Markup Language "hypertext, web, standard" (HTML) A {hypertext} document format used on the {web}. HTML is built on top of {SGML}. "Tags" are embedded in the text. A tag consists of a """, a "directive" (in lower case), zero or more parameters and a """. Matched pairs of directives, like ""title"" and ""/title"" are used to delimit text which is to appear in a special place or style. Links to other documents are in the form "a href="http://machine.edu/subdir/file.html""foo"/a" where ""a"" and ""/a"" delimit an "anchor", "href" introduces a hypertext reference, which is most often a {Uniform Resource Locator} (URL) (the string in double quotes in the example above). The link will be represented in the browser by the text "foo" (typically shown underlined and in a different colour). A certain place within an HTML document can be marked with a named anchor, e.g.: "a name="baz"" The "fragment identifier", "baz", can be used in an href by appending "
Hypertext Markup Language ::: (hypertext, World-Wide Web, standard) (HTML) A hypertext document format used on the World-Wide Web. HTML is built on top of SGML. Tags are embedded in parameters and a >. Matched pairs of directives, like title> and /title> are used to delimit text which is to appear in a special place or style.Links to other documents are in the form a href=http://machine.edu/subdir/file.html>foo/a> browser by the text foo (typically shown underlined and in a different colour).A certain place within an HTML document can be marked with a named anchor, e.g.: a name=baz> The fragment identifier, baz, can be used in an href by appending
“I certainly won’t have ‘attracted’ [in place of ‘allured’]—there is an enormous difference between the force of the two words and merely ‘attracted by the Ecstasy’ would take away all my ecstasy in the line—nothing so tepid can be admitted. Neither do I want ‘thrill’ [in place of ‘joy’] which gives a false colour—precisely it would mean that the ecstasy was already touching him with its intensity which is far from my intention.
**"I certainly won"t have ‘attracted" [in place of ‘allured"] — there is an enormous difference between the force of the two words and merely ‘attracted by the Ecstasy" would take away all my ecstasy in the line — nothing so tepid can be admitted. Neither do I want ‘thrill" [in place of ‘joy"] which gives a false colour — precisely it would mean that the ecstasy was already touching him with its intensity which is far from my intention.Your statement that ‘joy" is just another word for ‘ecstasy" is surprising. ‘Comfort", ‘pleasure", ‘joy", ‘bliss", ‘rapture", ‘ecstasy" would then be all equal and exactly synonymous terms and all distinction of shades and colours of words would disappear from literature. As well say that ‘flashlight" is just another word for ‘lightning" — or that glow, gleam, glitter, sheen, blaze are all equivalents which can be employed indifferently in the same place. One can feel allured to the supreme omniscient Ecstasy and feel a nameless joy touching one without that Joy becoming itself the supreme Ecstasy. I see no loss of expressiveness by the joy coming in as a vague nameless hint of the immeasurable superior Ecstasy.” Letters on Savitri*
image 1. "data, graphics" Data representing a two-dimensional scene. A digital image is composed of {pixels} arranged in a rectangular array with a certain height and width. Each pixel may consist of one or more {bits} of information, representing the brightness of the image at that point and possibly including colour information encoded as {RGB} triples. {Images} are usually taken from the real world via a {digital camera}, {frame grabber}, or {scanner}; or they may be generated by computer, e.g. by {ray tracing} software. See also {image formats}, {image processing}. (1994-10-21) 2. "mathematics" The image (or range) of a {function} is the set of values obtained by applying the function to all elements of its {domain}. So, if f : D -" C then the set f(D) = \{ f(d) | d in D \} is the image of D under f. The image is a subset of C, the {codomain}. (2000-01-19)
image ::: 1. (data, graphics) Data representing a two-dimensional scene. A digital image is composed of pixels arranged in a rectangular array with a certain representing the brightness of the image at that point and possibly including colour information encoded as RGB triples.Images are usually taken from the real world via a digital camera, frame grabber, or scanner; or they may be generated by computer, e.g. by ray tracing software.See also image formats, image processing. (1994-10-21)2. (mathematics) The image (or range) of a function is the set of values obtained by applying the function to all elements of its domain. So, if f : D -> C then the set f(D) = { f(d) | d in D } is the image of D under f. The image is a subset of C, the codomain.(2000-01-19)
inky ::: resembling ink, esp. in colour; dark or black.
International Business Machines ::: (company) (IBM) The best known American computer manufacturer, founded by Thomas J. Watson (born 1874-02-17), known as Big Blue after the colour of its been immensely successful in selling them, chiefly to business. It has often been said that Nobody has ever been sacked for buying IBM.The IBM PC in its various versions has been so successful that unqualified reference to a PC almost certainly means a PC from IBM, or one of the many brands of clone produced by other manufacturers to cash in on IBM's original success.Alternative expansions of IBM such as Inferior But Marketable; It's Better Manually; Insidious Black Magic; It's Been Malfunctioning; Incontinent Bowel Movement, illustrate the considerable antipathy most hackers have long felt toward the industry leader (see fear and loathing).Quarterly sales $15351M, profits $689M (Aug 1994). . (1999-04-07)
International Business Machines "company" (IBM) The best known American computer manufacturer, founded by Thomas J. Watson (born 1874-02-17), known as "Big Blue" after the colour of its logo. IBM makes everything from {mainframes} to {personal computers} (PCs) and has been immensely successful in selling them, chiefly to business. It has often been said that "Nobody has ever been sacked for buying IBM". The {IBM PC} in its various versions has been so successful that unqualified reference to a "PC" almost certainly means a PC from IBM, or one of the many brands of {clone} produced by other manufacturers to cash in on IBM's original success. Alternative expansions of "IBM" such as Inferior But Marketable; It's Better Manually; Insidious Black Magic; It's Been Malfunctioning; Incontinent Bowel Movement, illustrate the considerable antipathy most hackers have long felt toward the "industry leader" (see {fear and loathing}). Quarterly sales $15351M, profits $689M (Aug 1994). {(http://ibm.com/)}. (1999-04-07)
“In the Egyptian temples, according to Clemens Alexandrinus, an immense curtain separated the tabernacle from the place for the congregation. The Jews had the same. In both, the curtain was drawn over five pillars (the Pentacle) symbolising our five senses and five Root-races esoterically, while the four colours of the curtain represented the four cardinal points and the four terrestrial elements. The whole was an allegorical symbol. It is through the four high Rulers over the four points and Elements that our five senses may became cognisant of the hidden truths of Nature; and not at all, as Clemens would have it, that it is the elements per se that furnished the Pagans with divine Knowledge or the knowledge of God. . . . For what was the meaning of the square tabernacle raised by Moses in the wilderness, if it had not the same cosmical significance? ‘Thou shalt make an hanging . . . of blue, purple, and scarlet’ and ‘five pillars of shittim wood for the hanging . . . four brazen rings in the four corners thereof . . . boards of fine wood for the four sides, North, South, West, and East . . . of the Tabernacle . . . with Cherubims of cunning work.” (Exodus, Ch. xxvi, xxvii.) The Tabernacle and the square courtyard, Cherubim and all, were precisely the same as those in the Egyptian temples. The square form of the Tabernacle meant just the same thing as it still means, to this day, in the exoteric worship of the Chinese and Tibetans — the four cardinal points signifying that which the four sides of the pyramids, obelisks, and other such square erections mean. Josephus takes care to explain the whole thing. He declares that the Tabernacle pillars are the same as those raised at Tyre to the four Elements, which were placed on pedestals whose four angles faced the four cardinal points: adding that ‘the angles of the pedestals had equally the four figures of the Zodiac’ on them, which represented the same orientation (Antiquites I, VIII, ch. xxii).
In these circumstances real knowledge is very limited. "Universals" register superficial resemblances, not the real essences of things. Experience directly "intuits" identity and diversity, relations, coexistences and necessary connections in its content, and, aided by memory, "knows" the agreements and disagreements of ideas in these respects. We also feel directly (sensitive knowledge) that our experience comes from without. Moreover, though taste, smell, colour, sound, etc. are internal to ourselves (secondary qualities) extension, shape, rest, motion, unity and plurality (primary qualities) seem to inhere in the external world independently of our perception of it. Finally, we have "demonstrative knowledge" of the existence of God. But of anything other than God, we have no knowledge except such as is derived from and limited by the senses.
iPad "computer" A {tablet computer} announced by {Apple Computer, Inc.} on 2010-01-27 to be released in March 2010. The iPad runs {iPhone OS} 3.2, providing {multi-touch} interaction and {multimedia} processing. Like {Apple}'s {iPhone} and {iPod}, it uses a {virtual keyboard} for text input and runs most {iPhone apps}. It adds the {iBooks} application for reading text in {ePub} format. It has a 1GHz {Apple A4} {SoC} processor, up to 64GB of flash memory, a 250mm LED-backlit colour LCD display ({resolution} 1024x768 pixels) and a 25 {Wh} lithium-polymer battery. {Internet} access will be {Wi-Fi} in early models with {HSDPA} {3G} available soon after using a {micro-SIM}. It weighs 730g. Features it lacks include a camera, the ability to {multitask} and an open developement environment. The iPad is the culmination of a series of attempts by Apple to produce a tablet device, starting with the {Newton MessagePad 100} in 1993 and including collaboration with {Acorn Computers} in developing the {ARM6} processor. {Apple iPad (http://www.apple.com/ipad)}. (2010-01-31)
iris-coloured ::: a rainbow-like or iridescent appearance; a circle or halo of prismatic colours; a combination or alternation of brilliant colours.
irised ::: having colours like those of the rainbow; iridescent.
iron ::: n. 1. A silver-white metal, usually an admixture of some other substance, usually carbon, rendering it extremely hard and useful for tools, implements, machinery, constructions, and in many other applications. adj. 2. Inflexible; unyielding; firm. 3. Stern; harsh; cruel. 4. *Fig.* Resembling iron in firmness, strength, colour, etc.
I -The’thousand'petalled lotus, sahasradala, commands the higher thinking mind, houses the still higher illumined mind and at the highest opens to the intuition through which or else by an over- flooding directness the ovennind can have with the rest com- munication or .an liramediate contact,, (Colour ::: .blue with' gold light around.) i. ' j i i . n ,•,,/! i, ,i i i
I would myself say that bliss and oneness are the essential condition of the absolute reality, and love as the most characteristic dynamic power of bliss and oneness must support fundamentally and colour their activities; …” Letters on Yoga
Jhumur: “She (Savitri) has gone into this world of light not having really left her body. It is not an experience that is beyond the body. It is in the physical life that she has attained this plane, so topaz, a yellow colour, is the colour of the mind, stone is the consciousness in matter, so physical life, body, life, mind. Mother had told us I remember that a precious stone symbolises consciousness that is lodged in matter. It shows how blazing light is present even in the hardest matter. So you have the image of the physical light, like a kind of a wall, a barrier.”
Jhumur: “You have the same word in French, capte—like a receiver that catches signals. I believe Sri Aurobindo often uses French words with the French connotation. Particularly I have noticed that sometimes he uses the word amour instead of love. When I asked myself why did he have to use a French word here, perhaps because it was a different kind of love, not the usual, something other. Time’s amour-song he says, and not a love song. There is something different about that song. It is not just a love song. It suggests something other when he uses a word from another language. It is not love that we ordinarily understand, he has added a quality of something special or rare or unusual by utilizing the same word but in another language. It gives it another colour.”
Joint Academic NETwork (JANET) The {wide area network} which links UK academic and research institutes. JANET is controlled by the {Joint Network Team} (JNT) and Network Executive (NE). It is an {internet} (a large number of interconnected sub-networks) that provides connectivity within the community as well as access to external services and other communities. The {hub} is the JANET subnetwork, a private {X.25} {packet-switched} network that interconnects over 100 sites. At the majority of sites, {local area networks} (LANs) are connected to JANET allowing off-site access for the computers and terminals connected to these networks. The {Coloured Book} {protocol} architecture is used to support interactive terminal access to computers (for both character terminals and screen terminals), inter-host file transfers, {electronic mail} and remote {batch} job submission. {(http://nic.ja.net/)}. See also {JIPS}, {SuperJanet}. (1995-02-07)
Joint Photographic Experts Group "image, body, file format, standard" (JPEG) The original name of the committee that designed the standard {image} {compression} {algorithm}. JPEG is designed for compressing either {full-colour} or {grey-scale} {digital} images of "natural", real-world scenes. It does not work so well on non-realistic images, such as cartoons or line drawings. JPEG does not handle compression of black-and-white (1 bit-per-pixel) images or {moving pictures}. Standards for compressing those types of images are being worked on by other committees, named {JBIG} and {MPEG}. {(http://jpeg.org/)}. {Filename extension}: .jpg, .jpeg. See also {PJPEG}. (2000-09-11)
Kashaya-vastra (Sanskrit) Kaṣāya-vastra Red-colored cloth; in the Puranas, the rishi Vaisishtha was asked by the gods to bring the sun, Surya, to satyaloka. The sun told him the worlds would be destroyed if he left, but the sage offered to place his kashaya-vastra in place of the sun’s disk, which he did. This red-colored cloth is the visible body of the sun. Blavatsky comments that “the ascetic’s dress being, as all know, dyed expressly into a red-yellow hue, a colouring matter with pinkish patches on it, rudely representing the vital principle in man’s blood, — the symbol of the vital principle in the sun, or what is now called chromosphere” (BCW 5:157).
Krishna’s colours ::: Violet is the colour of Krishna's face. It is also the radiance of Krishna’s protection. Blue is bis special and significant colour, the colour of his aura when he manifests ; that is why he is called Nila Kr^na.
laser printer "printer" A non-impact high-resolution printer which uses a rotating disk to reflect laser beams to form an electrostatic image on a selenium imaging drum. The developer drum transfers toner from the toner bin to the charged areas of the imaging drum, which then transfers it onto the paper into which it is fused by heat. Toner is dry ink powder, generally a plastic heat-sensitive polymer. Print resolution currently (2001) ranges between 300 and 2400 dots per inch (DPI). Laser printers using chemical photoreproduction techniques can produce resolutions of up to 2400 DPI. Print speed is limited by whichever is slower - the printer hardware (the "engine speed"), or the software {rendering} process that converts the data to be printed into a {bit map}. The print speed may exceed 21,000 lines per minute, though printing speed is more often given in pages per minute. If a laser printer is rated at 12 pages per minute (PPM), this figure would be true only if the printer is printing the same data on each of the twelve pages, so that the bit map is identical. This speed however, is rarely reached if each page contains different codes, text, and graphics. In 2001, Xerox's Phaser 1235 and 2135 (with Okidata engines) could print up to 21 colour ppm at 1200x1200 DPI using a single-pass process. Colour laser printers can reach 2400 DPI easily (e.g. an HP LaserJet 8550). Some printers with large amounts of RAM can print at engine speed with different text pages and some of the larger lasers intended for graphics design work can print graphics at full engine speed. Although there are dozens of retail brands of laser printers, only a few {original equipment manufacturers} make {print engines}, e.g. {Canon}, {Ricoh}, {Toshiba}, and {Xerox}. (2002-01-06)
laser printer ::: (printer) A non-impact high-resolution printer which uses a rotating disk to reflect laser beams to form an electrostatic image on a selenium imaging fused by heat. Toner is dry ink powder, generally a plastic heat-sensitive polymer.Print resolution currently (2001) ranges between 300 and 2400 dots per inch (DPI). Laser printers using chemical photoreproduction techniques can produce resolutions of up to 2400 DPI.Print speed is limited by whichever is slower - the printer hardware (the engine speed), or the software rendering process that converts the data to be printed into a bit map.The print speed may exceed 21,000 lines per minute, though printing speed is more often given in pages per minute. If a laser printer is rated at 12 pages speed however, is rarely reached if each page contains different codes, text, and graphics.In 2001, Xerox's Phaser 1235 and 2135 (with Okidata engines) could print up to 21 colour ppm at 1200x1200 DPI using a single-pass process.Colour laser printers can reach 2400 DPI easily (e.g. an HP LaserJet 8550). Some printers with large amounts of RAM can print at engine speed with different text pages and some of the larger lasers intended for graphics design work can print graphics at full engine speed.Although there are dozens of retail brands of laser printers, only a few original equipment manufacturers make print engines, e.g. Canon, Ricoh, Toshiba, and Xerox.(2002-01-06)
light-emitting diode "electronics" (LED) a type of {diode} that emits light when current passes through it. Depending on the material used the colour can be visible or infrared. LEDs have many uses, visible LEDs are used as indicator lights on all sorts of electronic devices and in moving-message panels, while infrared LEDs are the heart of remote control devices. See also {smoke-emitting diode}. (1996-01-05)
light-emitting diode ::: (electronics) (LED) a type of diode that emits light when current passes through it. Depending on the material used the colour can be visible or sorts of electronic devices and in moving-message panels, while infrared LEDs are the heart of remote control devices.See also smoke-emitting diode. (1996-01-05)
Light is a manifestation of Force, the nature of the force being indicated by the colour of the Light.
Live Free Or Die! 1. The state motto of New Hampshire, which appears on that state's automobile licence plates. 2. A slogan associated with Unix in the romantic days when Unix aficionados saw themselves as a tiny, beleaguered underground tilting against the windmills of industry. The "free" referred specifically to freedom from the {fascist} design philosophies and {crufty} misfeatures common on commercial operating systems. Armando Stettner, one of the early Unix developers, used to give out fake licence plates bearing this motto under a large Unix, all in New Hampshire colours of green and white. These are now valued collector's items.
Live Free Or Die! ::: 1. The state motto of New Hampshire, which appears on that state's automobile licence plates.2. A slogan associated with Unix in the romantic days when Unix aficionados saw themselves as a tiny, beleaguered underground tilting against the windmills of licence plates bearing this motto under a large Unix, all in New Hampshire colours of green and white. These are now valued collector's items.
LOOPN "language, simulation" A {compiler}, {simulator}, and associated {source} control for an {object-oriented} {Petri net} language developed by Charles Lakos "Charles.Lakos@adelaide.edu.au" at the {University of Tasmania}. In LOOPN, a Petri net is an extension of a {coloured timed Petri net}. The extension means firstly that token types are {class}es. In other words, they consist of both data fields and functions, they can be declared by inheriting from other token types, and they can be used {polymorphic}ally. The object-oriented extensions also mean that module or subnet types are classes. LOOPN has been developed over a period of about five years at the University of Tasmania, where it has been used in teaching computer simulation and the modelling of {network} {protocols}. {(ftp://ftp.cs.adelaide.edu.au/pub/OPN/loopn/)}. (2000-09-02)
lurid ::: 1. Sallow or pallid, or murky in colour. 2. Glowing with an unnatural glare as fire through a haze.
Macintosh II ::: (computer) (Mac II) A version of Apple's Macintosh personal computer, released in March 1987, using the Motorola 68020 CPU, which runs at a higher 160 megabyte hard disks and can take up to eight megabytes of RAM (and more as denser memory chips arive).The Mac II was the first Macintosh to provide a colour graphics option, with up to 256 colours on screen at a 640x480 resolution. Mac II models are designed for expandability with three (Macintosh IIcx) or six (II & IIx) built-in NuBus expansion slots for additional peripheral and coprocessor boards. (1996-05-25)
Macintosh II "computer" (Mac II) A version of {Apple}'s {Macintosh} {personal computer}, released in March 1987, using the {Motorola 68020} {CPU}, which runs at a higher {clock rate} than the {Motorola 68000} used in the original Mac. The Mac II has a full 32-bit data bus instead of a 16-bit bus. Mac II models have built-in 40 to 160 megabyte {hard disks} and can take up to eight megabytes of {RAM} (and more as denser memory chips arive). The Mac II was the first Macintosh to provide a colour graphics option, with up to 256 colours on screen at a 640x480 resolution. Mac II models are designed for expandability with three ({Macintosh IIcx}) or six (II & IIx) built-in {NuBus} {expansion slots} for additional {peripheral} and {coprocessor} boards. (1996-05-25)
Madhav: “A kakemono is a Japanese painting which is hung on the wall. It is a print in many colours, many designs. And this world picture is compared to a kakemono of significant forms. Each form is significant, each line is meaningful.” The Book of the Divine Mother
Madhav: “The universe is always seen and experienced as concealed by a coloured veil. The veil is a deceptive veil.” The Book of the Divine Mother
Madhav: “When Aswapathy lifts the curtain of the flesh i.e. when he gets through the barrier of his physical existence, he comes to the threshold of another domain, subtle and occult. He sees a serpent watching, guarding the entrance. In all traditions, especially the ancient, at the doors of every subtle kingdom there is a sentinel and that sentinel is imaged as a serpent. In spiritual symbolism the serpent stands for Energy. Depending on the colour of the serpent, it is physical energy or vital energy, mental energy, spiritual energy. Unless this serpent allows one to pass one cannot enter. The serpent, in this context, is the guard whose consent is necessary before one can pass. The Book of the Divine Mother
madhurya ::: sweetness; "the intoxicating sweetness of the Divine", madhurya experienced in connection with the Mahalaks.mi "colouring" of devibhava.
MAHAKALI ::: Goddess of the supreme strength ; with her are all mights and spiritual force and severest austerity of lapas and swiftness to the battle and the victory and the laughter, the attahosya, that makes light of defeat and death and the powers of the ignorance. .*
Afa/ifliflh' and Kdh are not the same. Kali is a lesser form.
Mahakali in the higher planes appears usually with the golden colour.
Mahalaks.mi (Mahalakshmi; Mahalaxmi; Mahaluxmi) ::: one of the Mahalaksmi four personalities of the sakti or devi: the goddess of beauty, love and delight, whose manifestation in the temperament (Mahalaks.mi bhava) gives its "colouring" to the combination of the aspects of daivi prakr.ti;.. sometimes short for Mahalaks.mi bhava..Mah Mahalaksmi alaks.mi bh bhava
mandala ::: Mandala A sanskrit word meaning section, a mandala is a symmetrical design used for meditational, or spiritual purposes. Tibetan Buddhists are known for the mandalas they take months to make from coloured grains of sand, which, when complete, they blow away to demonstrate the impermanence of all things. See also glyph.
Mandelbrot set ::: (mathematics, graphics) (After its discoverer, Benoit Mandelbrot) The set of all complex numbers c such that | z[N] | 2 for arbitrarily large values of N, where z[0] = 0 z[n+1] = z[n]^2 + c infinite). These points are traditionally coloured black.The Mandelbrot set is the best known example of a fractal - it includes smaller versions of itself which can be explored to arbitrary levels of detail. . (1995-02-08)
Mandelbrot set ::: (mathematics, graphics) (After its discoverer, Benoit Mandelbrot) The set of all complex numbers c such that | z[N] | 2 for arbitrarily large values of N, where z[0] = 0z[n+1] = z[n]^2 + c infinite). These points are traditionally coloured black.The Mandelbrot set is the best known example of a fractal - it includes smaller versions of itself which can be explored to arbitrary levels of detail. . (1995-02-08)
Mandelbrot set "mathematics, graphics" (After its discoverer, {Benoit Mandelbrot}) The set of all {complex numbers} c such that | z[N] | " 2 for arbitrarily large values of N, where z[0] = 0 z[n+1] = z[n]^2 + c The Mandelbrot set is usually displayed as an {Argand diagram}, giving each point a colour which depends on the largest N for which | z[N] | " 2, up to some maximum N which is used for the points in the set (for which N is infinite). These points are traditionally coloured black. The Mandelbrot set is the best known example of a {fractal} - it includes smaller versions of itself which can be explored to arbitrary levels of detail. {The Fractal Microscope (http://ncsa.uiuc.edu/Edu/Fractal/Fractal_Home.html/)}. (1995-02-08)
“Maya or illusion is an element which enters into all finite things, for everything that exists has only a relative, not an absolute, reality, since the appearance which the hidden noumenon assumes for any observer depends upon his power of cognition. . . . Nothing is permanent except the one hidden absolute existence which contains in itself the noumena of all realities. The existences belonging to every plane of being, up to the highest Dhyan-Chohans, are, in degree, of the nature of shadows cast by a magic lantern on a colourless screen; but all things are relatively real, for the cogniser is also a reflection, and the things cognised are therefore as real to him as himself. Whatever reality things possess must be looked for in them before or after they have passed like a flash through the material world; but we cannot cognise any such existence directly, so long as we have sense-instruments which bring only material existence into the field of our consciousness. Whatever plane our consciousness may be acting in, both we and the things belonging to that plane are, for the time being, our only realities. As we rise in the scale of development we perceive that during the stages through which we have passed we mistook shadows for realities, and the upward progress of the Ego is a series of progressive awakenings, each advance bringing with it the idea that now, at last, we have reached ‘reality’; but only when we shall have reached the absolute Consciousness, and blended our own with it, shall we be free from the delusions produced by Maya” (SD 1:39-40).
"method chosen for preparation" was that of Mahasarasvati ::: "the method chosen for fulfilment" was "Mahakali"s in the Mahasaraswati mould", on "the basis of hidden calm & self-possession" provided by Mahesvari and strongly coloured by Mahalaks.mi.Mah Mahakali-Mahasarasvati
monitor 1. A {cathode-ray tube} and associated electronics connected to a computer's video output. A monitor may be either {monochrome} (black and white) or colour ({RGB}). Colour monitors may show either digital colour (each of the red, green and blue signals may be either on or off, giving eight possible colours: black, white, red, green, blue, cyan, magenta and yellow) or analog colour (red, green and blue signals are continuously variable allowing any combination to be displayed). Digital monitors are sometimes known as {TTL} because the voltages on the red, green and blue inputs are compatible with TTL logic chips. See also {gamut}, {multisync}, {visual display unit}. 2. A programming language construct which encapsulates variables, access procedures and initialisation code within an abstract data type. The monitor's variable may only be accessed via its access procedures and only one process may be actively accessing the monitor at any one time. The access procedures are {critical sections}. A monitor may have a queue of processes which are waiting to access it. 3. A hardware device that measures electrical events such as pulses or voltage levels in a digital computer. 4. To oversee a program during execution. For example, the monitor function in the {Unix} {C} library enables profiling of a certain range of code addresses. A histogram is produced showing how often the {program counter} was found to be at each position and how often each profiled function was called. {Unix} {man} page: monitor(3). 5. A control program within the {operating system} that manages the allocation of system resources to active programs. 6. A program that measures software performance.
monitor ::: 1. A cathode-ray tube and associated electronics connected to a computer's video output. A monitor may be either monochrome (black and white) or colour (RGB). displayed). Digital monitors are sometimes known as TTL because the voltages on the red, green and blue inputs are compatible with TTL logic chips.See also gamut, multisync, visual display unit.2. A programming language construct which encapsulates variables, access procedures and initialisation code within an abstract data type. The monitor's critical sections. A monitor may have a queue of processes which are waiting to access it.3. A hardware device that measures electrical events such as pulses or voltage levels in a digital computer.4. To oversee a program during execution. For example, the monitor function in the Unix C library enables profiling of a certain range of code addresses. A histogram is produced showing how often the program counter was found to be at each position and how often each profiled function was called.Unix man page: monitor(3).5. A control program within the operating system that manages the allocation of system resources to active programs.6. A program that measures software performance.
monochrome "graphics" Literally "one colour". Usually used for a black and white (or sometimes green or orange) {monitor} as distinct from a color monitor. Normally, each {pixel} on the display will correspond to a single bit of {display memory} and will therefore be one of two intensities. A {grey-scale} display requires several bits per {pixel} but might still be called monochrome. Compare: {bitonal}. (1994-11-24)
monochrome ::: (graphics) Literally one colour. Usually used for a black and white (or sometimes green or orange) monitor as distinct from a color monitor. Normally, will therefore be one of two intensities. A grey-scale display requires several bits per pixel but might still be called monochrome.Compare: bitonal. (1994-11-24)
monotone ::: 1. Of or having a single colour or tone. 2. Sameness or dull repetition in sound, style, manner, or color.
MOTION One of three aspects of existence. The original cause of motion is the dynamic energy of primordial matter. K 1.4.6
To the motion aspect belong all occurrences, all processes of nature and life, all changes. Everything is in motion and all that moves is matter.
Motion has of old been given manifold designations: force, energy, activity, vibration, etc. As motion should also be considered: sound, light, and colour.
In hylozoics three main causes of motion are distinguished, each one specifically different: dynamis, material energy, will. K 1.24
MPC Level 1 Specification "multimedia" The original {Multimedia Personal Computer} specification. Minimum requirements are a 16 MHz {386SX} with 2 {megabytes} of {RAM}, a 30 MB {hard disk drive}, and a {CD-ROM} drive with a sustained data transfer rate of 150 KB/s at no more than 40% of {CPU} {bandwidth} and reading at least 16 KB blocks. The maximum average {seek time} is 1 second and the {Mean Time Between Failure} 10000 hours. Capability Mode 1. The computer must have 8-bit digital sound and an 8-note synthesizer with {MIDI} playback. Sample rates of 22.05 and 11.025 kHz must be supported by no more than 10% of CPU bandwidth, preferably 44.1 kHz at no more than 15% of CPU bandwidth. The synthesizer must support multi-voice, multi-timbral generation of six simultaneous melody notes and two simultaneous percussive notes with internal mixing capabilities to combine input from three sources and present the output as a stereo, line-level audio signal at the back panel. The video display must have a {resolution} of at least 640 x 480 in 16 colours. MIDI, I/O, and joystick ports must be previded. Compare {MPC Level 2 Specification}. (1997-01-19)
MPC Level 1 Specification ::: (multimedia) The original Multimedia Personal Computer specification.Minimum requirements are a 16 MHz 386SX with 2 megabytes of RAM, a 30 MB hard disk drive, and a CD-ROM drive with a sustained data transfer rate of 150 KB/s maximum average seek time is 1 second and the Mean Time Between Failure 10000 hours. Capability Mode 1.The computer must have 8-bit digital sound and an 8-note synthesizer with MIDI playback. Sample rates of 22.05 and 11.025 kHz must be supported by no more than mixing capabilities to combine input from three sources and present the output as a stereo, line-level audio signal at the back panel.The video display must have a resolution of at least 640 x 480 in 16 colours. MIDI, I/O, and joystick ports must be previded.Compare MPC Level 2 Specification. (1997-01-19)
MPC Level 2 Specification ::: (multimedia) An improved version of the MPC Level 1 Specification for Multimedia Personal Computers.Minimum requirements are a 25 Mhz 486SX with 4 MB of RAM and a 160 MB hard disk drive. The CD-ROM drive must support a sustained data transfer rate of 300 KB/s seek time must be 400 milliseconds maximum. Capability Mode 1, Mode 2 form 1, Mode 2 form 2, Multisession. It must be CD-ROM XA-ready.The computer must have 16-bit digital sound, an 8-note synthesizer, and MIDI playback. A sample rate of 44.1 kHz must be available on stereo channels with more than 15% of CPU bandwidth.A video display with a resolution of 640 x 480 in 65,536 colours, and MIDI, I/O, and joystick ports must be provided. (1997-01-19)
MPC Level 2 Specification "multimedia" An improved version of the {MPC Level 1 Specification} for {Multimedia Personal Computers}. Minimum requirements are a 25 Mhz {486SX} with 4 MB of RAM and a 160 MB {hard disk drive}. The {CD-ROM} drive must support a sustained data transfer rate of 300 KB/s using at most 60% of {CPU} {bandwidth} on 16 KB minimum block read size. Its average {seek time} must be 400 milliseconds maximum. Capability Mode 1, Mode 2 form 1, Mode 2 form 2, Multisession. It must be {CD-ROM XA}-ready. The computer must have 16-bit digital sound, an 8-note synthesizer, and {MIDI} playback. A sample rate of 44.1 kHz must be available on stereo channels with more than 15% of CPU bandwidth. A video display with a {resolution} of 640 x 480 in 65,536 colours, and MIDI, I/O, and joystick ports must be provided. (1997-01-19)
MPEG-1 "compression, standard, algorithm, file format" The first {MPEG} format for compressed {video}, optimised for {CD-ROM}. MPEG-1 was designed for the transmission rates of about 1.5 {Mbps} achievable with {Video-CD} and {CD-i}. It uses {discrete cosine transform} (DCT) and {Huffman coding} to remove spatially redundant data within a frame and block-based {motion compensated prediction} (MCP) to remove data which is temporally redundant between frames. Audio is compressed using {subband encoding}. These {algorithms} allow better than VHS quality video and almost CD quality audio to be compressed onto and streamed off a {single speed} (1x) {CD-ROM} drive. MPEG encoding can introduce blockiness, colour bleed and shimmering effects on video and lack of detail and quantisation effects on audio. The official name of MPEG-1 is {International Standard} {IS-11172}. (1999-01-06)
MPEG-1 ::: (compression, standard, algorithm, file format) The first MPEG format for compressed video, optimised for CD-ROM. MPEG-1 was designed for the transmission rates of about 1.5 Mbps achievable with Video-CD and CD-i.It uses discrete cosine transform (DCT) and Huffman coding to remove spatially redundant data within a frame and block-based motion compensated prediction quality video and almost CD quality audio to be compressed onto and streamed off a single speed (1x) CD-ROM drive.MPEG encoding can introduce blockiness, colour bleed and shimmering effects on video and lack of detail and quantisation effects on audio.The official name of MPEG-1 is International Standard IS-11172. (1999-01-06)
Multi-Color Graphics Array "hardware, graphics" (MCGA) One of {IBM}'s less popular hardware video {display standards} for use in the {IBM PS/2}. MCGA can display 80*25 text in {monochrome}, 40*25 text in 256 colours or 320*200 pixel graphics in 256 colors. It is now obsolete. (2011-03-20)
National Television Standards Committee "electronics" (NTSC) The body defining the television video signal format used in the USA. The UK equivalent is {PAL}. Also, humorously, "Never Twice the Same Colour". (1997-07-17)
National Television Standards Committee ::: (electronics) (NTSC) The body defining the television video signal format used in the USA. The UK equivalent is PAL.Also, humorously, Never Twice the Same Colour. (1997-07-17)
noise "communications" Any part of a signal that is not the true or original signal but is introduced by the communication mechanism. A common example would be an electrical signal travelling down a wire to which noise is added by inductive and capacitive coupling with other nearby signals (this kind of noise is known as "{crosstalk}"). A less obvious form of noise is {quantisation} noise, such as the error between the true colour of a point in a scene in the real world and its representation as a {pixel} in a digital image. (2003-07-05)
noise ::: (communications) Any part of a signal that is not the true or original signal but is introduced by the communication mechanism.A common example would be an electrical signal travelling down a wire to which noise is added by inductive and capacitive coupling with other nearby signals (this kind of noise is known as crosstalk).A less obvious form of noise is quantisation noise, such as the error between the true colour of a point in a scene in the real world and its representation as a pixel in a digital image.(2003-07-05)
noise shaping "communications" {Spectral noise} transformation in a quantisation processes. Noise is "colourised" in the {time domain} an/or {frequency domain} by adding parts of the previous sample. The {SNR bandwidth} and {SNR time integral} stay the same, so some noise decreases, some increases, but overall noise always increases. An example of noise shaping in the frequency domain is quantisation of samples on a {Compact Disc} to reduce noise below -98 dB. The are different algorithms with slightly different filters, e.g. {Super Bitmapping}, {4D Recording}. A time domain example is {MPEG-4 AAC TNS}, which is a method to enhance quality by temporal forming of the noise in a transform block. (2003-07-19)
noise shaping ::: (communications) Spectral noise transformation in a quantisation processes. Noise is colourised in the time domain an/or frequency domain by stay the same, so some noise decreases, some increases, but overall noise always increases.An example of noise shaping in the frequency domain is quantisation of samples on a Compact Disc to reduce noise below -98 dB. The are different algorithms with slightly different filters, e.g. Super Bitmapping, 4D Recording.A time domain example is MPEG-4 AAC TNS, which is a method to enhance quality by temporal forming of the noise in a transform block.(2003-07-19)
Nolini: “Amber colour representing a particular plane of consciousness. Yellow + red + touch of brown—physico-vital or even subtle physical plane—the New Creation come down on that plane. Mother India—Nolini’s reply to a question from Huta.
“nowhere shows Yama ‘as having anything to do with the punishment of the wicked.’ As king and judge of the dead, a Pluto in short, Yama is a far later creation. One has to study the true character of Yama-Yami throughout more than one hymn and epic poem, and collect the various accounts scattered in dozens of ancient works, and then he will obtain a consensus of allegorical statements which will be found to corroborate and justify the Esoteric teaching, that Yama-Yami is the symbol of the dual Manas, in one of its mystical meanings. For instance, Yama-Yami is always represented of a green colour and clothed with red, and as dwelling in a palace of copper and iron. Students of Occultism know to which of the human ‘principles’ the green and the red colours, and by correspondence the iron and copper, are to be applied. The ‘twofold-ruler’ — the epithet of Yama-Yami — is regarded in the exoteric teachings of the Chino-Buddhists as both judge and criminal, the restrainer of his own evil doings and the evil-doer himself. In the Hindu epic poems Yama-Yami is the twin-child of the Sun (the deity) by Sanjna (spiritual consciousness); but while Yama is the Aryan ‘lord of the day,’ appearing as the symbol of spirit in the East, Yami is the queen of the night (darkness, ignorance) ‘who opens to mortals the path to the West’ — the emblem of evil and matter. In the Puranas Yama has many wives (many Yamis) who force him to dwell in the lower world (Patala, Myalba, etc., etc.); and an allegory represents him with his foot lifted, to kick Chhaya, the handmaiden of his father (the astral body of his mother, Sanjna, a metaphysical aspect of Buddhi or Alaya). As stated in the Hindu Scriptures, a soul when it quits its mortal frame, repairs to its abode in the lower regions (Kamaloka or Hades). Once there, the Recorder, the Karmic messenger called Chitragupta (hidden or concealed brightness), reads out his account from the Great Register, wherein during the life of the human being, every deed and thought are indelibly impressed — and, according to the sentence pronounced, the ‘soul’ either ascends to the abode of the Pitris (Devachan), descends to a ‘hell’ (Kamaloka), or is reborn on earth in another human form” (TG 376).
obscure ::: 1. Not bright or lustrous; dull or darkish, as colour or appearance. 2. Hidden, secret, or remote. 3. Not clearly understood or expressed; ambiguous or vague. 4. Not readily noticed or seen; inconspicuous. 5. So faintly perceptible as to lack clear delineation; indistinct. 6. Gloomy, dark, clouded, or dim. 7. Pertaining to darkness. obscurest.
ORANGE. ::: Vide colours.
"Ordinarily we mean by it [consciousness] our first obvious idea of a mental waking consciousness such as is possessed by the human being during the major part of his bodily existence, when he is not asleep, stunned or otherwise deprived of his physical and superficial methods of sensation. In this sense it is plain enough that consciousness is the exception and not the rule in the order of the material universe. We ourselves do not always possess it. But this vulgar and shallow idea of the nature of consciousness, though it still colours our ordinary thought and associations, must now definitely disappear out of philosophical thinking. For we know that there is something in us which is conscious when we sleep, when we are stunned or drugged or in a swoon, in all apparently unconscious states of our physical being. Not only so, but we may now be sure that the old thinkers were right when they declared that even in our waking state what we call then our consciousness is only a small selection from our entire conscious being. It is a superficies, it is not even the whole of our mentality. Behind it, much vaster than it, there is a subliminal or subconscient mind which is the greater part of ourselves and contains heights and profundities which no man has yet measured or fathomed.” Letters on Yoga
“Ordinarily we mean by it [consciousness] our first obvious idea of a mental waking consciousness such as is possessed by the human being during the major part of his bodily existence, when he is not asleep, stunned or otherwise deprived of his physical and superficial methods of sensation. In this sense it is plain enough that consciousness is the exception and not the rule in the order of the material universe. We ourselves do not always possess it. But this vulgar and shallow idea of the nature of consciousness, though it still colours our ordinary thought and associations, must now definitely disappear out of philosophical thinking. For we know that there is something in us which is conscious when we sleep, when we are stunned or drugged or in a swoon, in all apparently unconscious states of our physical being. Not only so, but we may now be sure that the old thinkers were right when they declared that even in our waking state what we call then our consciousness is only a small selection from our entire conscious being. It is a superficies, it is not even the whole of our mentality. Behind it, much vaster than it, there is a subliminal or subconscient mind which is the greater part of ourselves and contains heights and profundities which no man has yet measured or fathomed.” Letters on Yoga
Packard Bell Electronics, Inc. "company" A leading US computer vendor. As recently as 29 November 1995 the Wall Street Journal reported that the company was having financial difficulties and that one of its major suppliers of CPUs, {Intel}, was about to make a large cash loan, so as to prevent loss of a major customer. Packard Bell is a privately held company and the WSJ also reported that {NEC} has been rumored to have bought a large minority block of shares to help the company stay in business. Its computers are sold in major retail outlets in the USA and are available as a bundled package: desktop or {tower} {486} {CPU}, single 3.5 inch {floppy disk drive}, {CD-ROM}, {sound card}, 14 inch colour {monitor}, and 4-8MB of {RAM}. 1995 end-of-year prices in Computer Currents magazine (a California Bay Area bi-monthly giveaway publication) are US$1500 (approx. 1000 pounds) for a 486 desktop, with 8MB RAM, 420MB hard disk drive, single 3.5 inch floppy drive, 14 inch colour monitor, 2-speed CD-ROM, and 16-bit sound card. Headquarters: Sacramento, California, USA. (1996-01-02)
Packard Bell Electronics, Inc. ::: (company) A leading US computer vendor.As recently as 29 November 1995 the Wall Street Journal reported that the company was having financial difficulties and that one of its major suppliers of reported that NEC has been rumored to have bought a large minority block of shares to help the company stay in business.Its computers are sold in major retail outlets in the USA and are available as a bundled package: desktop or tower 486 CPU, single 3.5 inch floppy disk drive, CD-ROM, sound card, 14 inch colour monitor, and 4-8MB of RAM.1995 end-of-year prices in Computer Currents magazine (a California Bay Area bi-monthly giveaway publication) are US$1500 (approx. 1000 pounds) for a 486 desktop, with 8MB RAM, 420MB hard disk drive, single 3.5 inch floppy drive, 14 inch colour monitor, 2-speed CD-ROM, and 16-bit sound card.Headquarters: Sacramento, California, USA. (1996-01-02)
pageant ::: something comparable to a procession in colourful variety, splendour, or grandeur.
palette {colour palette}
pallid ::: 1. Lacking intensity of colour or luminousness. 2. Lacking in vitality or interest.
Pantone "graphics" A set of standard colours for printing, each of which is specified by a single number. You can buy a Pantone swatch book containing samples of each colour. Some computer graphics software allows colours to be specified as Pantone numbers. Even though a computer {monitor} can only show an approximation to some of the colours, the software can output a {colour separation} for each different Pantone colour, enabling a print shop to exactly reproduce the original desired colour. (1996-03-23)
Pantone ::: (graphics) A set of standard colours for printing, each of which is specified by a single number. You can buy a Pantone swatch book containing separation for each different Pantone colour, enabling a print shop to exactly reproduce the original desired colour. (1996-03-23)
patience to develop. For instance, the neutral quiet so dissatis- fying to five vital eagerness of the sadhaka is the first step towards the peace that passeth all understanding, the small current or thrill of inner delight the first trickling of the ocean of Ananda, the play of tights or colours the key of the doors of the inner vision and experience, the descent that stifTens the body into a concentrated stillness that first touch of something at the end of which is the presence of the Divine.
PDP-20 The most famous computer that never was. {PDP-10} computers running the {TOPS-10} operating system were labelled "DECsystem-10" as a way of differentiating them from the {PDP-11}. Later on, those systems running {TOPS-20} were labelled "DECSYSTEM-20" (the block capitals being the result of a lawsuit brought against DEC by Singer, which once made a computer called "system-10"), but contrary to popular lore there was never a "PDP-20"; the only difference between a 10 and a 20 was the {operating system} and the colour of the paint. Most (but not all) machines sold to run {TOPS-10} were painted "Basil Blue", whereas most TOPS-20 machines were painted "Chinese Red" (often mistakenly called orange). [{Jargon File}] (1994-12-21)
pencil and paper An archaic information storage and transmission device that works by depositing smears of graphite on bleached wood pulp. More recent developments in paper-based technology include improved "write-once" update devices which use tiny rolling heads similar to mouse balls to deposit coloured pigment. All these devices require an operator skilled at so-called "handwriting" technique. These technologies are ubiquitous outside hackerdom, but nearly forgotten inside it. Most hackers had terrible handwriting to begin with, and years of keyboarding tend to have encouraged it to degrade further. Perhaps for this reason, hackers deprecate pencil-and-paper technology and often resist using it in any but the most trivial contexts. [{Jargon File}] (1994-12-06)
Petri net ::: (parallel, simulation) A directed, bipartite graph in which nodes are either places (represented by circles) or transitions (represented by place and adding a token to each place pointed to by the transition (its output places).Petri nets are used to model concurrent systems, particularly network protocols.Variants on the basic idea include the coloured Petri Net, Time Petri Net, Timed Petri Net, Stochastic Petri Net, and Predicate Transition Net. . (1996-09-10)
Petri net "parallel, simulation" A {directed}, {bipartite graph} in which nodes are either "places" (represented by circles) or "transitions" (represented by rectangles), invented by Carl Adam Petri. A Petri net is marked by placing "tokens" on places. When all the places with arcs to a transition (its input places) have a token, the transition "fires", removing a token from each input place and adding a token to each place pointed to by the transition (its output places). Petri nets are used to model {concurrent} systems, particularly {network} {protocols}. Variants on the basic idea include the {coloured Petri Net}, {Time Petri Net}, {Timed Petri Net}, {Stochastic Petri Net}, and {Predicate Transition Net}. {FAQ (http://daimi.aau.dk/PetriNets/faq/answers.htm)}. (1996-09-10)
phase alternating line "television" (PAL) The {video} signal format used in the UK [where else?]. PAL uses {Amplitude Modulation} for the video information, and {Frequency Modulation} for the {audio} information. The phase of the {colour subcarrier} is reversed on alternate lines which (together with the use of a delay line) allows the receiver to cancel any phase errors introduced in the path between the studio and the end-user's receiver. Such phase errors are quite common and would cause the displayed colours to shift in {hue}. The US equivalent, {NTSC}, does not have this feature and thus requires a user control to correct for transmission phase errors, hence the mis-expansion "Never Twice the Same Colour". (2001-06-08)
phase alternating line ::: (television) (PAL) The video signal format used in the UK [where else?].PAL uses Amplitude Modulation for the video information, and Frequency Modulation for the audio information. The phase of the colour subcarrier is studio and the end-user's receiver. Such phase errors are quite common and would cause the displayed colours to shift in hue.The US equivalent, NTSC, does not have this feature and thus requires a user control to correct for transmission phase errors, hence the mis-expansion Never Twice the Same Colour.(2001-06-08)
picture element ::: (graphics) (pixel) The smallest resolvable rectangular area of an image, either on a screen or stored in memory. Each pixel in a monochrome image has its colour, usually represented as a triple of red, green and blue intensities (see RGB).Compare voxel. (1998-05-08)
picture element "graphics" (pixel) The smallest resolvable rectangular area of an {image}, either on a screen or stored in memory. Each pixel in a {monochrome} image has its own brightness, from 0 for black to the maximum value (e.g. 255 for an eight-bit pixel) for white. In a colour image, each pixel has its own brightness and colour, usually represented as a triple of red, green and blue intensities (see {RGB}). Compare {voxel}. (1998-05-08)
Pink or Pale-Rose ::: characteristic colour of the psychic ; psychic love. Reddish pink rose; psychic love or surrender.
PINK. ::: Vide Colours.
planes each with its own colour. The red stm is a symbol of the true, illumined physical consciousness.
plotter "hardware" A device that uses one or more pens that can be raised, lowered and moved over the printing media to draw graphics or text. The heart of the plotter is the printer head assembly, consisting of a horizontal bar and, attached to it, the head assembly holding the pen in use. The pen can be positioned horizontally by moving the pen assembly along the bar. Vertical positioning is achieved by either moving the bar (stationary page plotter) or the paper (rolling page plotter). Combinations of horizontal and vertical movement are used to draw arbitrary lines and curves in a single action, in contrast to {printers} which usually scan horizontally across the page. Colour plots can be made by using more than one pen. Older plotters required a separate pen for each colour and the pens had to be changed by hand. Modern colour plotters usually use only four pens (cyan, magenta, yellow, and black, see {CMYK}) and need no human intervention to change them. Monochromatic plotters have been largely phased out by {laser printers} except when large paper size is needed, e.g. in {CAD}. (1996-01-10)
plotter ::: (hardware) A device that uses one or more pens that can be raised, lowered and moved over the printing media to draw graphics or text.The heart of the plotter is the printer head assembly, consisting of a horizontal bar and, attached to it, the head assembly holding the pen in use. vertical movement are used to draw arbitrary lines and curves in a single action, in contrast to printers which usually scan horizontally across the page.Colour plots can be made by using more than one pen. Older plotters required a separate pen for each colour and the pens had to be changed by hand. Modern colour plotters usually use only four pens (cyan, magenta, yellow, and black, see CMYK) and need no human intervention to change them.Monochromatic plotters have been largely phased out by laser printers except when large paper size is needed, e.g. in CAD. (1996-01-10)
pointillage ::: A word coined by Sri Aurobindo. The suffix age, originally in words adopted from Fr., is typically used in abstract nouns to indicate”aggregate”. Hence, pointillage indicates something made up of minute details; particularized. The root word, pointillism, refers to a method, invented by French impressionist painters, of producing luminous effects by crowding a surface with small spots of various colours, which are blended by the eye.
pointillage ::: a word coined by Sri Aurobindo. The suffix age, originally in words adopted from Fr., is typically used in abstract nouns to indicate "aggregate”. Hence, pointillage indicates something made up of minute details; particularized. The root word, pointillism, refers to a method, invented by French impressionist painters, of producing luminous effects by crowding a surface with small spots of various colours, which are blended by the eye.
polygon pusher (Or "rectangle slinger"). A chip designer who spends most of his or her time at the physical layout level (which requires drawing *lots* of multi-coloured polygons). [{Jargon File}]
polygon pusher ::: (Or rectangle slinger). A chip designer who spends most of his or her time at the physical layout level (which requires drawing *lots* of multi-coloured polygons).[Jargon File]
Portable Commodore 64 ::: (computer) A version of the Commodore 64 modelled after the original Osborne portable PCs, with a flip-down keyboard that revealed a 5-inch colour monitor, and a built-in 1541 floppy disk drive. It is thought that few were made but that they did go on sale, at least in Canada.[Relationship to Commodore 65?] (1997-09-14)
Portable Commodore 64 "computer" A version of the {Commodore 64} modelled after the original Osborne portable PCs, with a flip-down keyboard that revealed a 5-inch colour monitor, and a built-in {1541} {floppy disk} drive. It is thought that few were made but that they did go on sale, at least in Canada. [Relationship to {Commodore 65}?] (1997-09-14)
Portable Document Format "file format" (PDF) The native file format for {Adobe Systems}' {Acrobat}. PDF is the file format for representing documents in a manner that is independent of the original application software, hardware, and operating system used to create those documents. A PDF file can describe documents containing any combination of text, graphics, and images in a device-independent and {resolution} independent format. These documents can be one page or thousands of pages, very simple or extremely complex with a rich use of {fonts}, graphics, colour, and {images}. {(http://adobe.com/products/acrobat/adobepdf.html)}. ["The Portable Document Format Reference Manual", Adobe systems, Inc. Addison-Wesley Publ. Co., ISBN: 0-201-62628-4]. (2000-09-08)
Portable Document Format ::: (file format) (PDF) The native file format for Adobe Systems' Acrobat. PDF is the file format for representing documents in a manner that is simple or extremely complex with a rich use of fonts, graphics, colour, and images. .[The Portable Document Format Reference Manual, Adobe systems, Inc. Addison-Wesley Publ. Co., ISBN: 0-201-62628-4].(2000-09-08)
Portable Network Graphics ::: (file format) /ping/ (PNG) An extensible file format for the lossless, portable, well-compressed storage of raster images. PNG provides a patent-free Indexed-colour, greyscale and truecolour images are supported, plus an optional alpha channel. Sample depths range from 1 to 16 bits.PNG is designed for on-line viewing applications, such as the World Wide Web, so it is fully streamable with a progressive display option. PNG is robust, transmission errors. Also, PNG can store gamma correction and chromaticity data for improved colour matching on heterogeneous platforms.Filename extension: .png.RFC 2083. (1997-08-07)
Portable Network Graphics "file format" /ping/ (PNG) An extensible {file format} for the {lossless}, {portable}, well-compressed storage of {raster images}. PNG provides a patent-free replacement for {GIF} and can also replace many common uses of {TIFF}. {Indexed-colour}, {greyscale} and {truecolour} images are supported, plus an optional {alpha channel}. Sample depths range from 1 to 16 bits. PNG is designed for on-line viewing applications, such as the {World Wide Web}, so it is fully {streamable} with a {progressive display} option. PNG is robust, providing both full file {integrity checking} and simple detection of common transmission errors. Also, PNG can store {gamma correction} and {chromaticity} data for improved colour matching on heterogeneous {platforms}. {Filename extension}: .png. {RFC 2083}. {W3C PNG pages (http://w3.org/Graphics/PNG/)}. {PNG home page (http://wco.com/~png/)}. (1997-08-07)
Portable Pixmap ::: (file format) (PPM) A colour image file format.A PPM file contains the following: a two character {magic number} - P3,the width in pixels, represented as three values for red, green, and blue.All parts are separated by whitespace and numbers are in decimal ASCIII representation. A zero pixel component means that colour is absent. Characters from a
Portable Pixmap "file format" (PPM) A colour {image} {file format}. A PPM file contains the following: a two character "{magic number}" - "P3", the width in pixels, the height in pixels, the maximum colour component value, HEIGHT rows of WIDTH {pixels}. The rows are ordered from top to bottom with the pixels in each row ordered from left to right. Each pixel is represented as three values for red, green, and blue. All parts are separated by {whitespace} and numbers are in decimal {ASCIII} representation. A zero pixel component means that colour is absent. Characters from a "
Pronunciation In this dictionary slashes (/../) bracket phonetic pronunciations of words not found in a standard English dictionary. The notation, and many of the pronunciations, were adapted from the Hacker's {Jargon File}. Syllables are separated by {dash} or followed {single quote} or {back quote}. Single quote means the preceding syllable is stressed (louder), back quote follows a syllable with intermediate stress (slightly louder), otherwise all syllables are equally stressed. Consonants are pronounced as in English but note: ch soft, as in "church" g hard, as in "got" gh aspirated g+h of "bughouse" or "ragheap" j voiced, as in "judge" kh guttural of "loch" or "l'chaim" s unvoiced, as in "pass" zh as "s" in "pleasure" Uppercase letters are pronounced as their English letter names; thus (for example) /H-L-L/ is equivalent to /aych el el/. /Z/ is pronounced /zee/ in the US and /zed/ in the UK (elsewhere?). Vowels are represented as follows: a back, that ah father, palm (see note) ar far, mark aw flaw, caught ay bake, rain e less, men ee easy, ski eir their, software i trip, hit i: life, sky o block, stock (see note) oh flow, sew oo loot, through or more, door ow out, how oy boy, coin uh but, some u put, foot *r fur, insert (only in stressed syllables; otherwise use just "r") y yet, young yoo few, chew [y]oo /oo/ with optional fronting as in `news' (/nooz/ or /nyooz/) A /*/ is used for the `schwa' sound of unstressed or occluded vowels (often written with an upside-down `e'). The schwa vowel is omitted in unstressed syllables containing vocalic l, m, n or r; that is, "kitten" and "colour" would be rendered /kit'n/ and /kuhl'r/, not /kit'*n/ and /kuhl'*r/. The above table reflects mainly distinctions found in standard American English (that is, the neutral dialect spoken by TV network announcers and typical of educated speech in the Upper Midwest, Chicago, Minneapolis/St.Paul and Philadelphia). However, we separate /o/ from /ah/, which tend to merge in standard American. This may help readers accustomed to accents resembling British Received Pronunciation. Entries with a pronunciation of `//' are written-only. (1997-12-10)
Psydtlc light ::: The colour of the psychic light is according to what it manifests, e.g. psychic love is pink or rose, the psychic purity is white etc.
Purani: “—a fine expressive word coined by the poet. Fluttering indicates movement, a changing movement and hue suggests colour. The movement of ‘desire’ is very nicely indicated by this word—an unsteady movement, constantly changing colour.”
purple ::: Amal: “It’s [violet valleys of the Blest] a reference to a supra-terrestrial region. As far as I remember, Sri Aurobindo added another similar line when I wrote to him some Latin lines from Virgil about a region where everything was ‘purple’. The adjective ‘purple’ in Latin means a region beyond the earth, which has either this colour or is simply ‘shining’. Sri Aurobindo’s new line: ‘And griefless countries under purple suns’.”
Purple ::: colour of the vital force. Light near to purple; light of a power in the vital.
purpled ::: Amal: “To become richly manifest, beautifully intense, colourfully deep.” (Bk. II, Canto 10, Line 403)
"Purple is the colour of vital power.” *Letters on Yoga
“Purple is the colour of vital power.” Letters on Yoga
PURPLE. ::: Vide Colours. *
puruso varenya adityavarnas tamasah parastat ::: [the excellent purusa, of the colour of the sun, beyond darkness] [cf. Svet. 3.8; Gita 8.9]
QL ::: (computer) (Quantum Leap) Sir Clive Sinclair's first Motorola 68008-based personal computer, developed from around 1981 and released about 1983. The QL It featured innovative microdrives which were random access tape drives. It was not a success.The microdrives were innovative but probably a mistake. Though reliable and quite quick, they sounded like they were going to jam and explode, releasing a shower of plastic shavings and tape into your face.The QL and QDOS only supported two graphics modes - ominously named high res and low res. High res had four (fixed) colours at a resolution of 512 by 256 pixels. channel single oscillator with various parameters for fuzz, pitch change. There was one internal font, scalable to 2 heights and 3 widths.Peripherals and enhancements included a GUI on a plug-in ROM, accelerator cards (Motorola 68020, 4 MB RAM), floppy disks and hard disks.In 1996 there is still some interest in the QL, spread by the Internet of course. Emulation software, source code, The QL Hackers Journal and similar are still available, and many QLs are on the net. . (1996-08-01)
QL "computer" (Quantum Leap) Sir {Clive Sinclair}'s first {Motorola 68008}-based {personal computer}, developed from around 1981 and released about 1983. The QL ran Sinclair's {QDOS} {operating system} which was the first {multitasking} OS on a home computer, though few programmers used this feature. It had a structured, extended {BASIC} and a suite of integrated {application programs} written by {Psion}. It featured innovative "{microdrives}" which were random-access tape drives. It was not a success. The microdrives were innovative but probably a mistake. Though reliable and quite quick, they sounded like they were going to jam and explode, releasing a shower of plastic shavings and tape into your face. The QL and QDOS only supported two graphics modes - ominously named high res and low res. High res had four (fixed) colours at a resolution of 512 by 256 {pixels}. Low res had 8 colours (black, blue, red, magenta, green, cyan, yellow, white) plus a flash mode with 256 by 256 pixels. The sound was next to useless - single channel single oscillator with various parameters for fuzz, pitch change. There was one internal {font}, scalable to 2 heights and 3 widths. Peripherals and enhancements included a {GUI} on a plug-in {ROM}, accelerator cards ({Motorola 68020}, 4 MB RAM), {floppy disks} and {hard disks}. In 1996 there is still some interest in the QL, spread by the Internet of course. {Emulation} software, {source code}, "The QL Hackers Journal" and similar are still available, and many QLs are on the net. {(http://imaginet.fr/~godefroy/english)}. (1996-08-01)
quieted and brought under control; muted, as in colour or voice.
Radha’s colour. Usually the deeper blue is Higher Mind, a paler blue is Illumined Mind (or something of the Intuition), whitish blue is Sri Krishna’s light. Whitish blue like moonlight :::
rainbow series "publication" Any of several series of technical manuals distinguished by cover colour. The original rainbow series was the NCSC security manuals (see {Orange Book}, {crayola books}); the term has also been commonly applied to the PostScript reference set (see {Red Book}, {Green Book}, {Blue Book}, {White Book}). Which books are meant by ""the" rainbow series" unqualified is thus dependent on one's local technical culture. [{Jargon File}] (1996-12-03)
rainbow series ::: (publication) Any of several series of technical manuals distinguished by cover colour. The original rainbow series was the NCSC security manuals (see Which books are meant by the rainbow series unqualified is thus dependent on one's local technical culture.[Jargon File] (1996-12-03)
Random Access Memory Digital-to-Analog Converter "hardware" (RAMDAC) A combination of three fast {DACs} with a small {SRAM} used in graphics {display adapters} to store the {colour palette} and to generate the analog signals to drive a colour {monitor}. The logical colour number from the display memory is fed into the address inputs of the SRAM to select a palette entry to appear on the output of the SRAM. This entry is composed of three separate values corresponding to the three components (red, green, and blue) of the desired physical colour. Each component value is fed to a separate DAC, whose analog output goes to the monitor, and ultimately to one of its three {electron guns} (or equivalent in non-{CRT} displays). DAC word lengths range usually from 6 to 10 bits. The SRAM's wordlength is three times the DAC's word length. The SRAM acts as a {colour lookup table}. It usually has 256 entries (and thus an 8-bit address). If the DAC's word length is also 8 bits, we have a 256 x 24-bit SRAM which allows a selection of 256 out of 16777216 possible colours for the display. The contents of the SRAM can be changed while the display is not active (during {display blanking} times). The SRAM can usually be bypassed and the DACs can be fed directly by display data (for {true colour} modes). (1996-03-24)
Random Access Memory Digital-to-Analog Converter ::: (hardware) (RAMDAC) A combination of three fast DACs with a small SRAM used in graphics display adapters to store the colour palette and to generate whose analog output goes to the monitor, and ultimately to one of its three electron guns (or equivalent in non-CRT displays).DAC word lengths range usually from 6 to 10 bits. The SRAM's wordlength is three times the DAC's word length. The SRAM acts as a colour lookup table. It usually SRAM can usually be bypassed and the DACs can be fed directly by display data (for true colour modes). (1996-03-24)
ray casting "graphics" A simplified form of {ray tracing}. A ray is fired from each {pixel} in the view plane, and information is accumulated from all the {voxels} in the volume data it intersects. Each voxel is first given an associated colour and opacity. The ray is sampled at a fixed number of evenly spaced locations and the colour and opacity are trilinearly interpolated from the eight nearest voxels. These are then composed linearly back to front to give a single colour for the pixel. Ray casting was invented by John Carmack for the game {Wolfenstein 3D}. It is faster and lower quality than ray tracing, and is ideal for interactive applications. It parallelises well, although random access is needed to the voxels. (2004-01-06)
ray casting ::: (graphics) A simplified form of ray tracing. A ray is fired from each pixel in the view plane, and information is accumulated from all the voxels in the volume data it intersects.Each voxel is first given an associated colour and opacity. The ray is sampled at a fixed number of evenly spaced locations and the colour and opacity are trilinearly interpolated from the eight nearest voxels. These are then composed linearly back to front to give a single colour for the pixel.Ray casting was invented by John Carmack for the game Wolfenstein 3D. It is faster and lower quality than ray tracing, and is ideal for interactive applications. It parallelises well, although random access is needed to the voxels.(2004-01-06)
ray tracing ::: (graphics) A technique used in computer graphics to create realistic images by calculating the paths taken by rays of light entering the observer's colour and brightness of the ray. The position, colour, and brightness of light sources, including ambient lighting, is also taken into account.Ray tracing is an ideal application for parallel processing since there are many pixels, each of whose values is independent and can thus be calculated in parallel.Compare: radiosity.Usenet newsgroup: comp.graphics.raytracing. .(2003-09-11)
ray tracing "graphics" A technique used in {computer graphics} to create realistic {images} by calculating the paths taken by rays of light entering the observer's eye at different angles. The paths are traced backward from the viewpoint, through a point (a {pixel}) in the image plane until they hit some object in the scene or go off to infinity. Objects are modelled as collections of abutting surfaces which may be rectangles, triangles, or more complicated shapes such as 3D {splines}. The optical properties of different surfaces (colour, reflectance, transmitance, refraction, texture) also affect how it will contribute to the colour and brightness of the ray. The position, colour, and brightness of light sources, including ambient lighting, is also taken into account. Ray tracing is an ideal application for {parallel processing} since there are many pixels, each of whose values is independent and can thus be calculated in parallel. Compare: {radiosity}. {Usenet} newsgroup: {news:comp.graphics.raytracing}. {(http://directory.google.com/Top/Computers/Software/Graphics/3D/Ray_Tracing/)}. (2003-09-11)
Rebirth ::: In former times the doctrine used to pass in Europe under the grotesque name of transmigration which brought with it to theWestern mind the humorous image of the soul of Pythagoras migrating, a haphazard bird of passage, from the human form divine into the body of a guinea-pig or an ass. The philosophical appreciation of the theory expressed itself in the admirable but rather unmanageable Greek word, metempsychosis, which means the insouling of a new body by the same psychic individual. The Greek tongue is always happy in its marriage of thought and word and a better expression could not be found; but forced into English speech the word becomes merely long and pedantic without any memory of its subtle Greek sense and has to be abandoned. Reincarnation is the now popular term, but the idea in the word leans to the gross or external view of the fact and begs many questions. I
refer "rebirth", for it renders the sense of the wide, colourless, but sufficient Sanskrit term, punarjanma, "again-birth", and commits us to nothing but the fundamental idea which is the essence and life of the doctrine.
Ref: CWSA Vol. 13, Page: 259
Red ::: Colour of the physical. Red diamond is the Mother’s consciousness in the physical.
Red Book ::: 1. publication> Informal name for one of the four standard references on PostScript. The other three official guides are known as the Blue Book, the Green Book, and the White Book.[PostScript Language Reference Manual, Adobe Systems, Addison-Wesley, 1985 (ISBN 0-201-10174-2); second edition 1990 (ISBN 0-201-18127-4)].2. (publication) Informal name for one of the three standard references on Smalltalk. This book also has blue and green siblings.[Smalltalk-80: The Interactive Programming Environment, Adele Goldberg, Addison-Wesley, 1984; (ISBN 0-201-11372-4)].3. publication> Any of the 1984 standards issued by the ITU-T eighth plenary assembly. These include, among other things, the X.400 electronic mail system (Q.400 series recommendations), data communication via the PSTN (the V series recommendations) and tariffs and metering principles (the D series).4. publication> The new version of the Green Book - IEEE 1003.1-1990, also known as ISO 9945-1 - is (because of the colour and the fact that it is printed on A4 paper) known in the USA. as the Ugly Red Book That Won't Fit On The Shelf and in Europe as the Ugly Red Book That's A Sensible Size.5. publication> The NSA Trusted Network Interpretation companion to the Orange Book.See also book titles.[Jargon File]
Red Book 1. "publication" Informal name for one of the four standard references on {PostScript}. The other three official guides are known as the {Blue Book}, the {Green Book}, and the {White Book}. ["PostScript Language Reference Manual", Adobe Systems, Addison-Wesley, 1985 (ISBN 0-201-10174-2); second edition 1990 (ISBN 0-201-18127-4)]. 2. "publication" Informal name for one of the three standard references on Smalltalk. This book also has blue and green siblings. ["Smalltalk-80: The Interactive Programming Environment", Adele Goldberg, Addison-Wesley, 1984; (ISBN 0-201-11372-4)]. 3. "publication" Any of the 1984 standards issued by the {ITU-T} eighth plenary assembly. These include, among other things, the {X.400} {electronic mail} specification, the Group 1 through 4 fax standards, {ISDN}, the R2 signalling system (Q.400 series recommendations), data communication via the {PSTN} (the V series recommendations) and tariffs and metering principles (the D series). 4. "publication" The new version of the {Green Book} - IEEE 1003.1-1990, also known as ISO 9945-1 - is (because of the colour and the fact that it is printed on A4 paper) known in the USA. as "the Ugly Red Book That Won't Fit On The Shelf" and in Europe as "the Ugly Red Book That's A Sensible Size". 5. "publication" The NSA "Trusted Network Interpretation" companion to the {Orange Book}. See also {book titles}. [{Jargon File}]
Red ; Deep red is the Divine Love. Deep red light is tlic light that comes down into the physical for its change. It is associated with the sunlight and the golden light. Golden red is the colour of the supramcntal physical light. The golden red light has a strong transforming power. Rosy red is the psychic love.
red ::: Jhumur: “In general it is the play of the vital forces. Mother always uses red as a symbol of the physical, the colour of blood, the early stage of the developing
Red lotus is either the consciousness reddening to the colour of Divine Love or else the symbol of the Divine Presence on earth.
RED. ::: The colour of the physical ; touched by the higher
register allocation ::: (compiler, algorithm) The phase of a compiler that determines which values will be placed in registers. Register allocation may be combined with register assignment.This problem can be shown to be isomorphic to graph colouring by relating values to nodes in the graph and registers to colours. Values (nodes) which must be valid simultaneously are linked by edges and cannot be stored in the same register (coloured the same).See also register dancing and register spilling.[Preston Briggs, PhD thesis, Rice University, April 1992 ].(2000-12-04)
register allocation "compiler, algorithm" The phase of a {compiler} that determines which values will be placed in {registers}. Register allocation may be combined with {register assignment}. This problem can be shown to be isomorphic to {graph colouring} by relating values to nodes in the graph and registers to colours. Values (nodes) which must be valid simultaneously are linked by edges and cannot be stored in the same register (coloured the same). See also {register dancing} and {register spilling}. [Preston Briggs, PhD thesis, Rice University, April 1992 {"Register Allocation via Graph Coloring" (ftp://ftp.cs.rice.edu/public/preston/thesis.ps.gz)}]. (2000-12-04)
Reincarnation ::: Reincarnation is the now popular term, but the idea in the word leans to the gross or external view of the fact and begs many questions. I
refer "rebirth", for it renders the sense of the wide, colourless, but sufficient Sanskrit term, punarjanma, "again-birth", and commits us to nothing but the fundamental idea which is the essence and life of the doctrine.
Ref: CWSA Vol. 13, Page: 259
relief ::: 1. Projection of a figure or part from the ground or plane on which it is formed, as in sculpture or similar work. 2. Prominence, distinctness or vividness of outline due to contrast of colour.
RGB Red, Green, Blue. The three colours of light which can be mixed to produce any other colour. Coloured images are often stored as a sequence of RGB triplets or as separate red, green and blue overlays though this is not the only possible representation (see {CMYK} and {HSV}). These colours correspond to the three "guns" in a colour {cathode ray tube} and to the colour receptors in the human eye. Often used as a synonym for colour, as in "RGB monitor" as opposed to {monochrome} (black and white).
RGB ::: Red, Green, Blue. The three colours of light which can be mixed to produce any other colour. Coloured images are often stored as a sequence of RGB triplets or representation (see CMYK and HSV). These colours correspond to the three guns in a colour cathode ray tube and to the colour receptors in the human eye.Often used as a synonym for colour, as in RGB monitor as opposed to monochrome (black and white).
rich ::: 1. Abounding in desirable elements or qualities. 2. Having great worth or value. 3. Abundant. 4. Possessing great material wealth: Also fig. **5. Expensively elegant, elaborate, or fine; costly. 6. Magnificent; sumptuous. 7. Warm and strong in colour. 8. Of sounds: Pleasantly full and mellow. Also fig. richer, richest, richly, rich-coloured, rich-hearted, rich-plumaged.**
RiscPC ::: (computer) The final addition to Acorn's Archimedes family of personal computers, released in April 1994. The RiscPC allowed a second processor, e.g. an Intel 486 or a second ARM, to share the bus, memory and peripherals with the main processor. It also had full 24-bit colour graphics support.The Risc PC 600 (the first to be launched) had the new ARM600 processor and RISC OS 3.5. The RiscPC 700 had an ARM710 processor and RISC OS 3.6, and the SA had the StrongARM processor and RISC OS 3.7.Castle Technology Ltd later introduced the IYONIX pc with the 32-bit X-Scale processor and USB sockets. USB and StrongArm can also be retrofitted to earlier RiscPCs.RiscPCs are among the most energy efficient home computers. .(2004-09-21)
RiscPC "computer" The final addition to {Acorn}'s {Archimedes} family of {personal computers}, released in April 1994. The RiscPC allowed a second processor, e.g. an {Intel 486} or a second {ARM}, to share the {bus}, memory and {peripherals} with the main processor. It also had full 24-bit colour graphics support. The Risc PC 600 (the first to be launched) had the new {ARM600} processor and {RISC OS} 3.5. The RiscPC 700 had an {ARM710} processor and RISC OS 3.6, and the SA had the {StrongARM} processor and RISC OS 3.7. {Castle Technology Ltd} later introduced the {IYONIX pc} with the 32-bit {X-Scale} processor and {USB} sockets. USB and StrongArm can also be retrofitted to earlier RiscPCs. RiscPCs are among the most energy efficient home computers. {Acorn Computer Museum (http://pages.zoom.co.uk/acorn.computer/riscpc.html)}. (2004-09-21)
romance ::: 1. A long medieval narrative in prose or verse that tells of the adventures and heroic exploits of chivalric heroes. 2. The colourful world, life, or conditions as in novels and other prose narratives depicting heroic or marvellous deeds and pageantry. 3. A love affair.
rose ::: Sri Aurobindo: "The rose is among the first of flowers because of the richness of its colour, the intensity of sweetness of its scent and the grace and magnificence of its form.”
rose ::: “The rose is not the only beautiful flower, there are hundreds of others; most flowers are beautiful. There are degrees and kinds of beauty, that is all. The rose is among the first of flowers because of the richness of its colour, the intensity of sweetness of its scent and the grace and magnificence of its form.” Letters on Yoga , Volume—22 , SABCL
ROSE. ::: Vide Colours.
rotary debugger (Commodore) Essential equipment for those late-night or early-morning debugging sessions. Mainly used as sustenance for the hacker. Comes in many decorator colours, such as Sausage, Pepperoni, and Garbage. (1995-01-11)
rotary debugger ::: (Commodore) Essential equipment for those late-night or early-morning debugging sessions. Mainly used as sustenance for the hacker. Comes in many decorator colours, such as Sausage, Pepperoni, and Garbage. (1995-01-11)
ruby-eyed ::: having eyes the colour of the ruby; a glowing purple-tinged red.
saga "jargon" (WPI) A {cuspy} but bogus raving story about N {random} broken people. Here is a classic example of the saga form, as told by {Guy Steele} (GLS): Jon L. White (login name JONL) and I (GLS) were office mates at {MIT} for many years. One April, we both flew from Boston to California for a week on research business, to consult face-to-face with some people at {Stanford}, particularly our mutual friend {Richard Gabriel} (RPG). RPG picked us up at the San Francisco airport and drove us back to {Palo Alto} (going {logical} south on route 101, parallel to {El Camino Bignum}). Palo Alto is adjacent to Stanford University and about 40 miles south of San Francisco. We ate at The Good Earth, a "health food" restaurant, very popular, the sort whose milkshakes all contain honey and protein powder. JONL ordered such a shake - the waitress claimed the flavour of the day was "lalaberry". I still have no idea what that might be, but it became a running joke. It was the colour of raspberry, and JONL said it tasted rather bitter. I ate a better tostada there than I have ever had in a Mexican restaurant. After this we went to the local Uncle Gaylord's Old Fashioned Ice Cream Parlor. They make ice cream fresh daily, in a variety of intriguing flavours. It's a chain, and they have a slogan: "If you don't live near an Uncle Gaylord's - MOVE!" Also, Uncle Gaylord (a real person) wages a constant battle to force big-name ice cream makers to print their ingredients on the package (like air and plastic and other non-natural garbage). JONL and I had first discovered Uncle Gaylord's the previous August, when we had flown to a computer-science conference in {Berkeley}, California, the first time either of us had been on the West Coast. When not in the conference sessions, we had spent our time wandering the length of Telegraph Avenue, which (like Harvard Square in Cambridge) was lined with picturesque street vendors and interesting little shops. On that street we discovered Uncle Gaylord's Berkeley store. The ice cream there was very good. During that August visit JONL went absolutely bananas (so to speak) over one particular flavour, ginger honey. Therefore, after eating at The Good Earth - indeed, after every lunch and dinner and before bed during our April visit --- a trip to Uncle Gaylord's (the one in Palo Alto) was mandatory. We had arrived on a Wednesday, and by Thursday evening we had been there at least four times. Each time, JONL would get ginger honey ice cream, and proclaim to all bystanders that "Ginger was the spice that drove the Europeans mad! That's why they sought a route to the East! They used it to preserve their otherwise off-taste meat." After the third or fourth repetition RPG and I were getting a little tired of this spiel, and began to paraphrase him: "Wow! Ginger! The spice that makes rotten meat taste good!" "Say! Why don't we find some dog that's been run over and sat in the sun for a week and put some *ginger* on it for dinner?!" "Right! With a lalaberry shake!" And so on. This failed to faze JONL; he took it in good humour, as long as we kept returning to Uncle Gaylord's. He loves ginger honey ice cream. Now RPG and his then-wife KBT (Kathy Tracy) were putting us up (putting up with us?) in their home for our visit, so to thank them JONL and I took them out to a nice French restaurant of their choosing. I unadventurously chose the filet mignon, and KBT had je ne sais quoi du jour, but RPG and JONL had lapin (rabbit). (Waitress: "Oui, we have fresh rabbit, fresh today." RPG: "Well, JONL, I guess we won't need any *ginger*!") We finished the meal late, about 11 P.M., which is 2 A.M Boston time, so JONL and I were rather droopy. But it wasn't yet midnight. Off to Uncle Gaylord's! Now the French restaurant was in Redwood City, north of Palo Alto. In leaving Redwood City, we somehow got onto route 101 going north instead of south. JONL and I wouldn't have known the difference had RPG not mentioned it. We still knew very little of the local geography. I did figure out, however, that we were headed in the direction of Berkeley, and half-jokingly suggested that we continue north and go to Uncle Gaylord's in Berkeley. RPG said "Fine!" and we drove on for a while and talked. I was drowsy, and JONL actually dropped off to sleep for 5 minutes. When he awoke, RPG said, "Gee, JONL, you must have slept all the way over the bridge!", referring to the one spanning San Francisco Bay. Just then we came to a sign that said "University Avenue". I mumbled something about working our way over to Telegraph Avenue; RPG said "Right!" and maneuvered some more. Eventually we pulled up in front of an Uncle Gaylord's. Now, I hadn't really been paying attention because I was so sleepy, and I didn't really understand what was happening until RPG let me in on it a few moments later, but I was just alert enough to notice that we had somehow come to the Palo Alto Uncle Gaylord's after all. JONL noticed the resemblance to the Palo Alto store, but hadn't caught on. (The place is lit with red and yellow lights at night, and looks much different from the way it does in daylight.) He said, "This isn't the Uncle Gaylord's I went to in Berkeley! It looked like a barn! But this place looks *just like* the one back in Palo Alto!" RPG deadpanned, "Well, this is the one *I* always come to when I'm in Berkeley. They've got two in San Francisco, too. Remember, they're a chain." JONL accepted this bit of wisdom. And he was not totally ignorant - he knew perfectly well that University Avenue was in Berkeley, not far from Telegraph Avenue. What he didn't know was that there is a completely different University Avenue in Palo Alto. JONL went up to the counter and asked for ginger honey. The guy at the counter asked whether JONL would like to taste it first, evidently their standard procedure with that flavour, as not too many people like it. JONL said, "I'm sure I like it. Just give me a cone." The guy behind the counter insisted that JONL try just a taste first. "Some people think it tastes like soap." JONL insisted, "Look, I *love* ginger. I eat Chinese food. I eat raw ginger roots. I already went through this hassle with the guy back in Palo Alto. I *know* I like that flavour!" At the words "back in Palo Alto" the guy behind the counter got a very strange look on his face, but said nothing. KBT caught his eye and winked. Through my stupor I still hadn't quite grasped what was going on, and thought RPG was rolling on the floor laughing and clutching his stomach just because JONL had launched into his spiel ("makes rotten meat a dish for princes") for the forty-third time. At this point, RPG clued me in fully. RPG, KBT, and I retreated to a table, trying to stifle our chuckles. JONL remained at the counter, talking about ice cream with the guy b.t.c., comparing Uncle Gaylord's to other ice cream shops and generally having a good old time. At length the g.b.t.c. said, "How's the ginger honey?" JONL said, "Fine! I wonder what exactly is in it?" Now Uncle Gaylord publishes all his recipes and even teaches classes on how to make his ice cream at home. So the g.b.t.c. got out the recipe, and he and JONL pored over it for a while. But the g.b.t.c. could contain his curiosity no longer, and asked again, "You really like that stuff, huh?" JONL said, "Yeah, I've been eating it constantly back in Palo Alto for the past two days. In fact, I think this batch is about as good as the cones I got back in Palo Alto!" G.b.t.c. looked him straight in the eye and said, "You're *in* Palo Alto!" JONL turned slowly around, and saw the three of us collapse in a fit of giggles. He clapped a hand to his forehead and exclaimed, "I've been hacked!" [My spies on the West Coast inform me that there is a close relative of the raspberry found out there called an "ollalieberry" - ESR] [Ironic footnote: it appears that the {meme} about ginger vs. rotting meat may be an urban legend. It's not borne out by an examination of mediaeval recipes or period purchase records for spices, and appears full-blown in the works of Samuel Pegge, a gourmand and notorious flake case who originated numerous food myths. - ESR] [{Jargon File}] (1994-12-08)
sapphire ::: 1. The blue colour of the gemstone sapphire. 3. Resembling the sapphire; deep-blue. pale-sapphire.
saturation 1. "graphics" In colour theory, the "colourfulness" of a stimulus relative to its {brightness}, the amount of the dominant wavelength relative to other wavelengths in the colour, one of the three coordinates in the {hue, saturation, value} (HSV) and {hue, saturation, brightness} (HSB) {colour models}. White, black and grey contain equal amounts of red, green and blue light and are completely unsaturated. A pure colour with very little gray in it is highly saturated. The amount of saturation does not affect the {hue} of a colour and is unrelated to the {value} (total amount of light in a colour). There are several competing mathematical definitions of saturation. {(http://www.ncsu.edu/scivis/lessons/colormodels/color_models2.html
shade ::: 1. The comparative darkness caused by the interception or screening of rays of light from an object, place, or area. 2. A place or an area of comparative darkness, as one sheltered from the sun. 3. A shadow. 4. A spectre; a shadow. 5. Something that provides a shield or protection from a direct source of light. 6. A colour that varies slightly from a standard colour due to a difference in hue, saturation, or luminosity. 7. Fig. Something resembling a ghost or a disembodied spirit; something insubstantial or fleeting. 8. shades. Darkness gathering at the close of day. Shade, shades.
shot ::: spread or streaked with colour.
silver ::: 1. The metal characterized in a pure state by its lustrous white colour and regarded as a valuable possession or medium of exchange; hence, silver coin; also money in general. 2. Having a soft, clear, resonant, melodious sound. 3. Resembling silver, especially in having a lustrous shine; silvery. Chiefly poet. **silver-grey, silver-winged, moon-silver.**
silvering ::: giving a silvery colour to; suffusing with a silvery hue or lustre.
Since the Consciousness-Force of the eternal Existence is the universal creatrix, the nature of a given world will depend on whatever self-formulation of that Consciousness expresses itself in that world. Equally, for each individual being, his seeing or representation to himself of the world he lives in will depend on the poise or make which that Consciousness has assumed in him. Our human mental consciousness sees the world in sections cut by the reason and sense and put together in a formation which is also sectional; the house it builds is planned to accommodate one or another generalised formulation of Truth, but excludes the rest or admits some only as guests or dependents in the house. Overmind Consciousness is global in its cognition and can hold any number of seemingly fundamental differences together in a reconciling vision. Thus the mental reason sees Person and the Impersonal as opposites: it conceives an impersonal Existence in which person and personality are fictions of the Ignorance or temporary constructions; or, on the contrary, it can see Person as the primary reality and the impersonal as a mental abstraction or only stuff or means of manifestation. To the Overmind intelligence these are separable Powers of the one Existence which can pursue their independent self-affirmation and can also unite together their different modes of action, creating both in their independence and in their union different states of consciousness and being which can be all of them valid and all capable of coexistence. A purely impersonal existence and consciousness is true and possible, but also an entirely personal consciousness and existence; the Impersonal Divine, Nirguna Brahman, and the Personal Divine, Saguna Brahman, are here equal and coexistent aspects of the Eternal. Impersonality can manifest with person subordinated to it as a mode of expression; but, equally, Person can be the reality with impersonality as a mode of its nature: both aspects of manifestation face each other in the infinite variety of conscious Existence. What to the mental reason are irreconcilable differences present themselves to the Overmind intelligence as coexistent correlatives; what to the mental reason are contraries are to the Overmind intelligence complementaries. Our mind sees that all things are born from Matter or material Energy, exist by it, go back into it; it concludes that Matter is the eternal factor, the primary and ultimate reality, Brahman. Or it sees all as born of Life-Force or Mind, existing by Life or by Mind, going back into the universal Life or Mind, and it concludes that this world is a creation of the cosmic Life-Force or of a cosmic Mind or Logos. Or again it sees the world and all things as born of, existing by and going back to the Real-Idea or Knowledge-Will of the Spirit or to the Spirit itself and it concludes on an idealistic or spiritual view of the universe. It can fix on any of these ways of seeing, but to its normal separative vision each way excludes the others. Overmind consciousness perceives that each view is true of the action of the principle it erects; it can see that there is a material world-formula, a vital world-formula, a mental world-formula, a spiritual world-formula, and each can predominate in a world of its own and at the same time all can combine in one world as its constituent powers. The self-formulation of Conscious Force on which our world is based as an apparent Inconscience that conceals in itself a supreme Conscious-Existence and holds all the powers of Being together in its inconscient secrecy, a world of universal Matter realising in itself Life, Mind, Overmind, Supermind, Spirit, each of them in its turn taking up the others as means of its self-expression, Matter proving in the spiritual vision to have been always itself a manifestation of the Spirit, is to the Overmind view a normal and easily realisable creation. In its power of origination and in the process of its executive dynamis Overmind is an organiser of many potentialities of Existence, each affirming its separate reality but all capable of linking themselves together in many different but simultaneous ways, a magician craftsman empowered to weave the multicoloured warp and woof of manifestation of a single entity in a complex universe. …
Single Image Random Dot Stereogram ::: (graphics) (SIRDS, originally autostereogram) A stereogram composed of (coloured) dots which when viewed correctly appears three-dimensional. SIRDs were invented by Dr. Christoper Tyler, Associate Director of the Smith-Kettlewell Eye Research Institute in San Francisco (1999). . . . . (1996-11-06)
Single Image Random Dot Stereogram "graphics" (SIRDS, originally "autostereogram") A {stereogram} composed of (coloured) dots which when viewed correctly appears three-dimensional. SIRDs were invented by Dr. Christoper Tyler, Associate Director of the Smith-Kettlewell Eye Research Institute in San Francisco (1999). {FAQ (http://cs.waikato.ac.nz/~singlis/sirds.html)}. {Nice pictures (http://eleves.ens.fr:8080/home/massimin/index.ang.html)}. {Picture Gallery (http://h2.ph.man.ac.uk/gareth/sirds.html)}. {Vern Hart's SIRDS Gallery (http://vern.com/)}. {SGI Gallery (http://sgi.com/free/gallery.html)}. (1996-11-06)
smoke ::: 1. To crash or blow up, usually spectacularly. The new version smoked, just like the last one. Used for both hardware (where it often describes an actual physical event), and software (where it's merely colourful).2. [Automotive slang] To be conspicuously fast. That processor really smokes. Compare magic smoke.[Jargon File]
smoke 1. To {crash} or blow up, usually spectacularly. "The new version smoked, just like the last one." Used for both hardware (where it often describes an actual physical event), and software (where it's merely colourful). 2. [Automotive slang] To be conspicuously fast. "That processor really smokes." Compare {magic smoke}. [{Jargon File}]
smoking clover ::: [ITS] A display hack originally due to Bill Gosper. Many convergent lines are drawn on a colour monitor in AOS mode (so that every pixel struck has its colour from the FDA (the US's Food and Drug Administration) lest its hallucinogenic properties cause it to be banned.
smoking clover [ITS] A {display hack} originally due to Bill Gosper. Many convergent lines are drawn on a colour monitor in {AOS} mode (so that every pixel struck has its colour incremented). The lines all have one endpoint in the middle of the screen; the other endpoints are spaced one pixel apart around the perimeter of a large square. The colour map is then repeatedly rotated. This results in a striking, rainbow-hued, shimmering four-leaf clover. Gosper joked about keeping it hidden from the FDA (the US's Food and Drug Administration) lest its hallucinogenic properties cause it to be banned.
sombre ::: 1. Dim, gloomy, shadowy. 2. Extremely serious; grave. 3. Of a colour, sober, dull, or dark. 3. Gloomy, depressing, melancholy, dismal. 4. Of persons, their appearance, etc., gloomy, lowering, dark and sullen or dejected.
SPARC Xterminal 1 "computer" {Sun}'s lowest cost networked {Unix} desktop, it is board-upgradeable to a {SPARC 4}. It comes with a choice of {frame buffers}: 8-bit colour, {Turbo GX}, or Turbo GX plus. This product was expected to replace the {SPARCclassic X}. UK availability was planned for March 1995. (1995-02-08)
SPARC Xterminal 1 ::: (computer) Sun's lowest cost networked Unix desktop, it is board-upgradeable to a SPARC 4. It comes with a choice of frame buffers: 8-bit colour, Turbo GX, or Turbo GX plus. This product was expected to replace the SPARCclassic X. UK availability was planned for March 1995. (1995-02-08)
splendid ::: 1. Glorious or illustrious; having great beauty and splendour. 2. Distinguished or glorious, as a name, reputation, victory, etc. 3. Imposing by reason of showiness or grandeur; magnificent. 4. Brilliant with light or colour; radiant. (Sometimes used, by way of contrast, to qualify nouns having an opposite or different connotation.) splendidly.
spot ::: 1. A mark on a surface differing sharply in colour from its surroundings. 2. A stain or blot. 3. A location; a locale. spots.
Sri Aurobindo: " . . . Divine Love which is at the heart of all creation and the most powerful of all redeeming and creative forces has yet been the least frontally present in earthly life, the least successfully redemptive, the least creative. Human nature has been unable to bear it in its purity for the very reason that it is the most powerful, pure, rare and intense of all the divine energies; what little could be seized has been corrupted at once into a vital pietistic ardour, a defenceless religious or ethical sentimentalism, a sensuous or even sensual erotic mysticism of the roseate coloured mind or passionately turbid life-impulse and with these simulations compensated its inability to house the Mystic Flame that could rebuild the world with its tongues of sacrifice. The Synthesis of Yoga
Sri Aurobindo: "‘Violet" is the colour of benevolence or compassion, but also more vividly of the Divine Grace. . . .” *Letters on Yoga
streak ::: n. 1. A long thin mark or trace of some contrasting colour or texture different from the background. 2. A flash leaving a visible line or after effect, as of lightening; bolt. 3. A ray or flash of light or the faint line of he dawn"s light. Also fig. **streaks. v. streaked. 3.** Went quickly; advanced; went at full speed.
Sun is the direct light of the Truth ; when it gets fused into the vital, it takes the mi.Tcd colour — gold and green — just as in the phj'sical it becomes golden red or in the mental golden yellow.
SuperPaint "graphics" A pioneering {graphics} program and {framebuffer} computer system developed by {Richard Shoup} at {Xerox PARC}. Design started in 1972 and the system produced its first stable image in April 1973. SuperPaint was one of the first computers used for creative work, video editing and animation, all which would become major sections within the entertainment industry and major components of industrial design. SuperPaint had a {graphical user interface} and could capture images from video input or combine them with digital data. SuperPaint was the first program with features such as changing {hue, saturation and value}, a {colour palette}, custom {polygons} and lines, virtual paintbrushes and pencils, auto-filling of images and {anti-aliasing}. {Richard Shoup's website (http://www.rgshoup.com/prof/SuperPaint/)}. (2008-11-27)
Super Video Graphics Array "hardware" (SVGA) A {video display} {standard} created by {VESA} for {IBM PC} compatible personal computers. The resolution is 800 x 600 4-bit {pixels}. Each pixel can therefore be one of 16 colours. See {Video Graphics Array}. [Is there a palette? Standard document? Adapter, Adaptor, or Array?] (1995-01-12)
Super Video Graphics Array ::: (hardware) (SVGA) A video display standard created by VESA for IBM PC compatible personal computers. The resolution is 800 x 600 4-bit pixels. Each pixel can therefore be one of 16 colours.See Video Graphics Array.[Is there a palette? Standard document? Adapter, Adaptor, or Array?] (1995-01-12)
Sveta-lohita (Sanskrit) Śvetalohita The white and red; a name of Siva “when he appears in the 29th Kalpa as ‘a moon-coloured Kumara’ ” (TG 316).
Tagged Image File Format ::: (file format, graphics) (TIFF) A file format used for still-image bitmaps, stored in tagged fields. Application programs can use the tags to accept or ignore fields, depending on their capabilities.While TIFF was designed to be extensible, it lacked a core of useful functionality, so that most useful functions (e.g. lossless 24-bit colour) extensions has led some to expand TIFF as Thousands of Incompatible File Formats.Compare GIF, PNG, JPEG. (1997-10-11)
Tagged Image File Format "file format, graphics" (TIFF) A {file format} used for still-image {bitmaps}, stored in tagged fields. {Application programs} can use the tags to accept or ignore fields, depending on their capabilities. While TIFF was designed to be extensible, it lacked a core of useful functionality, so that most useful functions (e.g. {lossless} 24-bit colour) requires nonstandard, often redundant, extensions. The incompatibility of extensions has led some to expand "TIFF" as "Thousands of Incompatible File Formats". Compare {GIF}, {PNG}, {JPEG}. (1997-10-11)
taijasa. ::: consciousness turned inward; an individual in the subtle state, as in a dream; when the Self, identified with the experiencer, is veiled and coloured by an individual's subtle body; enjoyer of subtle dream-objects
Targa Graphics Adaptor ::: (graphics, file format) (TGA) The Truevision Targa Graphics Adaptor file format.The TGA format is a common bitmap file format for storage of 24-bit images. It supports colourmaps, alpha channels, compression and comments.Filename extension: .tga.More information is available from and .[What does it have to do with graphics adaptors?] (1997-08-07)
Targa Graphics Adaptor "graphics, file format" (TGA) The Truevision Targa Graphics Adaptor file format. The TGA format is a common {bitmap} file format for storage of 24-bit images. It supports {colourmaps}, {alpha channels}, {compression} and comments. {Filename extension}: .tga. More information is available from {Truevision (http://truevision.com/)} and {The Graphics File Format Page (http://dcs.ed.ac.uk/~mxr/gfx/)}. [What does it have to do with graphics adaptors?] (1997-08-07)
tawny ::: of a dark yellowish or dull yellowish-brown colour.
The abdominal centre, svadhijihana, commanding the small vital movements, the little creeds, lusts, desires, the small sense- movements, governs the lower vital. (Colour ::: deep purple red ; petals ::: six.)
"The colours of the lotuses and the numbers of petals are respectively, from bottom to top: — (1) the Muladhara or physical consciousness centre, four petals, red; (2) the abdominal centre, six petals, deep purple red; (3) the navel centre, ten petals, violet; (4) the heart centre, twelve petals, golden pink; (5) the throat centre, sixteen petals, grey; (6) the forehead centre between the eye-brows, two petals, white; (7) the thousand-petalled lotus above the head, blue with gold light around. The functions are, according to our yoga, — (1) commanding the physical consciousness and the subconscient; (2) commanding the small vital movements, the little greeds, lusts, desires, the small sense-movements; (3) commanding the larger life-forces and the passions and larger desire-movements; (4) commanding the higher emotional being with the psychic deep behind it; (5) commanding expression and all externalisation of the mind movements and mental forces; (6) commanding thought, will, vision; (7) commanding the higher thinking mind and the illumined mind and opening upwards to the intuition and overmind. The seventh is sometimes or by some identified with the brain, but that is an error — the brain is only a channel of communication situated between the thousand-petalled and the forehead centre. The former is sometimes called the void centre, sunya , either because it is not in the body, but in the apparent void above or because rising above the head one enters first into the silence of the self or spiritual being.” Letters on Yoga*
“The colours of the lotuses and the numbers of petals are respectively, from bottom to top:—(1) the Muladhara or physical consciousness centre, four petals, red; (2) the abdominal centre, six petals, deep purple red; (3) the navel centre, ten petals, violet; (4) the heart centre, twelve petals, golden pink; (5) the throat centre, sixteen petals, grey; (6) the forehead centre between the eye-brows, two petals, white; (7) the thousand-petalled lotus above the head, blue with gold light around. The functions are, according to our yoga,—(1) commanding the physical consciousness and the subconscient; (2) commanding the small vital movements, the little greeds, lusts, desires, the small sense-movements; (3) commanding the larger life-forces and the passions and larger desire-movements; (4) commanding the higher emotional being with the psychic deep behind it; (5) commanding expression and all externalisation of the mind movements and mental forces; (6) commanding thought, will, vision; (7) commanding the higher thinking mind and the illumined mind and opening upwards to the intuition and overmind. The seventh is sometimes or by some identified with the brain, but that is an error—the brain is only a channel of communication situated between the thousand-petalled and the forehead centre. The former is sometimes called the void centre, sunya , either because it is not in the body, but in the apparent void above or because rising above the head one enters first into the silence of the self or spiritual being.” Letters on Yoga
“The double triangle — the Satkiri Chakram of Vishnu — or the six-pointed star, is the perfect seven. In all the old Sanskrit works — Vedic and Tantrik — you find the number 6 mentioned more often than the 7 — this last figure, the central point being implied, for it is the germ of the six and their matrix. . . . the central point standing for seventh, and the circle, the Mahakasha — endless space — for the seventh Universal Principle. In one sense, both are viewed as Avalokitesvara, for they are respectively the Macrocosm and the microcosm. The interlaced triangles — the upper pointing one — is Wisdom concealed, and the downward pointing one — Wisdom revealed (in the phenomenal world). The circle indicates the bounding, circumscribing quality of the All, the Universal Principle which, from any given point expands so as to embrace all things, while embodying the potentiality of every action in the Cosmos. As the point then is the centre round which the circle is traced — they are identical and one, and though from the standpoint of Maya and Avidya — (illusion and ignorance) — one is separated from the other by the manifested triangle, the 3 sides of which represent the three gunas — finite attributes. In symbology the central point is Jivatma (the 7th principle), and hence Avalokitesvara, the Kwan-Shai-yin, the manifested ‘Voice’ (or Logos), the germ point of manifested activity; — hence — in the phraseology of the Christian Kabalists ‘the Son of the Father and Mother,’ and agreeably to ours — ‘the Self manifested in Self’ — Yih-sin, the ‘one form of existence,’ the child of Dharmakaya (the universally diffused Essence), both male and female. Parabrahm or ‘Adi-Buddha’ while acting through that germ point outwardly as an active force, reacts from the circumference inwardly as the Supreme but latent Potency. The double triangles symbolize the Great Passive and the Great Active; the male and female; Purusha and Prakriti. Each triangle is a Trinity because presenting a triple aspect. The white represents in its straight lines: Gnanam — (Knowledge); Gnata — (the Knower); and Gnayam — (that which is known). The black — form, colour, and substance, also the creative, preservative, and destructive forces and are mutually correlating . . .” (ML 345-6).
The heart centre, hrdpadma or andJiata, commanding the high- er emotional being with the psychic deep behind it, governs the emotional being. (Colour: golden pinV ; petals: twelve.)
The navel centre, nabhlpadma or manipura, commanding the larger life-forces and the passions and larger desire-movements, governs the larger vital. (Colour ::: violet ; petals ::: ten.)
Theosophical Society: The Theosophical Society, or “Universal Brotherhood,” was founded in New York, in 1875, by Col. H. S. Olcott and H. P. Blavatsky, helped by W. O. Judge and several others. According to The Theosophical Glossary (by H. P. Blavatsky), “its avowed object was at first the specific investigation of psychic or so-called ‘spiritualistic’ phenomena, after which its three chief objects were declared, namely (1) Brotherhood of man, without distinction of race, colour, religion or social position; (2) the serious study of the ancient world-religions for purposes of comparison and the selection therefrom of universal ethics; (3) the study and development of the latent divine powers in man.”
The physical consciousness centre, mCtladhdra, commanding the physical consciousness and the' subconscienl, 'governs the physical down to the subconscienl. (Colour of the lotus ::: red ; number of petals ::: four.)
The search for beauty is only in its beginning a satisfaction in the beauty of form, the beauty which appeals to the physical senses and the vital impressions, impulsions, desires. It is only in the middle a satisfaction in the beauty of the ideas seized, the emotions aroused, the perception of perfect process and harmonious combination. Behind them the soul of beauty in us desires the contact, the revelation, the uplifting delight of an absolute beauty in all things which it feels to be present, but which neither the senses and instincts by themselves can give, though they may be its channels,—for it is suprasensuous,—nor the reason and intelligence, though they too are a channel,—for it is suprarational, supra-intellectual,— but to which through all these veils the soul itself seeks to arrive. When it can get the touch of this universal, absolute beauty, this soul of beauty, this sense of its revelation in any slightest or greatest thing, the beauty of a flower, a form, the beauty and power of a character, an action, an event, a human life, an idea, a stroke of the brush or the chisel or a scintillation of the mind, the colours of a sunset or the grandeur of the tempest, it is then that the sense of beauty in us is really, powerfully, entirely satisfied. It is in truth seeking, as in religion, for the Divine, the All-Beautiful in man, in nature, in life, in thought, in art; for God is Beauty and Delight hidden in the variation of his masks and forms.
Ref: CWSA Vol. 25, Page: 144-45
The throat centre, \iiuddha, commanding expression and all cxtemalisation of the mind movements and mental forces, governs the expressive and externalising mind, (Colour ::: grey ; petals ::: sixteen.)
The universe removed its coloured veil,
The waves of colour mean a dynamic rush of forces and the star in such a context indicates the promise of the new thing that is to be formed.
This "problem" is now a theorem, having been proven in the 20th century. It was one of the first mathematical theorems to be proven by using a computer. The mathematicians essentially divided the problem into a number of cases (thousands, nonetheless a limited number) so that four colours was checked to be sufficient with each of these cases. The nature of the method of proof means that it was as controversial when it was published as it is now, due mainly to objection by some that such proofs essentially cannot be checked by a human.
thought, iwill, t vision, !govenisi*the dynamic . mind, will, vision, mental formation. (Colour: white ;• petals ::: two.), Iv n
thread ::: n. 1. A fine cord of flax, cotton, or other fibrous material spun out to considerable length, especially when composed of two or more filaments twisted together. 2. Any fine line, stream, mark, or piece. 3. Fig. Likened to a thread in passing (one"s way) through or over (something). 4. Something having the fineness or slenderness of a filament, as a thin continuous stream of liquid, a fine line of colour, etc. threads. *v. 5. To make one"s way, as through a passage or between obstacles. 6. To pass (thread, film, magnetic tape, etc.) through (something. Also fig. 7. To pervade. *threaded, threading.
tinge ::: n. **1. A trace, or slight amount, most of as of a colour. Also fig. v. 2. To apply a trace of color to; tint. 3. To affect as in thought or feeling. tinged, tinging, fire-tinged, many-tinged.**
tinted ::: shaded or coloured lightly.
tints ::: n. **1. A shade of a color, especially a pale or delicate variation. v. 2.** Colours slightly.
topaz ::: a highly valued precious stone, transparent and lustrous, usually of a deep yellow but occasionally other colours.
true colour "graphics" A system where the red, green, and blue components of a colour are stored in {display memory}, as opposed to storing {logical colours} and using a {colour palette} to convert them to red, green, blue components. The advantage of true colour over a palette is that it does not restrict the range of colours which can be displayed on screen simultaneously. For example, if eight bits are used to store each component of each {pixel} then a total of 2^24 (about 17 million) different colours can be displayed at once which would require a (very expensive) palette with 3 * 2^24 bytes (about 50 megabytes) of memory. The disadvantage of true colour is that image transformations which would normally be done by changing the palette must be done to every pixel of the image which can be much slower. Compare {high colour}. (1996-03-24)
true colour ::: (graphics) A system where the red, green, and blue components of a colour are stored in display memory, as opposed to storing logical colours and using a colour palette to convert them to red, green, blue components.The advantage of true colour over a palette is that it does not restrict the range of colours which can be displayed on screen simultaneously. For example, require a (very expensive) palette with 3 * 2^24 bytes (about 50 megabytes) of memory.The disadvantage of true colour is that image transformations which would normally be done by changing the palette must be done to every pixel of the image which can be much slower.Compare high colour. (1996-03-24)
varn.a (chhayamay varna)—shadowy colour; varn.a mixed with an element of chaya.
varn.a ::: colour; one of the seven kinds of akashic material; rūpa or varna lipi composed of this material.
varna ::: colour; [Ved.]: denotes quality, temperament etc.; [Brahmanas]: used for caste or class; the four varnas (caturvarna): the four graded classes of society.
varn.amaya (varnamaya; varnamay) ::: coloured; (rūpa or lipi) comvarnamaya posed of varn.a.
varn.a (tejomay varna) ::: brilliant colour; varn.a mixed with an element of tejas.
varnikabhanga ::: [one of the sadanga]: the turn, combination, harmony of colours.
Vide Colours.
vide Colours.
Video Graphics Array ::: (hardware) (VGA) A display standard for IBM PCs, with 640 x 480 pixels in 16 colours and a 4:3 aspect ratio. There is also a text mode with 720 x 400 pixels.IBM technical references define the *product name* of their original VGA display board as Video Graphics Array, in contrast to the preceding boards, the Color Graphics Adapter (CGA) and Enhanced Graphics Adapter (EGA).See also Super Video Graphics Adapter. (1995-01-12)
Video Graphics Array "hardware" (VGA) A {display standard} for {IBM PCs}, with 640 x 480 {pixels} in 16 colours and a 4:3 {aspect ratio}. There is also a text mode with 720 x 400 pixels. IBM technical references define the *product name* of their original VGA display board as "Video Graphics Array", in contrast to the preceding boards, the "{Color Graphics Adapter}" (CGA) and "{Enhanced Graphics Adapter}" (EGA). See also {Super Video Graphics Adapter}. (1995-01-12)
video "graphics" Moving images presented as a sequence of {static images} (called "frames") representing snapshots of the scene, taken at regularly spaced time intervals, e.g. 50 frames per second. Apart from the frame rate, other important properties of a video are the {resolution} and {colour depth} of the individual images. Digital video data is typically stored and transmitted in a format like {MPEG} or {H.264} that includes synchoronised {sound}. Unlike broadcast {television}, digital video on a computer or network uses {compression}. Compression is even more important for video that for static images due to the large amount of data involved in even a short video. Furthermore, compression allows video to be transmitted via a channel whose bandwidth is less than the raw data rate implied by the resolution and frame rate. This allows the recipient to start displaying the video before the transmission is complete, a process known as {streaming}. Compression can be relatively slow but decompression is done in {real-time} with the picture quality and {frame rate} varying with the processing power available and the size and scaling of the picture. There are many types of software for displaying video on computers including {Windows Media Player} from {Microsoft}, {QuickTime} from {Apple Computer}, {DivX}, {VLC}, {RealPlayer} and {Acorn Computers}' {Replay}. (2011-01-04)
video memory ::: (storage) The memory in a computer's graphics adaptor, used to store the image displayed on a bitmap display. Often this is built using VRAM chips. There bits then it can have any of 256 colours (or shades of grey on a monochrome display).The video display electronics is responsible for reading the data from video memory and converting it into the necessary signals to drive the display. Often this includes a colour palette which converts pixel values into RGB triplets. (1996-11-01)
video memory "storage" The memory in a computer's {graphics adaptor}, used to store the image displayed on a {bitmap display}. Often this is built using {VRAM} chips. There is normally a simple correspondence between groups of {bits} in video memory and the dots or "{pixels}" on the screen, such that writing to a given group of bits will alter the appearance of a single dot. If each pixel corresponds to eight bits then it can have any of 256 colours (or shades of grey on a monochrome display). The video display electronics is responsible for reading the data from video memory and converting it into the necessary signals to drive the display. Often this includes a {colour palette} which converts pixel values into {RGB} triplets. (1996-11-01)
Vide Visions ; Colours.
"Violet is the colour of the light of Divine Compassion, as also of Krishna"s Grace. It is also the radiance of Krishna"s protection.” Letters on Yoga
violet ::: reddish-blue, a colour at the opposite end of the visible spectrum from red.
VIOLET. ::: Vide Colours.
violet ::: “‘Violet’ is the colour of benevolence or compassion, but also more vividly of the Divine Grace….” Letters on Yoga
Visions — colours: When i!»c colours begin lo take definite shapes in the >jslons, it is a sign of some dynamic work of formation in the consciousness ::: a square, for instance, means that some kind of creation is in process in some field of the being ; the square indicates that the creation is to be complete in itself ; while the rectangle indicates somcihws partial and preliminary.
visual imagery: Imagery that appeals to anything that can be seen, e.g colours and shapes. See imagery.
visual perception: the process by which sensory information from the eyes is transformed to produce an experience of depth, distance, colour, etc.
vivid ::: 1. Full of life; lively; animated. 2. Strikingly bright or intense, as colour, light, etc. 3. Making a powerful impact on the emotions or senses. 4. Uttered, operating, or acting with vigour. 5. Strong, distinct, or clearly perceptible.
watchtowers ::: Watchtowers This term came from the Enochian branch of Ceremonial Magick, but has now been incorporated into many Traditions of Wicca. The watchtowers are the four elemental directions of north, south, east and west or the quarters (corresponding with the appropriate points on the compass) called to protect the Circle during its establishment. Each has a correspondence with the compass point, an element, and (varying between different traditions) a colour associated with it.
wavelength division multiplexing "communications" (WDM) {Multiplexing} several {Optical Carrier n} signals on a single {optical fibre} by using different wavelengths (colours) of {laser} light to carry different signals. The device that joins the signals together is known as a {multiplexor}, and the one that splits them apart is a {demultiplexor}. With the right type of fibre you can have a device that does both and that ought to be called a "mudem" but isn't. The first WDM systems combined two signals and appeared around 1985. Modern systems can handle up to 128 signals and can expand a basic 9.6 {Gbps} fibre system to a capacity of over 1000 Gbps. WDM systems are popular with telecommunications companies because they allow them to expand the capacity of their fibre networks without digging up the road again. All they have to do is to upgrade the (de)multiplexors at each end. However these systems are expensive and complicated to run. There is currently no {standard}, which makes it awkward to integrate with older but more standard {SONET} systems. Note that this term applies to an optical {carrier} (which is typically described by its wavelength), whereas {frequency division multiplexing} typically applies to a {radio} carrier (which is more often described by frequency). However, since wavelength and frequency are inversely proportional, and since radio and light are both forms of electromagnetic radiation, the distinction is somewhat arbitrary. See also {time division multiplexing}, {code division multiplexing}. [Is "wave division multiplexing", as in "dense wave division multiplexing" (DWDM) just a trendy abbreviation?] (2002-07-16)
wavelength division multiplexing ::: (communications) (WDM) Multiplexing several Optical Carrier n signals on a single optical fibre by using different wavelengths (colours) of laser light to carry different signals.The device that joins the signals together is known as a multiplexor, and the one that splits them apart is a demultiplexor. With the right type of fibre you can have a device that does both and that ought to be called a mudem but isn't.The first WDM systems combined two signals and appeared around 1985. Modern systems can handle up to 128 signals and can expand a basic 9.6 Gbps fibre system to a capacity of over 1000 Gbps.WDM systems are popular with telecommunications companies because they allow them to expand the capacity of their fibre networks without digging up the road no standard, which makes it awkward to integrate with older but more standard SONET systems.Note that this term applies to an optical carrier (which is typically described by its wavelength), whereas frequency division multiplexing typically applies to are both forms of electromagnetic radiation, the distinction is somewhat arbitrary.See also time division multiplexing, code division multiplexing.[Is wave division multiplexing, as in dense wave division multiplexing (DWDM) just a trendy abbreviation?](2002-07-16)
waxen ::: resembling wax in colour or texture; pale or smooth as wax.
whiteness ::: the quality or state of the colour of greatest lightness; purity. Also fig.
white point "graphics" A set of three {colour coordinates} that define the colour white in {image processing} applications. (2008-03-10)
whitespace "character" (From the colour it produces on white paper) Any contiguous sequence of {spaces}, {tabs}, {carriage returns}, and/or {line feeds}. Whitespace might also possibly include {form feed} characters. The term is common on {Unix}. See also {non-printing character}. (1996-09-04)
whitespace ::: (character) (From the colour it produces on white paper) Any contiguous sequence of spaces, tabs, carriage returns, and/or line feeds. Whitespace might also possibly include form feed characters. The term is common on Unix.See also non-printing character. (1996-09-04)
WHITE. ::: Vide Colours.
window shopping ::: (jargon) A term used among users of WIMP environments like the X Window System or the Macintosh at the US Geological Survey for extended experimentation and different icons and background patterns for all to see. Also: window dressing, the act of applying new fonts, colours, etc.See fritterware, compare macdink.[Jargon File] (1996-07-08)
window shopping "jargon" A term used among users of {WIMP} environments like the {X Window System} or the {Macintosh} at the US Geological Survey for extended experimentation with new window colours, {fonts}, and {icon} shapes. This activity can take up hours of what might otherwise have been productive working time. "I spent the afternoon window shopping until I found the coolest shade of green for my active window borders --- now they perfectly match my medium slate blue background." Serious window shoppers will spend their days with bitmap editors, creating new and different icons and background patterns for all to see. Also: "window dressing", the act of applying new fonts, colours, etc. See {fritterware}, compare {macdink}. [{Jargon File}] (1996-07-08)
Windows Millennium Edition "operating system" (Windows ME) An update of {Microsoft} {Windows 98}, released in 2000. ME included updates of packaged software and new software such as {Windows Media Player} 7, {Windows Movie Maker}. It also has an updated {user interface} with new colours and icons, but few major changes. Windows ME was followed by {Windows XP}. (2003-05-13)
Windows Millennium Edition ::: (operating system) (Windows ME) An update of Microsoft Windows 98, released in 2000. ME included updates of packaged software and new software such interface with new colours and icons, but few major changes. Windows ME was followed by Windows XP.(2003-05-13)
Xcoral ::: A multiwindow mouse-based text editor, for the X Window System with a built-in browser to navigate through C functions and C++ classes hierarchies. Xcoral bindings. Xcoral is a direct Xlib client and runs on colour or monochrome X displays. . (1993-03-14)
Xcoral A multiwindow mouse-based text editor, for the {X Window System} with a built-in browser to navigate through {C} functions and {C++} {class}es hierarchies. Xcoral provides variables width {fonts}, menus, {scrollbars}, {buttons}, search, regions, kill-buffers and 3D look. Commands are accessible from menus or standard key bindings. Xcoral is a direct {Xlib} {client} and runs on colour or monochrome X displays. {Version 1.72 (ftp://ftp.inria.fr/X/contrib/clients/xcoral*)}. (1993-03-14)
Yeilow * charactensuc colour of the mind It is the light of the rmnd growmg bnghter as one goes higher till it meets the golden light of the Divine Truth
YELLOW. ::: Vide Colours.
Your statement that ‘joy’ is just another word for ‘ecstasy’ is surprising. ‘Comfort’, ‘pleasure’, ‘joy’, ‘bliss’, ‘rapture’, ‘ecstasy’ would then be all equal and exactly synonymous terms and all distinction of shades and colours of words would disappear from literature. As well say that ‘flashlight’ is just another word for ‘lightning’—or that glow, gleam, glitter, sheen, blaze are all equivalents which can be employed indifferently in the same place. One can feel allured to the supreme omniscient Ecstasy and feel a nameless joy touching one without that Joy becoming itself the supreme Ecstasy. I see no loss of expressiveness by the joy coming in as a vague nameless hint of the immeasurable superior Ecstasy.” Letters on Savitri
ZX Spectrum ::: (computer) Sinclair's first personal computer with a colour display. The Spectrum used the Zilog Z80 processor like its predecessors the ZX-80 and ZX-81. didn't require the presence of a cold carton of milk to prevent it overheating. It was possibly the most popular home computer in the UK for many years.The TK-90X was a clone. (1995-11-04)
ZX Spectrum "computer" {Sinclair}'s first personal computer with a colour display. The Spectrum used the {Zilog Z80} processor like its predecessors the {ZX-80} and {ZX-81}. It was originally available in 16k and 48k versions using cassette tape and later grew to 128k and sprouted {floppy disks}. It had a wider and more solid case and a marginally better "dead flesh" keyboard. Unlike the earlier models, it didn't require the presence of a cold carton of milk to prevent it overheating. It was possibly the most popular home computer in the UK for many years. The {TK-90X} was a clone. (1995-11-04)
KEYS (10k)
9 Sri Aurobindo
1 Johann Wolfgang von Goethe
1 Dhammapada
1 Buddhist Texts
1 Sri Ramana Maharshi
1 Sri Ramakrishna
1 Johann Wolfgang von Goethe
1 ?
NEW FULL DB (2.4M)
28 Mehmet Murat ildan
20 Anonymous
15 Walter J Phillips
12 Thomas Hardy
11 Terry Pratchett
11 Oscar Wilde
10 Sri Aurobindo
10 Israelmore Ayivor
10 Charles Dickens
10 Cassandra Clare
9 William Shakespeare
9 Vincent Van Gogh
9 Neil Gaiman
9 Fernando Pessoa
8 Paul Cezanne
8 Markus Zusak
7 Marcel Proust
7 Leonardo da Vinci
7 Jeanette Winterson
7 G K Chesterton
1:Colour itself is a degree of darkness. ~ Johann Wolfgang von Goethe, #KEYS
2:Colour was a visible tone of ecstasy. ~ Sri Aurobindo, Savitri, The Eternal Day, The Soul's Choice and the Supreme Consummation, #KEYS
3:Fine language not followed by acts in harmony with it is like a splendid flower brilliant in colour but without perfume. ~ Dhammapada, the Eternal Wisdom #KEYS
4:All the colour and variety of life is made of the intricate pattern of the weaving of the gunas. ~ Sri Aurobindo, The Synthesis Of Yoga, The Liberation of the Nature, #KEYS
5:The mind is like white linen just returned from the laundry. It takes on the colour you dip it in. First is the purification of the mind. Afterwards, if you direct the mind to the contemplation of God, it will be coloured by God-Consciousness. ~ Sri Ramakrishna, #KEYS
6:42.'The colour of milk is one, the colours of the cows'many, So is the nature of knowledge, observe the wise ones. Beings of various marks and attributes, Are like the cows, their realisation is the same; This is an example we should know. ~ Sri Ramana Maharshi, #KEYS
7:The red lotus is the flower of Sri Aurobindo, but specially for his centenary we shall choose the blue lotus, which is the colour of his physical aura, to symbolise the centenary of the manifestation of the Supreme upon earth. 21 December 1971
*
~ The Mother, Words Of The Mother I,#KEYS
8:Throughout the past 2500 years, whichever country Buddhism has been taught in, there have always been great yogis. Likewise, sooner or later there will be the great yogis of the West. This is because Buddhism has nothing to do with culture, gender, language, or colour. Buddhism is for all beings throughout time and space. And whoever dedicates their life to putting the teachings into practice will become a great yogi. It is as simple as that. ~ Chamtrul Rinpoche, #KEYS
9:In terms of energy - there are three characteristic ways in which the energy manifests - Dang, Rolpa, and rTsal (gDang, rol pa, and rTsal). Dang is the energy in which 'internal' and 'external' are not divided from that which manifests. It is symbolised by the crystal sphere which becomes the colour of whatever it is placed upon. Rolpa is the energy which manifests internally as vision. It is symbolised by the mirror. The image of the reflection always appears as if it is inside the mirror. rTsal is externally manifested energy which radiates. It is symbolised by the refractive capacity of the faceted crystal. For a realised being, this energy is inseparable in its manifestation from the dimension of manifest reality. Dang, Rolpa, and rTsal are not divided.
Dang, Rolpa and rTsal are not divided and neither are the ku-sum (sKu gSum - the trikaya) the three spheres of being. Cho-ku (chos sKu - Dharmakaya), the sphere of unconditioned potentiality, is the creative space from which the essence of the elements arises as long-ku (longs sKu - Sambhogakaya) the sphere of intangible appearances - light and rays, non material forms only perceivable by those with visionary clarity. Trülku (sPrul sKu - Nirmanakaya), the sphere of realised manifestation, is the level of matter in apparently solid material forms. The primordial base manifests these three distinct yet indivisible modes. ~ Sam Van Schaik, Approaching the Great Perfection: Simultaneous and Gradual Methods of Dzogchen Practice in the Longchen Nyingtig,#KEYS
10:The obsession clouds all reason, impairs the ability to act, makes anything secondary to it seem unimportant. It's a double-bind tug o'war. The desire to maintain the fantasy may be stronger than the desire to make it real.
In classical occult terms I am describing a thought-form, a monster bred from the darker reccesses of mind, fed by psychic energy, clothed in imagination and nurtured by umbilical cords which twist through years of growth. we all have our personal Tunnels of Set; set in our ways through habit and patterns piling on top of each other. The thought-form rides us like a monkey; it's tail wrapped firmly about the spine of a self lost to us years ago; an earlier version threshing blindly in a moment of fear, pain, or desire.
Thus we are formed; and in a moment of loss we feel the monster's hot breath against our backs, it's claws digging into muscle and flesh. we dance to the pull of strings that were woven years ago, and in a lightning flash of insight, or better yet, the gentle admonitions of a friend, we may see the lie; the program. it is first necessary to see that there is a program. To say perhaps, this creature is mine, but not wholly me. What follows then is that the prey becomes the hunter, pulling apart the obsession, naming its parts, searching for fragments of understanding in its entrails. Shrinking it, devouring it, peeling the layers of onion-skin.
This is in itself a magick as powerful as any sorcery. Unbinding the knots that we have tied and tangled; sorting out the threads of experience and colour-coding the chains of chance. It may leave us freer, more able to act effectively and less likely to repeat old mistakes. The thing has a chinese puzzle-like nature. We can perceive only the present, and it requires intense sifting through memory to see the scaffolding beneath.
~ Phil Hine, Oven Ready Chaos,#KEYS
11:The poet-seer sees differently, thinks in another way, voices himself in quite another manner than the philosopher or the prophet. The prophet announces the Truth as the Word, the Law or the command of the Eternal, he is the giver of the message; the poet shows us Truth in its power of beauty, in its symbol or image, or reveals it to us in the workings of Nature or in the workings of life, and when he has done that, his whole work is done; he need not be its explicit spokesman or its official messenger. The philosopher's business is to discriminate Truth and put its parts and aspects into intellectual relation with each other; the poet's is to seize and embody aspects of Truth in their living relations, or rather - for that is too philosophical a language - to see her features and, excited by the vision, create in the beauty of her image.
No doubt, the prophet may have in him a poet who breaks out often into speech and surrounds with the vivid atmosphere of life the directness of his message; he may follow up his injunction "Take no thought for the morrow," by a revealing image of the beauty of the truth he enounces, in the life of Nature, in the figure of the lily, or link it to human life by apologue and parable. The philosopher may bring in the aid of colour and image to give some relief and hue to his dry light of reason and water his arid path of abstractions with some healing dew of poetry. But these are ornaments and not the substance of his work; and if the philosopher makes his thought substance of poetry, he ceases to be a philosophic thinker and becomes a poet-seer of Truth. Thus the more rigid metaphysicians are perhaps right in denying to Nietzsche the name of philosopher; for Nietzsche does not think, but always sees, turbidly or clearly, rightly or distortedly, but with the eye of the seer rather than with the brain of the thinker. On the other hand we may get great poetry which is full of a prophetic enthusiasm of utterance or is largely or even wholly philosophic in its matter; but this prophetic poetry gives us no direct message, only a mass of sublime inspirations of thought and image, and this philosophic poetry is poetry and lives as poetry only in so far as it departs from the method, the expression, the way of seeing proper to the philosophic mind. It must be vision pouring itself into thought-images and not thought trying to observe truth and distinguish its province and bounds and fences.
~ Sri Aurobindo, The Future Poetry,#KEYS
12:Has creation a definite aim? Is there something like a final end to which it is moving?
The Mother: No, the universe is a movement that is eternally unrolling itself. There is nothing which you can fix upon as the end and one aim. But for the sake of action we have to section the movement, which is itself unending, and to say that this or that is the goal, for in action we need something upon which we can fix our aim. In a picture you need a definite scheme of composition and colour; you have to set a limit, to put the whole thing within a fixed framework; but the limit is illusory, the frame is a mere convention. There is a constant continuation of the picture that stretches beyond any particular frame, and each continuation can be drawn in the same conditions in an unending series of frames. Our aim is this or that, we say, but we know that it is only the beginning of another aim beyond it, and that in its turn leads to yet another; the series develop always and never stop.
What is the proper function of the intellect? Is it a help or a hindrance to Sadhana?
Whether the intellect is a help or a hindrance depends upon the person and upon the way in which it is used. There is a true movement of the intellect and there is a wrong movement; one helps, the other hinders. The intellect that believes too much in its own importance and wants satisfaction for its own sake, is an obstacle to the higher realisation.
But this is true not in any special sense or for the intellect alone, but generally and of other faculties as well. For example, people do not regard an all-engrossing satisfaction of the vital desires or the animal appetites as a virtue; the moral sense is accepted as a mentor to tell one the bounds that one may not transgress. It is only in his intellectual activities that man thinks he can do without any such mentor or censor!
Any part of the being that keeps to its proper place and plays its appointed role is helpful; but directly it steps beyond its sphere, it becomes twisted and perverted and therefore false. A power has the right movement when it is set into activity for the divine's purpose; it has the wrong movement when it is set into activity for its own satisfaction.
The intellect, in its true nature, is an instrument of expression and action. It is something like an intermediary between the true knowledge, whose seat is in the higher regions above the mind, and realisation here below. The intellect or, generally speaking, the mind gives the form; the vital puts in the dynamism and life-power; the material comes in last and embodies. ~ The Mother, Questions And Answers 1929-1931, 28th April 1931 and 5th May 1929,#KEYS
13:root of the falsification and withdrawl of divine love :::
At every moment they are moved to take egoistic advantage of the psychic and spiritual influences and can be detected using the power, joy or light these bring into us for a lower life-motive. Afterwards too, even when the seeker has opened to the Divine Love transcendental, universal or immanent, yet if he tries to pour it into life, he meets the power of obscuration and perversion of these lower Nature-forces. Always they draw away towards pitfalls, pour into that higher intensity their diminishing elements, seek to capture the descending Power for themselves and their interests and degrade it into an aggrandised mental, vital or physical instrumentation for desire and ego. Instead of a Divine Love creator of a new heaven and a new earth of Truth and Light, they would hold it here prisoner as a tremendous sanction and glorifying force of sublimation to gild the mud of the old earth and colour with its rose and sapphire the old turbid unreal skies of sentimentalising vital imagination and mental idealised chimera. If that falsification is permitted, the higher Light and Power and Bliss withdraw, there is a fall back to a lower status; or else the realisation remains tied to an insecure half-way and mixture or is covered and even submerged by an inferior exaltation that is not the true Ananda. It is for this reason that Divine Love which is at the heart of all creation and the most powerful of all redeeming and creative forces has yet been the least frontally present in earthly life, the least successfully redemptive, the least creative. Human nature has been unable to bear it in its purity for the very reason that it is the most powerful, pure, rare and intense of all the divine energies; what little could be seized has been corrupted at once into a vital pietistic ardour, a defenceless religious or ethical sentimentalism, a sensuous or even sensual erotic mysticism of the roseate coloured mind or passionately turbid life-impulse and with these simulations compensated its inability to house the Mystic Flame that could rebuild the world with its tongues of sacrifice. It is only the inmost psychic being unveiled and emerging in its full power that can lead the pilgrim sacrifice unscathed through these ambushes and pitfalls; at each moment it catches, exposes, repels the mind's and the life's falsehoods, seizes hold on the truth of the Divine Love and Ananda and separates it from the excitement of the mind's ardours and the blind enthusiasms of the misleading life-force. But all things that are true at their core in mind and life and the physical being it extricates and takes with it in the journey till they stand on the heights, new in spirit and sublime in figure. ~ Sri Aurobindo, The Synthesis Of Yoga, The Ascent of the Sacrifice - 2, 166,#KEYS
14:DHARANA
NOW that we have learnt to observe the mind, so that we know how it works to some extent, and have begun to understand the elements of control, we may try the result of gathering together all the powers of the mind, and attempting to focus them on a single point.
We know that it is fairly easy for the ordinary educated mind to think without much distraction on a subject in which it is much interested. We have the popular phrase, "revolving a thing in the mind"; and as long as the subject is sufficiently complex, as long as thoughts pass freely, there is no great difficulty. So long as a gyroscope is in motion, it remains motionless relatively to its support, and even resists attempts to distract it; when it stops it falls from that position. If the earth ceased to spin round the sun, it would at once fall into the sun. The moment then that the student takes a simple subject - or rather a simple object - and imagines it or visualizes it, he will find that it is not so much his creature as he supposed. Other thoughts will invade the mind, so that the object is altogether forgotten, perhaps for whole minutes at a time; and at other times the object itself will begin to play all sorts of tricks.
Suppose you have chosen a white cross. It will move its bar up and down, elongate the bar, turn the bar oblique, get its arms unequal, turn upside down, grow branches, get a crack around it or a figure upon it, change its shape altogether like an Amoeba, change its size and distance as a whole, change the degree of its illumination, and at the same time change its colour. It will get splotchy and blotchy, grow patterns, rise, fall, twist and turn; clouds will pass over its face. There is no conceivable change of which it is incapable. Not to mention its total disappearance, and replacement by something altogether different!
Any one to whom this experience does not occur need not imagine that he is meditating. It shows merely that he is incapable of concentrating his mind in the very smallest degree. Perhaps a student may go for several days before discovering that he is not meditating. When he does, the obstinacy of the object will infuriate him; and it is only now that his real troubles will begin, only now that Will comes really into play, only now that his manhood is tested. If it were not for the Will-development which he got in the conquest of Asana, he would probably give up. As it is, the mere physical agony which he underwent is the veriest trifle compared with the horrible tedium of Dharana.
For the first week it may seem rather amusing, and you may even imagine you are progressing; but as the practice teaches you what you are doing, you will apparently get worse and worse. Please understand that in doing this practice you are supposed to be seated in Asana, and to have note-book and pencil by your side, and a watch in front of you. You are not to practise at first for more than ten minutes at a time, so as to avoid risk of overtiring the brain. In fact you will probably find that the whole of your willpower is not equal to keeping to a subject at all for so long as three minutes, or even apparently concentrating on it for so long as three seconds, or three-fifths of one second. By "keeping to it at all" is meant the mere attempt to keep to it. The mind becomes so fatigued, and the object so incredibly loathsome, that it is useless to continue for the time being. In Frater P.'s record we find that after daily practice for six months, meditations of four minutes and less are still being recorded.
~ Aleister Crowley, Liber ABA,#KEYS
15:The recurring beat that moments God in Time.
Only was missing the sole timeless Word
That carries eternity in its lonely sound,
The Idea self-luminous key to all ideas,
The integer of the Spirit's perfect sum
That equates the unequal All to the equal One,
The single sign interpreting every sign,
The absolute index to the Absolute.
There walled apart by its own innerness
In a mystical barrage of dynamic light
He saw a lone immense high-curved world-pile
Erect like a mountain-chariot of the Gods
Motionless under an inscrutable sky.
As if from Matter's plinth and viewless base
To a top as viewless, a carved sea of worlds
Climbing with foam-maned waves to the Supreme
Ascended towards breadths immeasurable;
It hoped to soar into the Ineffable's reign:
A hundred levels raised it to the Unknown.
So it towered up to heights intangible
And disappeared in the hushed conscious Vast
As climbs a storeyed temple-tower to heaven
Built by the aspiring soul of man to live
Near to his dream of the Invisible.
Infinity calls to it as it dreams and climbs;
Its spire touches the apex of the world;
Mounting into great voiceless stillnesses
It marries the earth to screened eternities.
Amid the many systems of the One
Made by an interpreting creative joy
Alone it points us to our journey back
Out of our long self-loss in Nature's deeps;
Planted on earth it holds in it all realms:
It is a brief compendium of the Vast.
This was the single stair to being's goal.
A summary of the stages of the spirit,
Its copy of the cosmic hierarchies
Refashioned in our secret air of self
A subtle pattern of the universe.
It is within, below, without, above.
Acting upon this visible Nature's scheme
It wakens our earth-matter's heavy doze
To think and feel and to react to joy;
It models in us our diviner parts,
Lifts mortal mind into a greater air,
Makes yearn this life of flesh to intangible aims,
Links the body's death with immortality's call:
Out of the swoon of the Inconscience
It labours towards a superconscient Light.
If earth were all and this were not in her,
Thought could not be nor life-delight's response:
Only material forms could then be her guests
Driven by an inanimate world-force.
Earth by this golden superfluity
Bore thinking man and more than man shall bear;
This higher scheme of being is our cause
And holds the key to our ascending fate;
It calls out of our dense mortality
The conscious spirit nursed in Matter's house.
The living symbol of these conscious planes,
Its influences and godheads of the unseen,
Its unthought logic of Reality's acts
Arisen from the unspoken truth in things,
Have fixed our inner life's slow-scaled degrees.
Its steps are paces of the soul's return
From the deep adventure of material birth,
A ladder of delivering ascent
And rungs that Nature climbs to deity.
Once in the vigil of a deathless gaze
These grades had marked her giant downward plunge,
The wide and prone leap of a godhead's fall.
Our life is a holocaust of the Supreme.
The great World-Mother by her sacrifice
Has made her soul the body of our state;
Accepting sorrow and unconsciousness
Divinity's lapse from its own splendours wove
The many-patterned ground of all we are.
An idol of self is our mortality.
Our earth is a fragment and a residue;
Her power is packed with the stuff of greater worlds
And steeped in their colour-lustres dimmed by her drowse;
An atavism of higher births is hers,
Her sleep is stirred by their buried memories
Recalling the lost spheres from which they fell.
Unsatisfied forces in her bosom move;
They are partners of her greater growing fate
And her return to immortality;
They consent to share her doom of birth and death;
They kindle partial gleams of the All and drive
Her blind laborious spirit to compose
A meagre image of the mighty Whole.
The calm and luminous Intimacy within
~ Sri Aurobindo, Savitri, The World-Stair,#KEYS
16:[The Gods and Their Worlds]
[...] According to traditions and occult schools, all these zones of realities, these planes of realities have got different names; they have been classified in a different way, but there is an essential analogy, and if you go back far enough into the traditions, you see only the words changing according to the country and the language. Even now, the experiences of Western occultists and those of Eastern occultists offer great similarities. All who set out on the discovery of these invisible worlds and make a report of what they saw, give a very similar description, whether they be from here or there; they use different words, but the experience is very similar and the handling of forces is the same.
This knowledge of the occult worlds is based on the existence of subtle bodies and of subtle worlds corresponding to those bodies. They are what the psychological method calls "states of consciousness", but these states of consciousness really correspond to worlds. The occult procedure consists then in being aware of these various inner states of being or subtle bodies and in becoming sufficiently a master of them so as to be able to go out of them successively, one after another. There is indeed a whole scale of subtleties, increasing or decreasing according to the direction in which you go, and the occult procedure consists in going out of a denser body into a subtler body and so on again, up to the most ethereal regions. You go, by successive exteriorisations, into bodies or worlds more and more subtle. It is somewhat as if every time you passed into another dimension. The fourth dimension of the physicists is nothing but the scientific transcription of an occult knowledge. To give another image, one can say that the physical body is at the centre - it is the most material, the densest and also the smallest - and the inner bodies, more subtle, overflow more and more the central physical body; they pass through it, extending themselves farther and farther, like water evaporating from a porous vase and forming a kind of steam all around. And the greater the subtlety, the more the extension tends to unite with that of the universe: one ends by universalising oneself. And it is altogether a concrete process which gives an objective experience of invisible worlds and even enables one to act in these worlds.
There are, then, only a very small number of people in the West who know that these gods are not merely subjective and imaginary - more or less wildly imaginary - but that they correspond to a universal truth.
All these regions, all these domains are filled with beings who exist, each in its own domain, and if you are awake and conscious on a particular plane - for instance, if on going out of a more material body you awake on some higher plane, you have the same relation with the things and people of that plane as you had with the things and people of the material world. That is to say, there exists an entirely objective relation that has nothing to do with the idea you may have of these things. Naturally, the resemblance is greater and greater as you approach the physical world, the material world, and there even comes a time when the one region has a direct action upon the other. In any case, in what Sri Aurobindo calls the overmental worlds, you will find a concrete reality absolutely independent of your personal experience; you go back there and again find the same things, with the differences that have occurred during your absence. And you have relations with those beings that are identical with the relations you have with physical beings, with this difference that the relation is more plastic, supple and direct - for example, there is the capacity to change the external form, the visible form, according to the inner state you are in. But you can make an appointment with someone and be at the appointed place and find the same being again, with certain differences that have come about during your absence; it is entirely concrete with results entirely concrete.
One must have at least a little of this experience in order to understand these things. Otherwise, those who are convinced that all this is mere human imagination and mental formation, who believe that these gods have such and such a form because men have thought them to be like that, and that they have certain defects and certain qualities because men have thought them to be like that - all those who say that God is made in the image of man and that he exists only in human thought, all these will not understand; to them this will appear absolutely ridiculous, madness. One must have lived a little, touched the subject a little, to know how very concrete the thing is.
Naturally, children know a good deal if they have not been spoilt. There are so many children who return every night to the same place and continue to live the life they have begun there. When these faculties are not spoilt with age, you can keep them with you. At a time when I was especially interested in dreams, I could return exactly to a place and continue a work that I had begun: supervise something, for example, set something in order, a work of organisation or of discovery, of exploration. You go until you reach a certain spot, as you would go in life, then you take a rest, then you return and begin again - you begin the work at the place where you left off and you continue it. And you perceive that there are things which are quite independent of you, in the sense that changes of which you are not at all the author, have taken place automatically during your absence.
But for this, you must live these experiences yourself, you must see them yourself, live them with sufficient sincerity and spontaneity in order to see that they are independent of any mental formation. For you can do the opposite also, and deepen the study of the action of mental formation upon events. This is very interesting, but it is another domain. And this study makes you very careful, very prudent, because you become aware of how far you can delude yourself. So you must study both, the dream and the occult reality, in order to see what is the essential difference between the two. The one depends upon us; the other exists in itself; entirely independent of the thought that we have of it.
When you have worked in that domain, you recognise in fact that once a subject has been studied and something has been learnt mentally, it gives a special colour to the experience; the experience may be quite spontaneous and sincere, but the simple fact that the subject was known and studied lends a particular quality. Whereas if you had learnt nothing about the question, if you knew nothing at all, the transcription would be completely spontaneous and sincere when the experience came; it would be more or less adequate, but it would not be the outcome of a previous mental formation.
Naturally, this occult knowledge or this experience is not very frequent in the world, because in those who do not have a developed inner life, there are veritable gaps between the external consciousness and the inmost consciousness; the linking states of being are missing and they have to be constructed. So when people enter there for the first time, they are bewildered, they have the impression they have fallen into the night, into nothingness, into non-being!
I had a Danish friend, a painter, who was like that. He wanted me to teach him how to go out of the body; he used to have interesting dreams and thought that it would be worth the trouble to go there consciously. So I made him "go out" - but it was a frightful thing! When he was dreaming, a part of his mind still remained conscious, active, and a kind of link existed between this active part and his external being; then he remembered some of his dreams, but it was a very partial phenomenon. And to go out of one's body means to pass gradually through all the states of being, if one does the thing systematically. Well, already in the subtle physical, one is almost de-individualised, and when one goes farther, there remains nothing, for nothing is formed or individualised.
Thus, when people are asked to meditate or told to go within, to enter into themselves, they are in agony - naturally! They have the impression that they are vanishing. And with reason: there is nothing, no consciousness!
These things that appear to us quite natural and evident, are, for people who know nothing, wild imagination. If, for example, you transplant these experiences or this knowledge to the West, well, unless you have been frequenting the circles of occultists, they stare at you with open eyes. And when you have turned your back, they hasten to say, "These people are cranks!" Now to come back to the gods and conclude. It must be said that all those beings who have never had an earthly existence - gods or demons, invisible beings and powers - do not possess what the Divine has put into man: the psychic being. And this psychic being gives to man true love, charity, compassion, a deep kindness, which compensate for all his external defects.
In the gods there is no fault because they live according to their own nature, spontaneously and without constraint: as gods, it is their manner of being. But if you take a higher point of view, if you have a higher vision, a vision of the whole, you see that they lack certain qualities that are exclusively human. By his capacity of love and self-giving, man can have as much power as the gods and even more, when he is not egoistic, when he has surmounted his egoism.
If he fulfils the required condition, man is nearer to the Supreme than the gods are. He can be nearer. He is not so automatically, but he has the power to be so, the potentiality.
If human love manifested itself without mixture, it would be all-powerful. Unfortunately, in human love there is as much love of oneself as of the one loved; it is not a love that makes you forget yourself. - 4 November 1958
~ The Mother, Words Of The Mother III, 355
,#KEYS
*** WISDOM TROVE ***
1:Any colour - so long as it's black. ~ henry-ford, @wisdomtrove 2:Colour is the soul of Nature and of the entire cosmos. ~ rudolf-steiner, @wisdomtrove 3:Any customer can have a car painted any colour that he wants so long as it is black. ~ henry-ford, @wisdomtrove 4:With an artist no sane man quarrels, any more than with the colour of a child's eyes. ~ george-santayana, @wisdomtrove 5:Anyone who knows of a provable instance of colour discrimination ought always to expose it. ~ george-orwell, @wisdomtrove 6:You can't think how I depend on you, and when you're not there the colour goes out of my life. ~ virginia-woolf, @wisdomtrove 7:If there is no meditation, then you are like a blind man in a world of great beauty, light and colour. ~ jiddu-krishnamurti, @wisdomtrove 8:How far do our feelings take their colour from the dive underground? I mean, what is the reality of any feeling? ~ virginia-woolf, @wisdomtrove 9:To my eye Rubens' colouring is most contemptible. His shadows are a filthy brown somewhat the colour of excrement. ~ william-blake, @wisdomtrove 10:Love was a feeling completely bound up with colour, like thousands of rainbows superimposed one on top of the other. ~ paulo-coelho, @wisdomtrove 11:I would permit no man, no matter what his colour might be, to narrow and degrade my soul by making me hate him. ~ booker-t-washington, @wisdomtrove 12:The personal needs a base, a body to identify oneself with, just as a colour needs a surface to appear on. ~ sri-nisargadatta-maharaj, @wisdomtrove 13:We think there is colour, we think there is sweet, we think there is bitter, but in reality, there are atoms and a void. ~ democritus, @wisdomtrove 14:He who knows that imperishable Being, bright, without shadow, without body, without colour, verily obtains the Supreme. ~ adi-shankara, @wisdomtrove 15:The more veiled becomes the outside world, steadily losing in colour, tone and passions, the more urgently the inner world calls us. ~ carl-jung, @wisdomtrove 16:Clouds come floating into my life from other days no longer to shed rain or usher storm but to give colour to my sunset sky. ~ rabindranath-tagore, @wisdomtrove 17:I figured out some basic stuff: that form and colour defines your perception of the nature of an object, whether or not it is intended to. ~ jony-ive, @wisdomtrove 18:I believe that God is in me as the sun is in the colour and fragrance of a flower - the Light in my darkness, the Voice in my silence. ~ hellen-keller, @wisdomtrove 19:The great inlet by which a colour for oppression has entered into the world is by one man's pretending to determine concerning the happiness of another. ~ edmund-burke, @wisdomtrove 20:Naked I came into the world, naked I shall go out of it! And a very good thing too, for it reminds me that I am naked under my shirt, whatever its colour. ~ e-m-forster, @wisdomtrove 21:Parting day Dies like the dolphin, whom each pang imbues With a new colour as it gasps away, The last still loveliest, till-& 22:The states of utter clarity, immense love, utter fearlessness; these are mere words at the present, outlines without colour, hints at what can be. ~ sri-nisargadatta-maharaj, @wisdomtrove 23:Painting is concerned with all the 10 attributes of sight; which are: Darkness, Light, Solidity and Colour, Form and Position, Distance and Propinquity, Motion and Rest. ~ leonardo-da-vinci, @wisdomtrove 24:Nor is the darkness of colour a proof of the earth's baseness; for the brightness of the sun, which is visible to us, would not be perceived by anyone who might be in the sun. ~ nicholas-of-cusa, @wisdomtrove 25:Bad people are, from the point of view of art, fascinating studies. They represent colour, variety and strangeness. Good people exasperate one's reason; bad people stir one's imagination. ~ oscar-wilde, @wisdomtrove 26:The idea is if you use those two shapes and try to colour the plane with them so the colours match, then the only way that you can do this is to produce a pattern which never repeats itself. ~ roger-penrose, @wisdomtrove 27:The mind of the painter must resemble a mirror, which always takes the colour of the object it reflects and is completely occupied by the images of as many objects as are in front of it. ~ leonardo-da-vinci, @wisdomtrove 28:Put a colour upon a canvas - it not only colours with that colour the part of the canvas to which the colour has been applied, but it also colours the surrounding space with the complementary. ~ henri-matisse, @wisdomtrove 29:The proprietor had hair so red that pigmentation had flowed out into every visible inch of his skin and even into the pinks of his eyes, as the colour of flowering cherry trees stains their leaves. ~ quentin-crisp, @wisdomtrove 30:One should be a painter. As a writer, I feel the beauty, which is almost entirely colour, very subtle, very changeable, running over my pen, as if you poured a large jug of champagne over a hairpin. ~ virginia-woolf, @wisdomtrove 31:The meagre lighthouse all in white, haunting the seaboard, as if it were the ghost of an edifice that had once had colour and rotundity, dripped melancholy tears after its late buffeting by the waves. ~ charles-dickens, @wisdomtrove 32:Awareness can’t be touched, because it has no shape. Awareness can’t be seen, because it has no colour. Awareness can’t be heard, because it makes no noise. Awareness is a formless presence, which has no boundaries. ~ tim-freke, @wisdomtrove 33:Awareness experiences seeing, but has no colour or shape. Awareness experiences hearing, but makes no sound. Awareness experiences touching, but has no tangible form. Awareness experiences thinking, but isn’t a thought. ~ tim-freke, @wisdomtrove 34:Colours have their own distinctive beauty that you have to preserve, just as in music you try to preserve sounds. It is a question of organization, of finding the arrangement that will keep the beauty and freshness of the colour. ~ henri-matisse, @wisdomtrove 35:Taking architecture seriously therefore makes some singular and strenuous demands upon us... It means conceding that we are inconveniently vulnerable to the colour of our wallpaper and that our sense of purpose may be derailed by an unfortunate bedspread ~ alain-de-botton, @wisdomtrove 36:Men are like pillow-cases. The colour of one may be red, that of another blue, and that of the third black; but all contain the same cotton within. So it is with man; one is beautiful, another is ugly, a third holy, and a fourth wicked; but the Divine Being dwells in them all. ~ sri-ramakrishna, @wisdomtrove 37:Somewhere, out at the edges, the night / Is turning and the waves of darkness / Begin to brighten the shore of dawn... The heavy dark falls back to earth / And the freed air goes wild with light, / The heart fills with fresh, bright breath / And thoughts stir to give birth to colour ~ john-odonohue, @wisdomtrove 38:No religion is absolutely perfect. Yet not only do we fight for religion, but also are we often willing to sacrifice our lives for it. And what we hopelessly fail to do is to live it. A true religion is that which has no caste, no creed, no colour. It is but an all-uniting and all-pervading embrace. ~ sri-chinmoy, @wisdomtrove 39:The bats live in a world of echoes. Just as in the human world every object has a characteristic shape and colour, so in the bat world every object has its echo-pattern. A bat can tell the difference between a tasty moth species and a poisonous moth species by the different echoes returning from their slender wings. ~ yuval-noah-harari, @wisdomtrove 40:I cannot remember my past, my nose, or the colour of my eyes, or what my general opinion of myself is. Only in moments of emergency, at a crossing, at a kerb, the wish to preserve my body springs out and seizes me and stops me , here, before this omnibus. We insist, it seems, on living. Then again, indifference descends. ~ virginia-woolf, @wisdomtrove 41:Just as each flower has its own colour, but all colours are caused by the same light, so do many experiences appear in the undivided and indivisible awareness, each separate in memory, identical in essence. This essence is the root, the foundation, the timeless and spaceless & 42:A novelist can shift view-point if it comes off. ... Indeed, this power to expand and contract perception (of which the shifting view-point is a symptom), this right to intermittent knowledge - I find one of the great advantages of the novel-form ... this intermittence lends in the long run variety and colour to the experiences we receive. ~ e-m-forster, @wisdomtrove 43:During the 20th century, we came to understand that the essence of all substances - their colour, texture, hardness and so forth - is set by their structure, on scales far smaller even than a microscope can see. Everything on Earth is made of atoms, which are, especially in living things, combined together in intricate molecular assemblages. ~ martin-rees, @wisdomtrove 44:By convention sweet is sweet, by convention bitter is bitter, by convention hot is hot, by convention cold is cold, by convention colour is colour. But in reality, there are atoms and the void. That is, the objects of sense are supposed to be real and it is customary to regard them as such, but in truth they are not. Only the atoms and the void are real. ~ democritus, @wisdomtrove 45:Nowadays, one of the churches of Tl√∂n maintains platonically that such and such a pain, such and such a greenish-yellow colour, such and such a temperature, such and such a sound, etc., make up the only reality there is. All men, in the climactic instant of coitus, are the same man. All men who repeat one line of Shakespeare are William Shakespeare. ~ jorge-luis-borges, @wisdomtrove 46:There either is or is not, that‚Äôs the way things are. The colour of the day. The way it felt to be a child. The saltwater on your sunburnt legs. Sometimes the water is yellow, sometimes it‚Äôs red. But what colour it may be in memory, depends on the day. I‚Äôm not going to tell you the story the way it happened. I‚Äôm going to tell it the way I remember it. ~ charles-dickens, @wisdomtrove 47:... the problem of space remained, she thought, taking up her brush again. It glared at her. The whole mass of the picture was poised upon that weight. Beautiful and bright it should be on the surface, feathery and evanescent, one colour melting into another like the colours on a butterfly's wing; but beneath the fabric must be clamped together with bolts of iron. ~ virginia-woolf, @wisdomtrove 48:Had (I) been a member of a more popular race, I should have been inclined to yield to the temptation of depending upon my ancestry and my colour to do that for me which I should do for myself. Years ago I resolved that because I had no ancestry myself I would leave a record of which my children would be proud, and which might encourage them to still higher effort ~ booker-t-washington, @wisdomtrove 49:Don't ask for the task to be easy... just ask for it to be worth it. Don't wish it was easier... wish you were better. Don't ask for less challenge... ask for more skill. Don't ask for less problems... and for more wisdom. It's the challenge that makes the experience. Life and it's colour and meaning and adventure for you is this collection of experiences. To wish them away is to wish your life away. ~ jim-rohn, @wisdomtrove 50:The Earth school is not a concept. It is an an ongoing 3-dimesional, full colour, hi-fidelity, interactive multi-media experience that does not end until your soul goes home (until you die). Every moment in the earth school offers you important opportunities to learn about yourself. Those things have to do with your soul. The Earth school operates with exquisite perfection and efficiency whether you are aware of it or not. ~ gary-zukav, @wisdomtrove 51:Tolerance is not a Sapiens trademark. In modern times, a small difference in skin colour, dialect or religion has been enough to prompt one group of Sapiens to set about exterminating another group. Would ancient Sapiens have been more tolerant towards an entirely different human species? It may well be that when Sapiens encountered Neanderthals, the result was the first and most significant ethnic-cleansing campaign in history. ~ yuval-noah-harari, @wisdomtrove 52:Her fine high forehead sloped gently up to where her hair, bordering it like an armorial shield, burst into lovelocks and waves and curlicues of ash blonde and gold. Her eyes were bright, big, clear, wet and shining, the colour of her cheeks was real, breaking close to the surface from the strong young pump of her heart. Her body hovered delicately on the last edge of childhood - she was almost eighteen, nearly complete, but the dew was still on her. ~ f-scott-fitzgerald, @wisdomtrove 53:It is like the flower and its colour. Without flower - no colours; without colour - the flower remains unseen. Beyond is the light which on contact with the flower creates the colour. realise that your true nature is that of pure light only, and both the perceived and the perceiver come and go together. That which makes both possible, and yet is neither, is your real being, which means not being a & 54:So long as you write what you wish to write, that is all that matters; and whether it matters for ages or only for hours, nobody can say. But to sacrifice a hair of the head of your vision, a shade of its colour, in deference to some Headmaster with a silver pot in his hand or to some professor with a measuring-rod up his sleeve, is the most abject treachery, and the sacrifice of wealth and chastity which used to be said to be the greatest of human disasters, a mere flea-bite in comparison. ~ virginia-woolf, @wisdomtrove 55:In college, in the early 1950s, I began to learn a little about how science works, the secrets of its great success, how rigorous the standards of evidence must be if we are really to know something is true, how many false starts and dead ends have plagued human thinking, how our biases can colour our interpretation of evidence, and how often belief systems widely held and supported by the political, religious and academic hierarchies turn out to be not just slightly in error, but grotesquely wrong. ~ carl-sagan, @wisdomtrove 56:I cannot stand forward, and give praise or blame to any thing which relates to human actions, and human concerns, on a simple view of the subject as it stands stripped of every relation, in all the nakedness and solitude of metaphysical abstraction. Circumstances (which with some gentlemen pass for nothing) give in reality to every political principle its distinguishing colour, and discriminating effect. The circumstances are what render every civil and political scheme beneficial or noxious to mankind. ~ edmund-burke, @wisdomtrove 57:This self now as I leant over the gate looking down over fields rolling in waves of colour beneath me made no answer. He threw up no opposition. He attempted no phrase. His fist did not form. I waited. I listened. Nothing came, nothing. I cried then with a sudden conviction of complete desertion. Now there is nothing. No fin breaks the waste of this immeasurable sea. Life has destroyed me. No echo comes when I speak, no varied words. This is more truly death than the death of friends, than the death of youth. ~ virginia-woolf, @wisdomtrove 58:Day was breaking at Plashwater Weir Mill Lock. Stars were yet visible, but there was dull light in the east that was not the light of night. The moon had gone down, and a mist crept along the banks of the river, seen through which the trees were the ghosts of trees, and the water was the ghost of water. This earth looked spectral, and so did the pale stars: while the cold eastern glare, expressionless as to heat or colour, with the eye of the firmament quenched, might have been likened to the stare of the dead. ~ charles-dickens, @wisdomtrove 59:But if God endures it for the sake of the benefit for you which he has foreseen in it, and if you are willing to suffer what he suffers and what passes through him to you, then it takes on the colour of God, and shame becomes honour, bitterness is sweetness and the deepest darkness becomes the clearest light. Then everything takes its flavour from God and becomes divine, for everything conforms itself to God, whatever befalls us, if we intend only him and nothing else is pleasing to us. Thus, we shall grasp God in all bitterness as well as in the greatest sweetness. ~ meister-eckhart, @wisdomtrove 60:We can form no idea of the millions of pounds that are spent every year in the making of dress in the West. The dress-making business has become a regular science. What colour of dress will suit with the complexion of the girl and the colour of her hair, what special feature of her body should be disguised, and what displayed to the best advantage-these and many other like important points, the dressmakers have seriously to consider. Again, the dress that ladies of very high position wear, others have to wear also, otherwise they lose their caste! This is FASHION. ~ swami-vivekananda, @wisdomtrove 61:The man who abides in the will of God wills nothing else than what God is, and what He wills. If he were ill he would not wish to be well. If he really abides in God's will, all pain is to him a joy, all complication, simple: yea, even the pains of hell would be a joy to him. He is free and gone out from himself, and from all that he receives, he must be free. If my eye is to discern colour, it must itself be free from all colour. The eye with which I see God is the same with which God sees me. My eye and God's eye is one eye, and one sight, and one knowledge, and one love. ~ meister-eckhart, @wisdomtrove 62:The orthodox branch of humanism holds that each human being is a unique individual possessing a distinctive inner voice and a never-to-be-repeated string of experiences. Every human being is a singular ray of light, which illuminates the world from a different perspective, and which adds colour, depth and meaning to the universe. Hence we ought to give as much freedom as possible to every individual to experience the world, follow his or her inner voice and express his or her inner truth. Whether in politics, economics or art, individual free will should have far more weight than state interests or religious doctrines. The more liberty individuals enjoy, the more beautiful, rich and meaningful is the world. Due to this emphasis on liberty, the orthodox branch of humanism is known as ‘liberal humanism’ or simply as ‘liberalism’. ~ yuval-noah-harari, @wisdomtrove *** NEWFULLDB 2.4M ***
1:Must colour change? ~ Ronald Firbank, #NFDB
2:No colour comes after black. ~ Idries Shah, #NFDB
3:You colour my world, Freda... ~ L H Cosway, #NFDB
4:astonishing splashes of colour ~ James M Barrie, #NFDB
5:Skin the colour of chestnuts ~ Bernard Cornwell, #NFDB
6:Souls have neither Sex nor Colour. ~ Erica Jong, #NFDB
7:Any colour - so long as it's black. ~ Henry Ford, #NFDB
8:Colour me with you're intentions. ~ Truth Devour, #NFDB
9:Gray, the colour of forgetting. ~ Daniel Arenson, #NFDB
10:Blushing is the colour of virtue. ~ Matthew Henry, #NFDB
11:Colour is the skin of the world. ~ Sonia Delaunay, #NFDB
12:Golden is a surface colour. ~ Ludwig Wittgenstein, #NFDB
13:What colour was Millie’s room, Grace? ~ B A Paris, #NFDB
14:Every person has their own colour. ~ Haruki Murakami, #NFDB
15:No one knows the colour of a flower ~ Hilda Doolittle, #NFDB
16:Isn't love more important than colour? ~ James Baldwin, #NFDB
17:Think colour! Know how to imagine it! ~ Gustave Moreau, #NFDB
18:To give good colour to his acts against you; ~ Moli re, #NFDB
19:Red,’ says Jack. ‘It’s her favourite colour. ~ B A Paris, #NFDB
20:You sit better on a colour that you like ~ Verner Panton, #NFDB
21:The sky was the colour of sad weddings. ~ Scarlett Thomas, #NFDB
22:Use your own paint; colour your world ~ Israelmore Ayivor, #NFDB
23:Colour is a creative element, not a trimming. ~ Piet Zwart, #NFDB
24:Colour is always a consequence, never a cause. ~ Edwin Land, #NFDB
25:If love was red then she was colour blind. ~ Xavier Velasco, #NFDB
26:His exhaled smoke was the exact colour of ennui. ~ Daniel Kraus, #NFDB
27:The heart never knows the colour of the skin ~ Chief Dan George, #NFDB
28:On the prairie one can see the colour of the air. ~ Emily Murphy, #NFDB
29:My thought is the colour of gold moons far away. ~ Emile Nelligan, #NFDB
30:Their rustic brown matches the colour of her hair. ~ Lynda Renham, #NFDB
31:Walk out like someone suddenly born into colour. Do it now. ~ Rumi, #NFDB
32:Colour itself is a degree of darkness. ~ Johann Wolfgang von Goethe, #NFDB
33:Sorrow and respect didn't follow a colour scheme. ~ Henning Mankell, #NFDB
34:Colour itself is a degree of darkness. ~ Johann Wolfgang von Goethe, #NFDB
35:and I know how names can alter the colour of beliefs. ~ Edith Wharton, #NFDB
36:Life is not light, but refracted colour. ~ Johann Wolfgang von Goethe, #NFDB
37:One sits more comfortably on a colour that one likes. ~ Verner Panton, #NFDB
38:You can’t colour your world with someone’s paint. ~ Israelmore Ayivor, #NFDB
39:Sin is the only real colour element left in modern life. ~ Oscar Wilde, #NFDB
40:Women's eyes are always bright, whatever the colour, ~ H Rider Haggard, #NFDB
41:Colour is the soul of Nature and of the entire cosmos. ~ Rudolf Steiner, #NFDB
42:The soul becomes dyed with the colour of its thoughts. ~ Marcus Aurelius, #NFDB
43:Colour is a power which directly influences the soul. ~ Wassily Kandinsky, #NFDB
44:They tend to come out a colour called 'Pants left in wash' ~ Eddie Izzard, #NFDB
45:The colour books great on her, but she Looks beautiful every day. ~ J Lynn, #NFDB
46:It is the worst oppression, that is done by colour of justice ~ Edward Coke, #NFDB
47:Paint me by numbers and colour me in watercolour half tones. ~ Truth Devour, #NFDB
48:cruelty and benevolence are but shades of the same colour. ~ Khaled Hosseini, #NFDB
49:If you paint the world in black and white you lose its colour. ~ Neel Burton, #NFDB
50:Bonapartist democrat."
"Grey shades of a quiet mouse colour. ~ Victor Hugo,#NFDB
51:I felt, just then, a kind of indebtedness to green, the colour. ~ Janet Frame, #NFDB
52:Inside a dark well, everyman’s favourite colour is blue! ~ Mehmet Murat ildan, #NFDB
53:Life...is like the chameleon, changing colour all the time. ~ Ferdinand Oyono, #NFDB
54:What is a chameleon’s colour, when all pretence is stripped away? ~ Rod Duncan, #NFDB
55:A striking colour is just another way of saying I am here! ~ Mehmet Murat ildan, #NFDB
56:Chromophobia is perhaps only chromophilia without the colour. ~ David Batchelor, #NFDB
57:What is the colour of abstraction? What is the smell of hope? ~ Richard Dawkins, #NFDB
58:Winter solitude- in a world of one colour the sound of the wind. ~ Matsuo Basho, #NFDB
59:The very truth hath a colour from the disposition of the utterer. ~ George Eliot, #NFDB
60:Know and watch your heart. It's pure but emotions come to colour it. ~ Ajahn Chah, #NFDB
61:Some said colour was what made your mood. I said black protects. ~ Pepper Winters, #NFDB
62:When the clouds clear we shall know the colour of the sky ~ Keorapetse Kgositsile, #NFDB
63:Beauty without colour seems somehow to belong to another world. ~ Murasaki Shikibu, #NFDB
64:Wouldn’t the joys of life lose all colour, if life was eternal? ~ Constantina Maud, #NFDB
65:If the colour of life turns grey turn the palette the other way ~ Benny Bellamacina, #NFDB
66:I tend to wear monochromatic outfits - all one colour from head to toe. ~ Suzy Amis, #NFDB
67:It's difficult to talk about colour, even remember colour actually. ~ David Hockney, #NFDB
68:The best colour in the whole world is the one that looks good on you. ~ Coco Chanel, #NFDB
69:I think I'll name her Amber - for the colour of her father's eyes. ~ Kathleen Winsor, #NFDB
70:We stir
Our self-colour in the pot of colours
Which is the world. ~ Ted Hughes,#NFDB
71:Winter solitude-
in a world of one colour
the sound of the wind. ~ Matsuo Bash,#NFDB
72:Her dress is the colour of marmalade, she chirps songs that have no words ~ Sarah Kay, #NFDB
73:Whatever anyone does or says, I must be emerald and keep my colour. ~ Marcus Aurelius, #NFDB
74:Why would anyone pick blue over pink? Pink is obviously a better colour. ~ Kanye West, #NFDB
75:I cant' believe Doris's hair is real too.'
'All but the colour. ... ~ Cecelia Ahern,#NFDB
76:I don't know my natural hair colour. I haven't seen it for a while. ~ Tamzin Outhwaite, #NFDB
77:I'm what I seem; not any dyer gave, But nature dyed this colour that I have. ~ Martial, #NFDB
78:Colour acts simultaneously with form, but has nothing to do with form. ~ Georges Braque, #NFDB
79:Colour is not a human or a personal reality; it is a political reality. ~ James Baldwin, #NFDB
80:I have always liked black and white! It is simple and the colour of the piano. ~ Hiromi, #NFDB
81:My world was the size of a crayon box, and it took every colour to draw her ~ Sarah Kay, #NFDB
82:No small dabs of colour - you want plenty of paint to paint with. ~ John Singer Sargent, #NFDB
83:The gold caught the ember-light and shone the colour of a human voice. ~ Natasha Pulley, #NFDB
84:Colour is the touch of the eye, Music to the deaf, A word out of darkness. ~ Orhan Pamuk, #NFDB
85:Her wavy, shoulder-length hair was the colour of polished mahogany. ~ William Hjortsberg, #NFDB
86:I’m always this colour,’ I said. ‘Because I used to be made of stone'. ~ Madeline Miller, #NFDB
87:I spend a lot of my time looking at blue, The colour of my room and my mood. ~ Kate Bush, #NFDB
88:The purest and most thoughtful minds are those which love colour the most. ~ John Ruskin, #NFDB
89:There are no lines in nature, only areas of colour, one against another. ~ Edouard Manet, #NFDB
90:For a long time I limited myself to one colour - as a form of discipline. ~ Pablo Picasso, #NFDB
91:If my eye is to discern colour, it must itself be free from all colour. ~ Meister Eckhart, #NFDB
92:Music is nothing unless it fills your soul with colour and passion and dreams ~ C G Drews, #NFDB
93:There are four seasons in a year: Winter, Spring, Summer and Colour! ~ Mehmet Murat ildan, #NFDB
94:He felt himself overwhelmed with a new perception of the colour he knew as red. ~ Lois Lowry, #NFDB
95:If atheism is a religion, then off is a TV channel and bald is a hair colour. ~ Hemant Mehta, #NFDB
96:I was born in the seventies, age of bad haircuts and grainy colour photos. ~ Quentin S Crisp, #NFDB
97:My hands are of your colour; but I shame
To wear a heart so white. ~ William Shakespeare,#NFDB
98:One should absorb the colour of life, but one should never remember its details. ~ Anonymous, #NFDB
99:Use the worst colour you can find in each place - it usually is the best. ~ Roy Lichtenstein, #NFDB
100:But labels, names, or skin colour don't matter ... we're children of Christ. ~ Nadine Brandes, #NFDB
101:In choosing a colour one must realize that it changes in different aspects. ~ Nancy Lancaster, #NFDB
102:In modeling, the colour of a man’s teeth is more important than his IQ. ~ Mokokoma Mokhonoana, #NFDB
103:Speed kills colour... the gyroscope, when turning at full speed, shows up gray. ~ Paul Morand, #NFDB
104:We generally colour our ideas of the unknown with our notions of the known. ~ Fernando Pessoa, #NFDB
105:You cannot imagine the strange colour-less delight of these intellectual desires. ~ H G Wells, #NFDB
106:Colour is the touch of the eye,
Music to the deaf,
A word out of darkness. ~ Orhan Pamuk,#NFDB
107:Some people do not really hate aging; they merely love the colour black. ~ Mokokoma Mokhonoana, #NFDB
108:He was obviously proud of his Berber skin. "This is the colour of wheat and gold. ~ Andr Aciman, #NFDB
109:We colour and mould according to the wants within us whatever our eyes bring in. ~ Thomas Hardy, #NFDB
110:Yet though I must lose my life, fear shall never make me change colour. ~ William Allan Neilson, #NFDB
111:shape without form, shade without colour, paralyzed force, gesture without motion... ~ T S Eliot, #NFDB
112:With the brush we merely tint, while the imagination alone produces colour. ~ Theodore Gericault, #NFDB
113:Any customer can have a car painted any colour that he wants so long as it is black. ~ Henry Ford, #NFDB
114:Drink very good tea out of a thin Wocester cup of colour between apricot and pink. ~ Rumer Godden, #NFDB
115:The sun was setting, lighting the sky in late July tones of gentle southern colour. ~ Raynor Winn, #NFDB
116:But thou, my son, study to make prevail One colour in thy life, the hue of truth. ~ Matthew Arnold, #NFDB
117:Everyone is a blank canvas, waiting to be filled with the colour of discovery. ~ Alexandra Christo, #NFDB
118:She had put on make-up in a colour scheme that indicated she might be colourblind. ~ Steig Larsson, #NFDB
119:She had put on make-up in a colour scheme that indicated she might be colourblind. ~ Stieg Larsson, #NFDB
120:The moon puts on an elegant show, different every time in shape, colour and nuance. ~ Arthur Smith, #NFDB
121:CONTENTS Cover About the Book Title Page Colour First Reader Dedication Chapter ~ Jacqueline Wilson, #NFDB
122:Those loves which are for the sake of a colour are not love. In the end they are a disgrace. ~ Rumi, #NFDB
123:Each change of many-colour'd life he drew, Exhausted worlds, and then imagin'd new. ~ Samuel Johnson, #NFDB
124:fading to the colour of sand in the way that blonds do as they move towards grey. ~ Elizabeth George, #NFDB
125:I have about as much artistic talent as a cluster of colour-blind hedgehogs in a bag. ~ J C McKenzie, #NFDB
126:Without a specific destination, the visitors chose routes as they might choose a colour ~ Ian McEwan, #NFDB
127:Colour is as variable and evanescent in the form of pigment as in visible nature. ~ Walter J Phillips, #NFDB
128:I will keep the colour of your eyes until no other in the world remembers your name. ~ Peter S Beagle, #NFDB
129:You reason colour more than you reason drawing Colour has a logic as severe as form. ~ Pierre Bonnard, #NFDB
130:And we have the same colour eyes. When I look into his, I feel I'm looking into myself. ~ Alan Cumming, #NFDB
131:Colour is a human need like water and fire. It is a raw material indispensable to life ~ Fernand Leger, #NFDB
132:Grey is a colour that always seems on the eve of changing to some other colour. ~ Gilbert K Chesterton, #NFDB
133:The colour of my soul is iron-grey and sad bats wheel about the steeple of my dreams. ~ Claude Debussy, #NFDB
134:We all have our spectacles, but no one can tell to a shade the colour of the glass. ~ Alfred de Musset, #NFDB
135:When I find a colour darker than black, I'll wear it. But until then, I'm wearing black! ~ Coco Chanel, #NFDB
136:the colour of her hair was dusky red, like a fire under control but still dangerous. ~ Raymond Chandler, #NFDB
137:The colour of the water seems to be the colour of the glass into which it has been poured ~ Idries Shah, #NFDB
138:until custom had changed the colour of the curtains, made the clock keep quiet, brought ~ Marcel Proust, #NFDB
139:You are a chameleon, and now you are at your worst colour. Go home, or I shall hate you! ~ Thomas Hardy, #NFDB
140:I grew out my armpit hair for the summer. It turns out my natural hair colour isn't blonde. ~ Anna Faris, #NFDB
141:I suppose everything in existence takes its colour from the average hue of our surroundings. ~ H G Wells, #NFDB
142:Purple is not only the ‘royal colour’, but is linked to spirituality, and intuition. ~ Storm Constantine, #NFDB
143:When I think of flavours, I think colour, so lemon should be yellow and orange is orange. ~ Dylan Lauren, #NFDB
144:With an artist no sane man quarrels, any more than with the colour of a child's eyes. ~ George Santayana, #NFDB
145:A leaf turns in the wind, and you suddenly have a different perception of what colour it is. ~ Robin Hobb, #NFDB
146:Colour could give rise to sensations which would interfere with our conception of space. ~ Georges Braque, #NFDB
147:I do not believe that the colour of one's skin determines whether you are disadvantaged. ~ Pauline Hanson, #NFDB
148:the colour of my soul is iron-grey and sad
bats wheel about the steeple of my dreams. ~ Claude Debussy,#NFDB
149:The colour of the water seems to be the colour of the glass into which it has been poured'. ~ Idries Shah, #NFDB
150:When you do something good for the people, you give a nice colour to the pale world! ~ Mehmet Murat ildan, #NFDB
151:Red, of course, is the colour of the interior of our bodies. In a way it's inside out, red. ~ Anish Kapoor, #NFDB
152:The only thing that's fair about me is the colour of my hair. People should remember that. ~ James McClure, #NFDB
153:Ah, Manet has come very, very close to it and Courbet - the marrying of form and colour. ~ Vincent Van Gogh, #NFDB
154:Anyone who knows of a provable instance of colour discrimination ought always to expose it. ~ George Orwell, #NFDB
155:Having small touches of colour makes it more colourful than having the whole thing in colour. ~ Dieter Rams, #NFDB
156:He's lost his colour very far from here,
Poured it down shell-holes till the veins ran dry ~ Wilfred Owen,#NFDB
157:Ill-fitted T-shirts stretched over a gut are my pet hate. And if the colour's faded - ugh. ~ Joanne Froggatt, #NFDB
158:There is an investment of your own life experience in something as innocent as colour. ~ Stephen De Staebler, #NFDB
159:There's only one rule in photography - never develop colour film in chicken noodle soup. ~ Freeman Patterson, #NFDB
160:It was a light which gave solidity to everything and drew colour out from the heart of objects. ~ V S Naipaul, #NFDB
161:I would love to work in a Bollywood film as there is so much drama and colour in the films there. ~ Brad Pitt, #NFDB
162:It doesn't matter how long my hair is or what colour my skin is or whether I'm a woman or a man. ~ John Lennon, #NFDB
163:What would it be life to forget your favourite colour? Or the girl that smashed up your heart? ~ Tarryn Fisher, #NFDB
164:You can't think how I depend on you, and when you're not there the colour goes out of my life. ~ Virginia Woolf, #NFDB
165:In my early work I didn't use much colour. I had no confidence about how I could do this. ~ Michael Craig Martin, #NFDB
166:His blue eyes were very dark...Will's were the colour of the sky just on the edge of the night. ~ Cassandra Clare, #NFDB
167:I dream a lot, in colour and in sound and scent. Quite a few of my stories have come from dreams. ~ Joanne Harris, #NFDB
168:Is it colour?’
‘Oh yes.’
‘You don’t let me down.You are my ambassador to pr0n, man. ~ Christopher Brookmyre,#NFDB
169:Often a purple patch or two is tacked on to a serious work of high promise, to give an effect of colour. ~ Horace, #NFDB
170:I love pink - pink's my favourite. I hardly ever - weirdly - wear it, but I love the colour pink. ~ Ellie Goulding, #NFDB
171:I'm not an abstractionist... I'm not interested in relationships of colour or form or anything else. ~ Mark Rothko, #NFDB
172:Meaning is also a colour and that’s why there are many colours in the black and white photos! ~ Mehmet Murat ildan, #NFDB
173:The problem of direct colour photography has been facing us since the turn of the last century. ~ Gabriel Lippmann, #NFDB
174:His blue eyes were very dark...Will's were the colour of the sky just on the edge of the night... ~ Cassandra Clare, #NFDB
175:...of having forgotten the colour of loves and the taste of hatreds. We thought we were immortal. ~ Fernando Pessoa, #NFDB
176:The colour of the skin is in no way connected with strength of the mind or intellectual powers. ~ Benjamin Banneker, #NFDB
177:The fundamental grey which differentiates the masters, expresses them and is the soul of all colour. ~ Odilon Redon, #NFDB
178:Wisdom teaches us to do, as well as to talk; and to make our words and actions all of a colour. ~ Seneca the Younger, #NFDB
179:Pure drawing is an abstraction. Drawing and colour are not distinct, everything in nature is coloured. ~ Paul Cezanne, #NFDB
180:Say that to my mother. She stays up at night wondering about who will marry me with this skin colour. ~ Chetan Bhagat, #NFDB
181:Grey has no agenda. . . . Grey has the ability, that no other colour has, to make the invisible visible. ~ Roma Tearne, #NFDB
182:I sense a scream passing through nature. I painted ... the clouds as actual blood. The colour shrieked. ~ Edvard Munch, #NFDB
183:You can't teach colour from Cézanne, you can only teach it from something like this bubble-gum wrapper. ~ Allan Kaprow, #NFDB
184:Shadow is a colour as light is, but less brilliant; light and shadow are only the relation of two tones. ~ Paul Cezanne, #NFDB
185:What matter the colour of the collar around a man's neck, if the chains linked to them were identical? ~ Steven Erikson, #NFDB
186:What matter the colour of the collar around a man’s neck, if the chains linked to them were identical? ~ Steven Erikson, #NFDB
187:And what colour do you suppose the inner depths of your soul are, Will Herondale?' 'Mauve,' said Will. ~ Cassandra Clare, #NFDB
188:Don't allow your imagination to colour events as lesser men would, and see movement in motionless things. ~ Chris Murray, #NFDB
189:He couldn't see anything but the birds, every shape and colour. His heart was a winged thing itself. ~ Maggie Stiefvater, #NFDB
190:The colours red, blue and green are real. The colour yellow is a mystical experience shared by everybody. ~ Tom Stoppard, #NFDB
191:There are as many shades of being in love as there are graduations of colour on cards in the paint shop. ~ Doris Lessing, #NFDB
192:The sensation of colour cannot be accounted for by the physicist's objective picture of light-waves. ~ Erwin Schrodinger, #NFDB
193:When the shot is afterwards subjected to white light, colour appears because of selective reflection. ~ Gabriel Lippmann, #NFDB
194:Every decided colour does a certain violence to the eye, and forces the organ to opposition. ~ Johann Wolfgang von Goethe, #NFDB
195:I've handled colour as a man should behave. You may conclude that I consider ethics and aesthetics as one. ~ Josef Albers, #NFDB
196:One should absorb the colour of life, but one should never remember its details. Details are always vulgar. ~ Oscar Wilde, #NFDB
197:Red protects itself. No colour is as territorial. It stakes a claim, is on the alert against the spectrum. ~ Derek Jarman, #NFDB
198:Alfred Nobel stipulated that no distinction of race or colour will determine who received of his generosity. ~ Abdus Salam, #NFDB
199:I bought a piece of God, ground to dust and mixed with alcohol in a glass bottle the colour of molasses. ~ Craig Clevenger, #NFDB
200:Such lovely warmth of thought and delicacy of colour are beyond all praise, and equally beyond all thanks! ~ Marie Corelli, #NFDB
201:Your mind will be like its habitual thoughts; for the soul becomes dyed with the colour of its thoughts. ~ Marcus Aurelius, #NFDB
202:And what colour do you suppose the inner depths of your soul are, Will Herondale?'
'Mauve,' said Will. ~ Cassandra Clare,#NFDB
203:Everything, I thought, everything keeps changing. Changing shape, changing colour, changing sound. ~ Kevin Crossley Holland, #NFDB
204:For how can one know colour in perpetual green, and what good is warmth without cold to give it sweetness? ~ John Steinbeck, #NFDB
205:If there is no meditation, then you are like a blind man in a world of great beauty, light and colour. ~ Jiddu Krishnamurti, #NFDB
206:If you change the way you tell your own story, you can change the colour and create a life in technicolour. ~ Isabel Allende, #NFDB
207:Just because you are soft doesn't mean you are not a force. Honey and wildfire are both the colour gold. ~ Victoria Erickson, #NFDB
208:Justice, in British India, was far from blind: it was highly attentive to the skin colour of the defendant. ~ Shashi Tharoor, #NFDB
209:No one is born hating another person because of the colour of his skin, or his background, or his religion. ~ Nelson Mandela, #NFDB
210:The life where nothing was ever unexpected. Or inconvenient. Or unusual. The life without colour, pain or past. ~ Lois Lowry, #NFDB
211:The sun was close to setting. It desaturated her environment, dousing every colour in the same shade of grey. ~ Darcy Coates, #NFDB
212:I love most things in my life. I feel it's important to try and live life through adventure, colour and love. ~ Gemma Cairney, #NFDB
213:Intelligence has many shades, but rage is the same colour everywhere. Humiliation tastes the same to everyone. ~ Paul Hoffman, #NFDB
214:Violence in real life is terrible; violence in movies can be cool. It's just another colour to work with. ~ Quentin Tarantino, #NFDB
215:Colour blindness does not accept the legitimacy of structural racism or a history of white racial dominance. ~ Reni Eddo Lodge, #NFDB
216:She had hair the colour of' blackmail, a spine as straight as a guillotine, and a face that could sink ships. ~ Marie Phillips, #NFDB
217:Our strong sun darkens the colour of your skin to the colour of ours, but it cannot change what lies underneath. ~ Penny Jordan, #NFDB
218:The question is, what colour will everything be at that moment when I come for you? What will the sky be saying? ~ Markus Zusak, #NFDB
219:The Sky was red, but not warm red of a sunset. This was an angry, glowering red, the colour of an infected wound. ~ Neil Gaiman, #NFDB
220:Colour was a visible tone of ecstasy. ~ Sri Aurobindo, Savitri, The Eternal Day, The Soul’s Choice and the Supreme Consummation, #NFDB
221:His eyes were the colour of gold, of sunflowers and butterscotch and lemons hanging heavy on their boughs - Jest ~ Marissa Meyer, #NFDB
222:I am the colour red, in a world of black and white and if you value your ability to breathe... Don't get too close. ~ Bray Wyatt, #NFDB
223:A beauty neither of fine colour nor long eyelash, nor pencilled brow, but of meaning, of movement, of radiance. ~ Charlotte Bront, #NFDB
224:How far do our feelings take their colour from the dive underground? I mean, what is the reality of any feeling? ~ Virginia Woolf, #NFDB
225:I remember being on a black-and-white set all day and then going out into daylight and being amazed by the colour. ~ Jeff Bridges, #NFDB
226:Millions wanted to see shows written, directed, and acted by people of colour telling stories about themselves. Duh. ~ Jeff Chang, #NFDB
227:A beauty neither of fine colour nor long eyelash, nor pencilled brow, but of meaning, of movement, of radiance. ~ Charlotte Bronte, #NFDB
228:EVERY ENDING IS A NEW BEGINNING. YOUR LUCKY NUMBER IS NONE. YOUR LUCKY COLOUR IS DEAD. Motto: LIKE FATHER, LIKE SON. ~ Neil Gaiman, #NFDB
229:I found I could say things with colour and shapes that I couldn't say any other way- things I had no words for. ~ Georgia O Keeffe, #NFDB
230:Just as music is noise that makes sense, a painting is colour that makes sense, so a story is life that makes sense. ~ Yann Martel, #NFDB
231:To my eye Rubens' colouring is most contemptible. His shadows are a filthy brown somewhat the colour of excrement. ~ William Blake, #NFDB
232:Variety of form and brilliancy of colour in the objects presented to patients are actual means of recovery. ~ Florence Nightingale, #NFDB
233:What I would like in my painting is simply a spray of colour that hangs like a cloud, but does not lose its shape. ~ Jules Olitski, #NFDB
234:His eyes were the same colour as the sea in a postcard someone sends you when they love you, but not enough to stay. ~ Warsan Shire, #NFDB
235:The journey towards understanding structural racism still requires people of colour to prioritise white feelings. ~ Reni Eddo Lodge, #NFDB
236:Black is always elegant. It is the most complete colour in the whole world, made of all the colours in the palette. ~ Riccardo Tisci, #NFDB
237:Phosphenes, they were called - the sparks of colour that lit up your vision, the stars that appeared in the darkness. ~ Lauren James, #NFDB
238:With this record [The Colour and the Shape], I started taking the lyrics more seriously. This is a very personal album. ~ Dave Grohl, #NFDB
239:adjectives in English absolutely have to be in this order: opinion-size-age-shape-colour-origin-material-purpose Noun. ~ Mark Forsyth, #NFDB
240:Fine language not followed by acts in harmony with it is like a splendid flower brilliant in colour but without perfume. ~ Dhammapada, #NFDB
241:I watched the sky as it turned from silver to grey to the colour of rain. Even the clouds tried to look the other way. ~ Markus Zusak, #NFDB
242:I would permit no man, no matter what his colour might be, to narrow and degrade my soul by making me hate him. ~ Booker T Washington, #NFDB
243:Our modes of speech are bred in the bone, madam. We cannot escape them any more than we can the colour of our eyes. ~ Douglas Preston, #NFDB
244:The personal needs a base, a body to identify oneself with, just as a colour needs a surface to appear on. ~ Sri Nisargadatta Maharaj, #NFDB
245:The wise become as the unwise in the enchanted chambers of Power, whose lamps make every face the same colour. ~ Walter Savage Landor, #NFDB
246:When she bleeds the smells I know change colour. There is iron in her soul on those days. She smells like a gun. ~ Jeanette Winterson, #NFDB
247:From the colour the nature And by the nature the sign! Beatific spirits welding together As in one ash-tree in Ygdrasail. ~ Ezra Pound, #NFDB
248:I love the start of autumn when the trees in my garden change the colour of their leaves in one last dazzling display. ~ Michael Caine, #NFDB
249:...smoke twisting amongst the lights and turning the air a desolate blue, the colour of dead hopes and lost chances. ~ Terry Pratchett, #NFDB
250:If all life moves inevitably towards its end, then we must, during our own, colour it with our colours of love and hope. ~ Marc Chagall, #NFDB
251:if you’re worrying about the colour of your anus, things must be good, as you can’t have proper worries in your life. ~ Karl Pilkington, #NFDB
252:For me, poetry is the colour of Elizabeth Taylor's eyes, or the pauses in Pinter's plays - only the pauses, not the words. ~ Roger Lewis, #NFDB
253:he who loveliness within Hath found, all outward loathes, For he who colour loves, and skin, Loves but their oldest clothes. ~ Anonymous, #NFDB
254:My respect for human beings is based not on the colour of a man’s skin nor authority he may wield, but purely on merit. ~ Nelson Mandela, #NFDB
255:People get nervous accessorising, but there is nothing wrong with adding a belt or a pair of shoes in another colour. ~ Carolina Herrera, #NFDB
256:Red is an all-embracing colour,' said the bishop. 'How fortunate that those who despise it in a bonnet revere it in a hat. ~ Victor Hugo, #NFDB
257:You came suddenly and stole three things from me. The patience from my heart, the colour from my face and the sleep from my eyes. ~ Rumi, #NFDB
258:BLUE, THE colour of the sky, of the ocean, of certain stars and planets and the hue of the bluest eyes you have ever seen. ~ Kev Heritage, #NFDB
259:I’d ended up sprawled across his chest, which was actually broader than it looked. Navy blue is a slimming colour, I guess. ~ Stacey Kade, #NFDB
260:Take a cutlass, him that dares, and I'll see the colour of his inside, crutch and all, before that pipe's empty. ~ Robert Louis Stevenson, #NFDB
261:God help us both if this is summer.
The sun shines all day and all night
but it has no warmth, no light, no colour. ~ Simon Armitage,#NFDB
262:Justice was like coloured balls in a magician's hand, changing colour and shape all the time beneath the light of politics. ~ Qiu Xiaolong, #NFDB
263:I like to keep a uniform - wear a blazer, try to keep the same colour pants; very tailored, very fitted but still edgy. ~ Theophilus London, #NFDB
264:Light is an electromagnetic wave, and there is one ‘colour’ for each possible wavelength of light – the distance from one ~ Terry Pratchett, #NFDB
265:Up, then, would come Mrs General; taking all the colour out of everything, as Nature and Art had taken it out of herself; ~ Charles Dickens, #NFDB
266:Her eyes are sometimes the colour of a May sky at 2:00pm on a Saturday, and sometimes they are the colour of polar bear ice. ~ Matthew Quick, #NFDB
267:Lavina loved the freedom and wildness in Sarah's garden, so unlike her mother's well- ordered, colour- coordinated beds. (53) ~ Shani Mootoo, #NFDB
268:The essence of painting has actually always been to make it [the universal] plastically perceptible through colour and line. ~ Piet Mondrian, #NFDB
269:407Justice was like coloured balls in a magician's hand, changing colour and shape all the time beneath the light of politics. ~ Qiu Xiaolong, #NFDB
270:Colour can be the true main thing in art that is widely valued – even valued by the maker of the art – for other meanings. ~ Matthew Collings, #NFDB
271:Given the excuse, a certain sort of man would put a stone through your window if you so much as had a different colour eye. ~ Robert Dinsdale, #NFDB
272:Hair is the greatest thing to experiment with because it's not permanent. If I didn't like my colour, I'd just change it. ~ Linda Evangelista, #NFDB
273:If every inhabitant of a liberal democracy believes in liberal democracy, then it doesn't matter what creed or colour they are. ~ Martin Amis, #NFDB
274:Good Hamlet, cast thy nighted colour off ... Do not for ever with thy vailed lids Seek for thy noble father in the dust. ~ William Shakespeare, #NFDB
275:He flushed, the colour dark against his pale skin. 'I mean. Tessa Gray, will you do me the honour of becoming my wife?' Jem. ~ Cassandra Clare, #NFDB
276:I am not... totally unreceptive to colour providing it makes its appearance quietly, deferentially, and without undue fanfare. ~ Fran Lebowitz, #NFDB
277:It's enough to just love him, to be with him in my thoughts and to colour this lovely city with his steps, his words, his love. ~ Paulo Coelho, #NFDB
278:What colour was her scythe?"
"Sadly, I wasn't able to take the time to appreciate its subtle hues as it tore through my skin. ~ Gina Damico,#NFDB
279:Although I am basically self taught, I consider Debussy my teacher - the most important elements are colour, light and shadow. ~ Toru Takemitsu, #NFDB
280:In making even horizontal and clear inspections we colour and mould according to the wants within us whatever our eyes bring in. ~ Thomas Hardy, #NFDB
281:Ronald Reagan perfected the subtler version long ago by talking about "welfare mothers" - a code phrase for people of colour. ~ Adam Hochschild, #NFDB
282:The more veiled becomes the outside world, steadily losing in colour, tone and passions, the more urgently the inner world calls us ~ Carl Jung, #NFDB
283:There is absolutely nothing feminine about the colour pink, or, anything bad-luck'ish about the colour black — in itself. ~ Mokokoma Mokhonoana, #NFDB
284:Describe snow to someone who's lived in the desert. Depict the colour blue for a blind man. Almost impossible to fashion the word. ~ Andrea Levy, #NFDB
285:He flushed, the colour dark against his pale skin. 'I mean. Tessa Gray, will you do me the honour of becoming my wife?' Jem... ~ Cassandra Clare, #NFDB
286:In bright light, with his hair turned that dark red and never having regained all the colour in his skin, he looked nationless. ~ Natasha Pulley, #NFDB
287:In the village, a sage should go about
Like a bee, which, not harming
Flower, colour or scent,
Flies off with the nectar. ~ Anonymous,#NFDB
288:It is wonderful how much depends upon the relations of black and white A black and white, if properly balanced, suggests colour. ~ Winslow Homer, #NFDB
289:To plant and maintain a flower border, with a good scheme for colour, is by no means the easy thing that is commonly supposed. ~ Gertrude Jekyll, #NFDB
290:Being born in Jamaica, race was never an issue. It was always about the type of person I wanted to be, not the colour of my skin. ~ Tessanne Chin, #NFDB
291:I am hoping that, with the added wisdom of old age, I can still look ahead for an improvement in tone, line, colour and composition. ~ E J Hughes, #NFDB
292:I'm trying to incorporate colour into my life. Until recently, everything in my closet was black, white, grey, navy or olive. ~ Jennifer Morrison, #NFDB
293:Apparently there were seven stages of grief but that was a neat way of putting it. Grief was messy and didn't colour inside the lines ~ Emily Gale, #NFDB
294:Clouds come floating into my life from other days no longer to shed rain or usher storm but to give colour to my sunset sky. ~ Rabindranath Tagore, #NFDB
295:EVERY ENDING IS A NEW BEGINNING.
YOUR LUCKY NUMBER IS NONE.
YOUR LUCKY COLOUR IS DEAD.
Motto:
LIKE FATHER, LIKE SON. ~ Neil Gaiman,#NFDB
296:Out with it.” She let impatience colour her words. She couldn’t think of any cockney slang for getting a man to open his saucebox. ~ Gail Carriger, #NFDB
297:The sky takes on shades of orange during sunrise and sunset, the colour that gives you hope that the sun will set only to rise again. ~ Ram Charan, #NFDB
298:Feelings I had for him had emerged suddenly, like the tight bud of a rose that blossoms magically overnight into a glorious colour. ~ Lucinda Riley, #NFDB
299:Here's what I realized about the yam - it's the same colour as a Nerf ball. You may be wondering: 'Is he saying he ate a Nerf ball?'. ~ Jon Stewart, #NFDB
300:Kadaspala worshipped colour. It was the gift of light; and in its tones, heavy and light, faint and rich, was painted all of life. ~ Steven Erikson, #NFDB
301:Not only do words infect, egotize, narcotize, and paralyze, but they enter into and colour the minutest cells of the brain. . . . ~ Rudyard Kipling, #NFDB
302:For me, black and white is more
realistic than colour. Black and white can be colourful, and colour can be
very black and white. ~ Wim Wenders,#NFDB
303:How many spanks have you had, Julia?” Damien asked.
“Two, Sir.”
“What colour are you on?”
“Mortification,” she mumbled. ~ Sierra Cartwright,#NFDB
304:Even later, the red colour was replaced by saffron colour, indicating celibacy and continence, a rejection of all things sensory. ~ Devdutt Pattanaik, #NFDB
305:I believe that God is in me as the sun is in the colour and fragrance of a flower - the Light in my darkness, the Voice in my silence. ~ Helen Keller, #NFDB
306:There’s a faint popping noise, and the entire wall of the incident room shifts to the colour of the night sky above a Japanese city. ~ Charles Stross, #NFDB
307:We talk against corruption when we are powerless since we are the losers in the deal but we quickly change colour when we have power. ~ Awdhesh Singh, #NFDB
308:A man compounded of Law and Gospel, is able to cheat a whole country with his Religion, and then destroy them under Colour of Law. ~ Benjamin Franklin, #NFDB
309:People are so damn sensitive about colour around here that you can’t even ask a barman for a jigger of rum. You have to ask for a jegro. ~ Ian Fleming, #NFDB
310:The marriage broker had assured her the groom’s family was more concerned about the colour of Malli’s skin than the size of her dowry. ~ Rasana Atreya, #NFDB
311:There are people who can achieve huge success in life, while adding a bit of fun and a splash of colour to this increasingly grey world. ~ Peter James, #NFDB
312:Oh Demonation, the noise he made! Its colour - blue and black with streaks of orange - were as bright as the blood that gushed from his arms. ~ Various, #NFDB
313:A trivial thing, for a teenage boy to be colour-blind, not uncommon or noteworthy, unless it simply, unalterably, thwarted everything. ~ Stephen Gregory, #NFDB
314:Colour is the ultimate in art. It is still and will always remain a mystery to us, we can only apprehend it intuitively in flowers. ~ Philipp Otto Runge, #NFDB
315:Even the sea had lost its deep blue colour and, beneath the misty sky, took on the sheen of silver or iron, making it painful to look at. ~ Albert Camus, #NFDB
316:If the Creator had said, "Let there be light" in Ankh-Morpork, he'd have got no further because of all the people saying "What colour? ~ Terry Pratchett, #NFDB
317:I know there are some people who see sound as colour, and I've always wondered if mean looks different than not mean. I bet it's purple. ~ Mariko Tamaki, #NFDB
318:..there’s sunlight and shade, spots
and patterns of colour, your mind is elsewhere–so you don’t make out what is right in front of you. ~ Yann Martel,#NFDB
319:White is for witching, a colour to be worn so that all other colours can enter you, so that you may use them. At a pinch, cream will do. ~ Helen Oyeyemi, #NFDB
320:Happy are the painters, for they shall not be lonely. Light and colour, peace and hope, will keep them company to the end of the day. ~ Winston Churchill, #NFDB
321:I figured out some basic stuff: that form and colour defines your perception of the nature of an object, whether or not it is intended to. ~ Jonathan Ive, #NFDB
322:In Asia, red is the colour of joy; red is the colour of festivities and of celebration. In Chinese culture, blue is the colour of mourning. ~ Vincent Tan, #NFDB
323:A life without imagination would not be a life well lived. Colour your thoughts and paint the shared skies with your dreams for all to see. ~ Truth Devour, #NFDB
324:For instead of trying to reproduce exactly what I see before me, I make more arbitrary use of colour to express myself more forcefully. ~ Vincent Van Gogh, #NFDB
325:In painting, whether colour reflection is apparent or not, every hue must echo neighbouring hues, so that homogeneity may be attained. ~ Walter J Phillips, #NFDB
326:It would not be easy, indeed, to catch their expression, but their colour and shape, and the eyelashes, so remarkably fine, might be copied. ~ Jane Austen, #NFDB
327:Having talent is like having blue eyes. You don't admire a man for the colour of his eyes. I admire a man for what he does with his talent. ~ Anthony Quinn, #NFDB
328:She was like an outline of the painting of the Holy Virgin that an artist has sketched in black and white, but not yet filled with colour. ~ Karen Maitland, #NFDB
329:the costume of the nineteenth century is detestable. It is so sombre, so depressing. Sin is the only real colour-element left in modern life. ~ Oscar Wilde, #NFDB
330:black writers across the world need to connect. All writers, but especially writers of colour, suffer a crisis of confidence about their work. ~ Nick Makoha, #NFDB
331:Our sweet illusions are half of them conscious illusions, like effects of colour that we know to be made up of tinsel, broken glass and rags. ~ George Eliot, #NFDB
332:The more ugly, old, nasty, ill, and poor I become the more I want to get my own back by producing vibrant, well-arranged, radiant colour. ~ Vincent Van Gogh, #NFDB
333:The trouble with the English was that they were English: damn cold fish! - Living underwater most of the year, in days the colour of night! ~ Salman Rushdie, #NFDB
334:As dye soaks fibres, drawn into them to change their colour forever, so does a memory, stinging or sweet, change the fibre of a man’s character. ~ Robin Hobb, #NFDB
335:Her face too was fresh in colour, but it was of a totally different quality - soft and evanescent, like the light under a heap of rose-petals. ~ Thomas Hardy, #NFDB
336:In the twilight that was now the colour of dust, in the fury of horns that was a national language because honking had telegraphic properties.. ~ Manu Joseph, #NFDB
337:the more permanent colour of the flowers themselves, with the utmost profundity, evanescence, and mystery—with a quiet suggestion of infinity ~ Marcel Proust, #NFDB
338:ALMANDINE (A'LMANDINE) n.s.[Fr. almandina, Ital.] A ruby coarser and lighter than the oriental, and nearer the colour of the granate.Dict. ~ Samuel Johnson, #NFDB
339:Everything black. I wasn’t comfortable in any other colour. I deserved no other colour. Black was the colour of evil, of death. Black was me. ~ Pepper Winters, #NFDB
340:I think the bottom of the totem pole is African-American women, or women of colour. I think they get the least opportunities in Hollywood. ~ Denzel Washington, #NFDB
341:Jack Cardiff - the greatest cameraman who ever worked in colour - was a lab boy to start with so he knew Technicolor from the inside out. ~ Thelma Schoonmaker, #NFDB
342:The Egyptians would sacrifice red-headed men on the tomb of Osiris because red was the colour associated with Set, the Egyptian version of Satan. ~ David Icke, #NFDB
343:I dream in colour, and its always very surreal. My dream world is complete Hieronymus Bosch and Dali. I love it, I look forward to it every night ~ John Lennon, #NFDB
344:As a bee without harming the flower, its colour or scent, flies away, collecting only the honey, even so should the sage wander in the village. ~ Gautama Buddha, #NFDB
345:A Servant of History
Her eyes were of the lightest blue as if time had rinsed away most of the colour, but there was a liveliness inside them. ~ Ron Rash,#NFDB
346:Someone who is incapable of drawing, and cannot master line or colour perspective can always express themselves in some form of abstraction. ~ Hans Werner Henze, #NFDB
347:The poet is the supreme artist, for he is the master of colour and of form, and the real musician besides, and is lord over all life and all arts. ~ Oscar Wilde, #NFDB
348:Why is it that white people find it easier to think like a mountain than like a person of colour?'
Carl Anthony quoted by Rebecca Solnit ~ Rebecca Solnit,#NFDB
349:You're the right colour for the Angel of Death, Mister Cale. But a little short.' 'I could cut your head off and stand on it. Then I'd be taller. ~ Paul Hoffman, #NFDB
350:Literature expresses itself by abstractions, whereas painting, by means of drawing and colour, gives concrete shape to sensations and perceptions. ~ Paul Cezanne, #NFDB
351:Even if you took it as cascading snowy mountains,it was not a cool snow-white. The cold of the snow and it's warm colour made a kind of music. ~ Yasunari Kawabata, #NFDB
352:I don’t care what colour you are, I don’t care what country you’re from; we’re all human beings and fighting’s in our DNA. We get it, and we like it. ~ Dana White, #NFDB
353:I'm more into, like, colour than, like, the type of car and stuff. I don't know much about cars, so I'm just more into picking the right color. ~ Miranda Cosgrove, #NFDB
354:My talent lies in the expression of my life and creative power through light, colour and form. As a painter I can convey the essence of life. ~ Laszlo Moholy Nagy, #NFDB
355:You'll get unsociable people whatever the nationality, colour, race or creed. I guess the British abroad have probably got the worst record of anyone. ~ Ken Loach, #NFDB
356:Colour as perceived by us is a function of three independent variables at least three are I think sufficient, but time will show if I thrive. ~ James Clerk Maxwell, #NFDB
357:I don't tend to do much with my lips. My lips are naturally very pink, so if I add any more colour, it looks like I've been smacked in the mouth! ~ Kate Beckinsale, #NFDB
358:And Life is Colour and Warmth and Light and a striving evermore for these; and he is dead, who will not fight; and who dies fighting has increase. ~ Julian Grenfell, #NFDB
359:Blue is the colour of strong passion and creativity, while green associated with the heart is seen as representative of generosity and kindness. ~ Storm Constantine, #NFDB
360:Botswana is also the only country in the world with a colour in its flag meant to represent rain (a sort of blue-grey). Not many people know this. ~ Terry Pratchett, #NFDB
361:But the soul has no culture. The soul has no nations. The soul has no colour or accent or way of life. The soul is forever. The soul is one. ~ Gregory David Roberts, #NFDB
362:Come the rains and the beerbahutis appeared all over the green. From where do they emerge, so perfect in shape and colour, and where do they go? ~ Qurratulain Hyder, #NFDB
363:Differences, eternal differences, planted by God in a single family, so that there may always be colour; sorrow perhaps, but colour in the daily grey. ~ E M Forster, #NFDB
364:I thought I could not breathe in that fine air That pure severity of perfect light I yearned for warmth and colour which I found In Lancelot. ~ Alfred Lord Tennyson, #NFDB
365:it was simply that Shadwell hated everyone in the world, regardless of caste, colour or creed, and wasn’t going to make any exceptions for anyone. ~ Terry Pratchett, #NFDB
366:Life's a choice: you can live in black and white, or you can live in colour. I'll take every shade of the rainbow and the gazillion in between! ~ Karen Marie Moning, #NFDB
367:The purpose of life is to pass the frontiers! Attack the frontiers to go beyond them with the determination of a bull attacking the red colour! ~ Mehmet Murat ildan, #NFDB
368:Twilight was laying claim to the cité, and the sky was a deepening shade of lavender, spangled with stars and fleecy clouds the colour of plums. ~ Sharon Kay Penman, #NFDB
369:Allah made us all a different shade and colour. Nations and tribes recognize one another! 'Cause every single person is your sister and brother. ~ Dawud Wharnsby Ali, #NFDB
370:I will comb it with my own claws," said the dragon, "for I see that the child has hair the colour of gold, which is the only right colour for hair. ~ Naomi Mitchison, #NFDB
371:Parting day Dies like the dolphin, whom each pang imbues With a new colour as it gasps away, The last still loveliest, till-'t is gone, and all is gray. ~ Lord Byron, #NFDB
372:All the colour and variety of life is made of the intricate pattern of the weaving of the gunas. ~ Sri Aurobindo, The Synthesis Of Yoga, The Liberation of the Nature, #NFDB
373:Colour has taken hold of me; no longer do I have to chase after it. I know that it has hold of me forever. That is the significance of this blessed moment ~ Paul Klee, #NFDB
374:Everything about the old man was old with the sole exception of his eyes. His eyes resembled the colour of the sea and were joyous and unconquered. ~ Ernest Hemingway, #NFDB
375:Never fall in love with anything life throws at you. You have what it takes to colour your environment with the right decisions at the right time! ~ Israelmore Ayivor, #NFDB
376:Not foliage green, but of a fusk colour,
Not branches smooth, but gnarled and intertangled
not apple-tress were there, but thorns with poison. ~ Dante Alighieri,#NFDB
377:The great inlet by which a colour for oppression has entered into the world is by one man's pretending to determine concerning the happiness of another. ~ Edmund Burke, #NFDB
378:The variety of colour in objects cannot be discerned at a great distance, excepting in those parts which are directly lighted up by the solar rays. ~ Leonardo da Vinci, #NFDB
379:This moment is so much bigger than me. It's for every nameless, faceless woman of colour that now has a chance because this door tonight has been opened. ~ Halle Berry, #NFDB
380:Naked I came into the world, naked I shall go out of it! And a very good thing too, for it reminds me that I am naked under my shirt, whatever its colour. ~ E M Forster, #NFDB
381:You want me to spy on a National Colour operative?'
'Wow,' she said, 'you got it. I thought I was going to have to explain that one for a lot longer. ~ Jasper Fforde,#NFDB
382:If you want to change your hair colour or your nail colour or things like that its fine, but you have to realize the dangers and repercussions of surgery. ~ Heidi Montag, #NFDB
383:My training was that you fill in the canvas where it needs colour and polishing. You start with the words on the first night and keep adding bits of business. ~ Ron Moody, #NFDB
384:The importance of colour is as nothing compared with that of form, chiaroscuro and arrangement. They are the true and enduring bases of pictorial art. ~ Walter J Phillips, #NFDB
385:It is the smoke.
It is the fire.
The spark.
Black is the colour of memory.
It is our colour.
The only one they'll use to tell our story. ~ Alexandra Bracken,#NFDB
386:Like a beautiful flower, full of colour, but without scent, are wise words when spoken, but fruitless these words are when not carried out by the speaker. ~ Gautama Buddha, #NFDB
387:She had weedy hair of that vague colour which is neither brown nor blond, that hasn't enough life in it to be ginger, and isn't clean enough to be grey. ~ Raymond Chandler, #NFDB
388:There is something magical in seeing what you can do, what texture and tone and colour you can produce merely with a pen point and a bottle of ink. ~ Ida Rentoul Outhwaite, #NFDB
389:White was the colour with multiple faces. It lied about its identity, hiding its pigment while smothering others. The final blank thought before death. My ~ Pepper Winters, #NFDB
390:Behave like the flower; it blooms with its own petals without bothering to take the colour of another flower’s petals. You can excel with what you have! ~ Israelmore Ayivor, #NFDB
391:cupboards and a hidden fridge. I set the roses on the table and took a step back, thinking how it was nice to have some colour in the kitchen for a change. ~ Sarah A Denzil, #NFDB
392:His eyes were rolling in their sockets, and his face had taken on the colour and expression of a devout tomato. I could see he loved like a thousand bricks. ~ P G Wodehouse, #NFDB
393:I half imagined I could taste the silver on his nails, as sharp as glitter in my mouth. Maybe when he touched me, colour would spill from his hands like heat. ~ Alexis Hall, #NFDB
394:It always seemed so ridiculous that people want to be around someone because they're pretty. It's like basing your breakfast cerely on colour instead of taste. ~ John Green, #NFDB
395:People appear like angels until you hear them speak. You must not rush to judge people by the colour of their cloaks, but by the content of their words! ~ Israelmore Ayivor, #NFDB
396:Stories identify, unify, give meaning to. Just as music is noise that makes sense, a painting is colour that makes sense, so a story is life that makes sense. ~ Yann Martel, #NFDB
397:Wherever men are noble, they love bright colour; and wherever they can live healthily, bright colour is given them—in sky, sea, flowers, and living creatures. ~ John Ruskin, #NFDB
398:Poets, the best of them, are a very chameleonic race; they take the colour not only of what they feed on, but of the very leaves under which they pass ~ Percy Bysshe Shelley, #NFDB
399:We see in colour all the time. Everything around us is in colour. Black and white is therefore immediately an interpretation of the world, rather than a copy. ~ Michael Kenna, #NFDB
400:A sculptor is supposed to be a dull dog anyway, so why should he not break out in colour sometimes, and in my case I'd as soon be hanged for a sheep as a lamb. ~ Jacob Epstein, #NFDB
401:Fashion is meant to be wild and expressive. I love colour but I also love basics - grungy minimalism mixed with this kind of broken-down cheerleader, is my thing. ~ Charli XCX, #NFDB
402:I imagined that if the surface of the package imitated the colour and texture of the fruit skin, then the object would reproduce the feeling of the real skin. ~ Naoto Fukasawa, #NFDB
403:Quite often, most of us are defined first by our vital statistics - our sex, our height, our weight, the colour of our eyes and then we're defined by our job. ~ Tom Hiddleston, #NFDB
404:The human mind has no more power of inventing a new value than of imagining a new primary colour,or, indeed, of creating a new sun and a new sky for it to move in. ~ C S Lewis, #NFDB
405:So entirely had it lost the life and resonance of the human voice, that it affected the senses like a once beautiful colour faded away into a poor weak stain. ~ Charles Dickens, #NFDB
406:The human mind has no more power of inventing a new value than of imagining a new primary colour, or, indeed, of creating a new sun and a new sky for it to move in. ~ C S Lewis, #NFDB
407:As a teenager I was crazy about David Bowie. He was a huge inspiration for me. I dressed a little bit crazily in school and dyed my hair every colour under the sun. ~ Clive Owen, #NFDB
408:Doctor Doctor what is wrong with me
This supermarket life is getting long
What is the heart life of a colour TV
What is the shelf life of a teenage queen ~ Roger Waters,#NFDB
409:For the Rays, to speak properly, have no Colour. In them there is nothing else than a certain power and disposition to stir up a sensation of this Colour or that. ~ Isaac Newton, #NFDB
410:It gives men courage and ambition and the nerve for anything. It has the colour of gold, is clear as a glass and shines after dark as if the sunshine were still in it. ~ O Henry, #NFDB
411:You can go to church and sing a hymn, Judge me by the colour of my skin, You can live a lie until you die, One thing you can't hide is when you're crippled inside. ~ John Lennon, #NFDB
412:You know what you do? You know how rain takes the colour out of everything? That's what you do to the English language. You blur it every time you open your mouth. ~ John Fowles, #NFDB
413:He punished the crow for its garrulity by changing the colour of its plumage from pure white to intense black, and forbade it to fly any longer among the other birds. ~ Anonymous, #NFDB
414:I have been to Canada several times. It was autumn when I visited Vancouver and I will always remember the colour of the trees in British Columbia were stunning. ~ Natalie Dormer, #NFDB
415:I like, you may say, the glitter and colour that comes from the mouth, and I've always hoped in a sense to be able to paint the mouth like Monet painted a sunset. ~ Francis Bacon, #NFDB
416:The ideal reader of my novels is a lapsed Catholic and failed musician, short-sighted, colour-blind, auditorily biased, who has read the books that I have read. ~ Anthony Burgess, #NFDB
417:Under the colour of commending him I have access my own love to prefer; But Silvia is too fair, too true, too holy, To be corrupted with my worthless gifts. ~ William Shakespeare, #NFDB
418:Can't you see it's the same? The same guns, the same children dying in the streets? Only the dream has changed, the blood is the same colour. Is that what you want? ~ John le Carr, #NFDB
419:for personalities are not a single immutable colour, like white or blue, but rather illuminated screens, and the shades we reflect depend much on what is around us. ~ Mohsin Hamid, #NFDB
420:Within, stood a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere. ~ Bram Stoker, #NFDB
421:Within, stood a tall old man, clean-shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere. ~ Bram Stoker, #NFDB
422:You know, I always say white is not a colour, white is an attitude, and if you haven't got trillions of dollars in the bank that you don't need, you can't be white. ~ Dick Gregory, #NFDB
423:Your manners will depend very much upon the quality of what you frequently think on; for the soul is as it were tinged with the colour and complexion of thought. ~ Marcus Aurelius, #NFDB
424:I fused the beauty of dreaming and the reality of life into a single blissful colour..
...On a clear bright day even the softness of the sounds is golden... ~ Fernando Pessoa,#NFDB
425:Black for hunting through the night,
For death and mourning the colour´s wihte.
Gold for a bride in her wedding gown,
And red to call the enchanment down. ~ Cassandra Clare,#NFDB
426:I always do book signings with the same blue pen. That way, if I add a personalised message to a book I've already signed, it'll be in the same colour as my signature. ~ John Grisham, #NFDB
427:Red is a colour I've felt very strongly about. Maybe red is a very Indian colour, maybe it's one of those things that I grew up with and recognise at some other level. ~ Anish Kapoor, #NFDB
428:The nights did not come gently but seemed to slam down angrily upon the Earth, and starlight transformed the golden brown of the wheat to the colour of polished silver. ~ Rick Yancey, #NFDB
429:A landscape clean and crisp in form and colour, rich in inspiration is all that an artist could wish for, begging to be used, and full of inherent possibilities. ~ Franklin Carmichael, #NFDB
430:Everything around Rincewind was black. It wasn't simply an absence of colour. It was darkness that flatly denied any possibility that colour might ever have existed. ~ Terry Pratchett, #NFDB
431:I know what I mean by the term I and myself; and I know this immediately, or intuitively, though I do not perceive it as I perceive a triangle, a colour, or a sound. ~ George Berkeley, #NFDB
432:The flames rose bright on everyone's screens, flickering lipstick red and traffic-cone orange and Lord knows what else, depending on how your television's colour was. ~ Daniel Handler, #NFDB
433:The sudden heat of his tone made her colour mount again, not with a rush, but gradually, delicately, like the reflection of a thought stealing slowly across her heart. ~ Edith Wharton, #NFDB
434:You are an artist and I happen to be the bit of colour you are using today. It's a part of your cleverness to be able to produce premeditated effects extemporaneously. ~ Edith Wharton, #NFDB
435:The Bahamas are gorgeous. The deep trench in the ocean floor called the Tongue of the Ocean, which comes between the islands, is the most beautiful deep indigo colour. ~ Chris Hadfield, #NFDB
436:Happiness has only one colour: The Bright! The bright of red, the bright of green, the bright of any colour! Happiness is bright! It shines, it sparkles, it glints! ~ Mehmet Murat ildan, #NFDB
437:It is evident that no derivative laws can teach the young student to see and apprehend colour in nature. His perception needs development as urgently as his muscles. ~ Walter J Phillips, #NFDB
438:It's a dumb question, because I don't look at things as a black director, just as a director, so ask me as a director first and we can segue into the colour thing later. ~ Antoine Fuqua, #NFDB
439:Strange is it that our bloods,
Of colour, weight, and heat, pour'd all together,
Would quite confound distinction, yet stand off
In differences so mighty. ~ William Shakespeare,#NFDB
440:If you can allow colour to breathe, to occupy its own space, to play its own game in its unstable way, it's wanton behaviour, so to speak. It is promiscuous like nothing. ~ Bridget Riley, #NFDB
441:One cannot live any longer on refrigerators, on politics, on balance-sheets and cross-word puzzles. One cannot live any longer without poetry, colour and love. ~ Antoine de Saint Exup ry, #NFDB
442:synaesthesia—the condition where two or more senses are connected, for example when numbers are seen in colour and every series of numbers forms an image in the mind. ~ David Lagercrantz, #NFDB
443:where all the differences in schooling and money and skin colour evaporated like mirages in a desert. Where everyone was equal, and it was just one woman, helping another. ~ Jodi Picoult, #NFDB
444:A colour is a physical object as soon as we consider its dependence, for instance, upon its luminous source, upon other colours, upon temperatures, upon spaces, and so forth. ~ Ernst Mach, #NFDB
445:Complete independence through truth and non-violence means the independence of every unit, be it the humblest of the nation, without distinction of race, colour or creed. ~ Mahatma Gandhi, #NFDB
446:It was a placid explosion of orange and red, a great chromatic symphony, a
colour canvas of supernatural proportions, truly a splendid Pacific sunset, quite wasted on me. ~ Yann Martel,#NFDB
447:One day the world will be ready to accept that humanity, just as it is not constrained by skin colour, gender or nation, is not a condition penned into any one shape. ~ Adrian Tchaikovsky, #NFDB
448:You put a blob of yellow here, and another at the further edge of the canvas: straight away a rapport is established between them. Colour acts in the way that music does. ~ Georges Braque, #NFDB
449:they were in every colour sweets can be, such as Not-Really-Raspberry Red, Fake-Lemon Yellow, Curiously-Chemical Orange, Some-Kind-of-Acidy Green and Who-Knows-What Blue. ~ Terry Pratchett, #NFDB
450:...we were glad to have in our midst a sprinkling of fools, who, although only comparatively foolish, provided a touch of colour and some occasion for laughter and mockery. ~ Hermann Hesse, #NFDB
451:Painting is concerned with all the 10 attributes of sight; which are: Darkness, Light, Solidity and Colour, Form and Position, Distance and Propinquity, Motion and Rest. ~ Leonardo da Vinci, #NFDB
452:You will hear thunder and remember me, And think: she wanted storms. The rim Of the sky will be the colour of hard crimson, And your heart, as it was then, will be on fire. ~ Anna Akhmatova, #NFDB
453:Bharat for Bhutan and Bhutan for Bharat. The colour of our passports may be different but our thinking is the same. India stands committed to Bhutan's happiness and progress. ~ Narendra Modi, #NFDB
454:He let himself be storm-tossed, riding her billowing sea. When she held him like this he could see nothing, but the colour of his blindness was the colour of waves breaking ~ Howard Jacobson, #NFDB
455:Recounting the strange is like telling one's dreams: one can communicate the events of a dream, but not the emotional content, the way that a dream can colour one's entire day. ~ Neil Gaiman, #NFDB
456:The one place where a man ought to get a square deal is in a court-room, be heany colour of the rainbow, but people have way to carrying their resentments right into a jury box. ~ Harper Lee, #NFDB
457:True beauty is a ray That springs from the sacred depths of the soul, and illuminates the body, just as life springs from the kernel of a stone and gives colour and scent to a flower. ~ Rumi, #NFDB
458:Homophobia's just one form of abjection, and wherever you have a marker of deviance - skin colour, gender, gender identity, disability - you get the same mechanisms of prejudice. ~ Hal Duncan, #NFDB
459:I want to get all the nations of the world together, it doesn't matter what colour or creed, and I want to sit them down and say: "Guys, The Office is still available on DVD." ~ Ricky Gervais, #NFDB
460:The one place where a man ought to get a square deal is in a court-room, be he any colour of the rainbow, but people have way of carrying their resentments right into a jury box. ~ Harper Lee, #NFDB
461:The one place where a man ought to get a square deal is in a court-room, be he any colour of the rainbow, but people have way to carrying their resentments right into a jury box. ~ Harper Lee, #NFDB
462:He was young, and his face, if not exactly handsome, approached so near to handsome that nobody would have contradicted an assertion that it really was so in its natural colour. ~ Thomas Hardy, #NFDB
463:Red became the colour of valour and fertility. Later, as the doctrine of ahimsa (non-violence) gained ground, blood was represented symbolically using sindoor (vermillion). ~ Devdutt Pattanaik, #NFDB
464:the left hemisphere is responsible for sequence, logic, speech, analysis and numeracy; while the right is involved with imagination, colour, rhythm, dimension and spatial awareness ~ Anonymous, #NFDB
465:Colour is what gives jewels their worth. They light up and enhance the face. Nothing is more elegant than a black skirt and sweater worn with a sparkling multi-stoned necklace. ~ Christian Dior, #NFDB
466:If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are. ~ Denzel Washington, #NFDB
467:The black people's struggle has vanquished racism. It was God who created colour. Today Obama, a son of Kenya, a son of Africa, has made it in the United States of America. ~ Muammar al Gaddafi, #NFDB
468:the left hemisphere is responsible for sequence, logic, speech, analysis and numeracy; while the right is involved with imagination, colour, rhythm, dimension and spatial awareness. ~ Anonymous, #NFDB
469:We get used to a certain kind of colour of form or format, and it's acceptable. And to puncture that is sticking your neck out a bit. And then pretty soon, that's very acceptable. ~ Lee Krasner, #NFDB
470:At heart I've always been a music fan. That part of me has never changed since I was a little kid, sitting in a room watching a record go round, looking at the colour of the labels. ~ Elton John, #NFDB
471:Nor is the darkness of colour a proof of the earth's baseness; for the brightness of the sun, which is visible to us, would not be perceived by anyone who might be in the sun. ~ Nicholas of Cusa, #NFDB
472:We perceive nature through the senses, which give us images of forms of colour, sounds etc. A form which exists only in relation to another form on its own, it does not exist. ~ Edouard Vuillard, #NFDB
473:Whence did the wond'rous mystic art arise, / Of painting SPEECH, and speaking to the eyes? / That we by tracing magic lines are taught, / How to embody, and to colour THOUGHT? ~ Marshall McLuhan, #NFDB
474:With a terrible silence, the sky ripped open.
It swallowed them.
Rosemary looked out the window, and realised that she'd never really seen the colour black before. ~ Becky Chambers,#NFDB
475:It's truly a lifetime of self-censorship that people of colour have to live. The options are: speak your truth and face the reprisals, or bite your tongue and get ahead in life. ~ Reni Eddo Lodge, #NFDB
476:Make sure that the very different colors go next to each other so it looks deliberate. You don't want to look as if you've just run out of colour and gone for the next nearest thing. ~ Jackie Kay, #NFDB
477:Phoebe Marks was a person who never lost her individuality. Silent and self-contained, she seemed to hold herself within herself, and take no colour from the outer world. ~ Mary Elizabeth Braddon, #NFDB
478:The colour of the magpie, her father was saying, was symbolic of creation. The void, the mystery of that which had not yet taken form. Black and white, he said. Presence and absence. ~ Kate Mosse, #NFDB
479:The laws of light and of heat translate each other;-so do the laws of sound and colour; and so galvanism, electricity and magnetism are varied forms of this selfsame energy. ~ Ralph Waldo Emerson, #NFDB
480:There is something terribly morbid in the modern sympathy with pain. One should sympathise with the colour, the beauty, the joy of life. The less said about life's sores the better. ~ Oscar Wilde, #NFDB
481:But, I would always be thinking of how pictures are constructed and colour, how to use it, I mean you're using it for constructing, makes you think about it, the place did as well. ~ David Hockney, #NFDB
482:But there, standing at the entrance to the garden, wearing a khalat the colour of a breaking dawn and that faint smile that meant she knew she was outsmarting someone, was Shazad. ~ Alwyn Hamilton, #NFDB
483:I have always loved tartans - such an ornamented type of weaving, so vivid in colour, and such a masculine aspect. But actually, I think tartans can be feminine or masculine. ~ Christian Louboutin, #NFDB
484:I see a green tree. And to me it is green. And you would call the tree green also. And we would agree on this. But is the colour you see as green the same colour I see as green? ~ Carson McCullers, #NFDB
485:I work in colour sometimes, but I guess the images I most connect to, historically speaking, are in black and white. I see more in black and white - I like the abstraction of it. ~ Mary Ellen Mark, #NFDB
486:My Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images. ~ Patricia Piccinini, #NFDB
487:The misery of Venice stands there for all the world to see; it is part of the spectacle—a thoroughgoing devotee of local colour might consistently say it is part of the pleasure. The ~ Henry James, #NFDB
488:The snow is lovely because it has only one colour, the sea is lovely because it appears to be a completely flat surface, but both sea and snow are deep and know their own qualities. ~ Paulo Coelho, #NFDB
489:The stadium here in Munich is the best of the lot for me. It is absolutely fantastic, especially the way it lights up a different colour according to who is playing. It's superb ~ Claudia Schiffer, #NFDB
490:when snow falls
i long for grass
when grass grows
i walk all over it
when leaves change colour
i beg for flowers
when flowers bloom
i pick them
- unappreciative ~ Rupi Kaur,#NFDB
491:Holy Moses, let us live in peace. Let us strive to find a way to make all hatred cease. There's a man over there, what's his colour I don't care, he's my brother, let us live in peace. ~ Elton John, #NFDB
492:Silena appeared out of the woods, her sword drawn. Her Aphrodite armour was pink and red, colour coordinated to match her clothes and makeup. She looked like Guerilla Warfare Barbie. ~ Rick Riordan, #NFDB
493:That’s always seemed so ridiculous to me, that people would want to be around someone because they’re pretty. It’s like picking your breakfast cereals based on colour instead of taste. ~ John Green, #NFDB
494:When singing, you need performing skills and a bit of imagination. You have to treasure the emotions, and to not deviate from the colour of the song while pouring your heart into it. ~ Kim Tae yeon, #NFDB
495:Foreign Soil is dedicated to Australian fiction writers of colour: those who paved the path before me, and those for whom these clumsy feet will hopefully help smooth the way. ~ Maxine Beneba Clarke, #NFDB
496:I don't have anything against colour. It is just not my first preference. I have always found black and white photographs to be quieter and more mysterious than those made in colour. ~ Michael Kenna, #NFDB
497:I should like to take the wind and water and sand as a motif and work with them, but it has to be simplified in most cases to colour and force lines, just as music has done with sound. ~ Arthur Dove, #NFDB
498:You are still the colour of my blood. You are my blood. When I look in the mirror it’s not my own face I see. Your body is twice. Once you once me. Can I be sure which is which? ~ Jeanette Winterson, #NFDB
499:In keeping with your policy of bringing Pollution the latest in death and violence, and in living colour, there’s going to be something entirely different… death without remediation. ~ Rebecca McNutt, #NFDB
500:Looking from the window at the fantastic light and colour of my glittering fairy-world of fact that holds no tenderness, no quietude, I long suddenly for peace, for understanding. ~ Daphne du Maurier, #NFDB
501:Some dreams, some poems, some musical phrases, some pictures, wake feelings such as one never had before, new in colour and form—spiritual sensations, as it were, hitherto unproved ~ George MacDonald, #NFDB
502:Colour disturbs people. I am confident in black, not in light. This dark side of life is attractive to me forever and from the beginning. I am a lazy designer when it comes to colour. ~ Yohji Yamamoto, #NFDB
503:I'll see the color of your money, my lord."
My lord folded the paper. He was still smiling. "It would disappoint you, my friend. It is just the same colour as everyone else's. ~ Georgette Heyer,#NFDB
504:That's what the internet is: it's like bombarding your eyeballs with these myriad blinking colour lights. It's like trying to watch a movie on your phone in the middle of Times Square. ~ Michel Gondry, #NFDB
505:They may not change your skins colour; they may not change your body odour; but once they can change your daily thoughts, they can influence your habits! Beware of evil companions! ~ Israelmore Ayivor, #NFDB
506:Her parents. Her genetic parents. All their genes inside her wreaking secret havoc. People give more to their children than hair and eye colour, don't they? Children are a map of genes. ~ Daisy Johnson, #NFDB
507:I am of the African race, and in the colour which is natural to them of the deepest dye; and it is under a sense of the most profound gratitude to the Supreme Ruler of the Universe. ~ Benjamin Banneker, #NFDB
508:If I didn't have a conviction that a serious painter can portray Nature more profoundly than the best colour photography, I'd probably give it all up or go abstract or take up photography. ~ E J Hughes, #NFDB
509:I'm really not into that super-crazy-colour, smiley-faces-on-the-front-of-your-dress look. That's not my thing. You're not going to see me in pink. Or anything frilly. Or a tutu. Or bows. ~ Erin Wasson, #NFDB
510:Whenever the time of Prayer approached, ‘Alī ibn Abī Ṭālib, may God be pleased with him and ennoble his countenance, used to quake and change colour. They asked him: ‘What is the ~ Abu Hamid al-Ghazali, #NFDB
511:You’re infamous. Apparently you have hair the colour of a desert sunset, and eyes that flash like a desert storm—nobody told me that your personality was like a desert cactus as well. ~ Jane Washington, #NFDB
512:You will hear thunder and remember me,
And think: she wanted storms. The rim
Of the sky will be the colour of hard crimson,
And your heart, as it was then, will be on fire. ~ Anna Akhmatova,#NFDB
513:As I've got older, I've got more understanding of relationships and how they work - but every single relationship has different dynamics, so you can't paint everyone with the same colour. ~ Phil Collins, #NFDB
514:The capacity to transform itself from the inside makes capitalism a somewhat peculiar beast - chameleon-like, it perpetually changes it colour; snake-like, it periodically sheds its skin. ~ David Harvey, #NFDB
515:True beauty is a ray
That springs from the sacred depths of the soul,
and illuminates the body, just as life
springs from the kernel of a stone and
gives colour and scent to a flower. ~ Rumi,#NFDB
516:You brought the colour in. You brought me to life when I didn't even realize I'd stopped breathing. Now I can't get enough air. It's everywhere because of you. Be my air. Let me be yours. ~ Tessa Bailey, #NFDB
517:Black seems to make a colour cloudy, but darkness doesn't. A ruby could thus keep getting darker without ever becoming cloudy; but if it became blackish red, it would become cloudy. ~ Ludwig Wittgenstein, #NFDB
518:Encourage yourself that you are good enough to be the owner of your own storehouse. Colour your world; redesign your mental pictures about yourself! Dream big and manifest the dreams! ~ Israelmore Ayivor, #NFDB
519:Most of my monsters fail altogether to satisfy my sense of the cosmic - the abnormally chromatic entity in The Colour Out of Space being the only one of the lot which I take any pride in. ~ H P Lovecraft, #NFDB
520:Translation is always a treason, and as a Ming author observes, can at its best be only the reverse side of a brocade- all the threads are there, but not the subtlety of colour or design. ~ Kakuz Okakura, #NFDB
521:Without a specific destination, the visitors chose routes as they might choose a colour, and even the precise manner in which they became lost expressed their cumulative choices, their will. ~ Ian McEwan, #NFDB
522:It is not sufficient, he emphasized, to colour (colorare) the mind with wisdom; it must be pickled (macerare) in it, as it were, soaked in it (inficere), and entirely transformed by it. ~ Peter Sloterdijk, #NFDB
523:Translation is always a treason, and as a Ming author observes, can at its best be only the reverse side of a brocade,--all the threads are there, but not the subtlety of colour or design. ~ Kakuz Okakura, #NFDB
524:Translation is always a treason, and as a Ming author observes, can at its best be only the reverse side of a brocade- all the threads are there, but not the subtlety of colour or design. ~ Okakura Kakuzo, #NFDB
525:I wish myself to be a prop, if anything, for my songs. I want to be the vehicle for my songs. I would like to colour the material with as much visual expression as is necessary for that song. ~ David Bowie, #NFDB
526:Political disagreements have the colour and fragrance that normally is seen and felt in a political bouquet, while remaining united on one issue that democracy is the future of Pakistan. ~ Asif Ali Zardari, #NFDB
527:The wide corridor up the centre of E Block was floored with linoleum the colour of tired old limes, and so what was the Last Mile at other prisons was called the Green Mile at Cold Mountain. ~ Stephen King, #NFDB
528:They will come, not to paint the bay and the sea and the boots and the moors, but the warmth of the sun and the colour of the wind. A whole new concept. Such stimulation. Such vitality. ~ Rosamunde Pilcher, #NFDB
529:What you can do, has nothing to do with your parents' last name! What you can do has nothing to do with the colour of your skin! What you can do is fully determined by God! It’s simple! ~ Israelmore Ayivor, #NFDB
530:Memories are slippery bastards – bring them into the light, handle them too often, they’ll bend, change colour. Keep them in the dark and they’ll slowly retreat to a place you can’t find them. ~ Sue Perkins, #NFDB
531:My mixed-race background made me a broad person, able to relate to different cultures. But any woman of colour, even a mixed colour, is seen as black in America. So that's how I regard myself. ~ Alicia Keys, #NFDB
532:Sometimes he missed the monochrome world of his first two incarnations. It had felt like a simpler, cleaner time; so many centuries had passed before he realised he’d just been colour blind. ~ Steven Moffat, #NFDB
533:Know and watch your heart. It's pure but emotions come to colour it. So let your mind be like a tightly woven net to catch emotions and feelings that come, and investigate them before you react. ~ Ajahn Chah, #NFDB
534:Nostalgia was like a disease, one that crept in and stole the colour from the world and the time you lived in. Made for bitter people. Dangerous people, when they wanted back what never was. ~ Steven Erikson, #NFDB
535:According to Holly, it’s like the bank in It’s a Wonderful Life but I don’t watch black and white movies because I own a colour television and it’s not 1945 so I’ll have to take her word on it. ~ David Thorne, #NFDB
536:I am able to hang with the hardest, the baddest, the worst, and I'm able to hang with the most proper and be at ease. I'm able to hang with any skin colour, any belief. I just fit in everywhere. ~ Alicia Keys, #NFDB
537:I personally think humans have got about as far as we can go. We’re wrecking the planet. We’re never short of good reasons to massacre each other. Wrong god. Wrong race. Wrong colour. Wrong sex. ~ Jodi Taylor, #NFDB
538:Put a colour upon a canvas - it not only colours with that colour the part of the canvas to which the colour has been applied, but it also colours the surrounding space with the complementary. ~ Henri Matisse, #NFDB
539:What is a colour when death comes to call upon the black man and also pays a visit to his neighbour who is white? Can either by his hue keep alive his mortal soul? What is a colour? ~ Eugenie Laverne Mitchell, #NFDB
540:But I have been watching the crows since childhood. I loved the colour on its face. It can count up to seven – number seven it can count. They have made an observation. They are very clever birds. ~ R K Laxman, #NFDB
541:I believe in, and will to the best of my ability fight for, equal rights and freedom of opinion for everyone, regardless of colour, religion, nationality, orientation - you know the rest. ~ Binyavanga Wainaina, #NFDB
542:Imagine a world alive with incomprehensible objects, and shimmering with an endless variety of movement and innumerable gradations of colour. Imagine a world before the 'beginning was the word. ~ Stan Brakhage, #NFDB
543:There are all sorts of things embodied in the Lego brick - geometry and mathematics and truth and proportion and shape and colour... It is a faintly spiritual activity that everybody connects with. ~ James May, #NFDB
544:EVEN as the sun with purple-colour'd face
Had ta'en his last leave of the weeping morn,
Rose-cheek'd Adonis tried him to the chase;
Hunting he lov'd, but love he laugh'd to scorn; ~ William Shakespeare,#NFDB
545:He saw all of the light and colour and history it contained and carried in its slow-moving water; and he knew that there was an Elsewhere from which it came, and an Elsewhere to which it was going. ~ Lois Lowry, #NFDB
546:If you have used colour throughout most of your artistic life, try just black and white... it will take your painting to another dimension where tone and form in all its permutations reign supreme. ~ David Luiz, #NFDB
547:Sound is often talked about in a very subjective way, as if it had a colour. This is a bright sound, this is a dark sound. I don't believe in that because I think that is much too subjective. ~ Daniel Barenboim, #NFDB
548:We shouldn't build a technology to colour, or grey out, what people say. The media in general is balanced, although there are a lot of issues to be addressed that the media rightly pick up on. ~ Tim Berners Lee, #NFDB
549:When coffee first arrived in London in the seventeenth century, it was shudderingly described as a drink “of a soote colour, dryed in a Furnace, and that they drinke as hote as can be endured. ~ Margaret Visser, #NFDB
550:For this was the real desert where differences of race and colour, of wealth and social standing, are almost meaningless; where coverings of pretence are stripped away and basic truths emerge. ~ Wilfred Thesiger, #NFDB
551:I'm a dark blonde, yes. I dyed my hair blue, then black, when I was 14. I thought the colour was more flattering and matched my skin tone. I don't think I'd ever change back unless it was for a film. ~ Eva Green, #NFDB
552:in everyday matters we see that it is impossible to explain the charm of poetry to one whose ear is insusceptible of cadence and rhythm, or the glories of colour to one who is stone-blind. ~ Abu Hamid al-Ghazali, #NFDB
553:Our senses inform us of the colour, weight, and consistence of bread; but neither sense nor reason can ever inform us of those qualities which fit it for the nourishment and support of a human body. ~ David Hume, #NFDB
554:What we need in South Africa is for egos to be suppressed in favour of peace. We need to create a new breed of South Africans who love their country and love everybody, irrespective of their colour. ~ Chris Hani, #NFDB
555:I always urged my contemporaries to look for interest and inspiration to the development and study of drawing, but they would not listen. They thought the road to salvation lay by the way of colour. ~ Edgar Degas, #NFDB
556:I can use movie as a language. Not only could it send a good message, I could let people know about my thinking and how I see the world, how I see the colour, how I see the music, how I see everything. ~ John Woo, #NFDB
557:We leak all kinds of information about ourselves unintentionally – by the colour of my socks, or how I sit or the way I talk – just by sitting here with you, I reveal a great deal about myself. ~ Alex Michaelides, #NFDB
558:He looks sun-tanned. Real tanned, not the normal Welsh version, where an upper layer of skin might have taken a little colour, but the six layers beneath are still all white and scared and fragile. ~ Harry Bingham, #NFDB
559:The horizon is touched with red: the sun is rising, a rusty colour, the colour of old blood, and I'm so filled with fear it is an agony, a shredding feeling, worse than any nightmare I've ever had. ~ Lauren Oliver, #NFDB
560:The proprietor had hair so red that pigmentation had flowed out into every visible inch of his skin and even into the pinks of his eyes, as the colour of flowering cherry trees stains their leaves. ~ Quentin Crisp, #NFDB
561:But the whole point of the Sixties was that you had to take people as they were. If you came in with us you left your class, and colour, and religion behind, that was what the Sixties was all about. ~ Michael Caine, #NFDB
562:It was dusk and the light had an ultra-violet quality to it, a final burst of pigmentation as night and day rushed at each other in a clash of colour prisms before darkness finnaly, inevitably won out. ~ Karen Swan, #NFDB
563:Who cares what colour your hair or what shape your shape is? Who cares what religion your religion or what language your language is? What is the colour of your heart? That is all that matters! ~ Mehmet Murat ildan, #NFDB
564:Across the moon-pale scar that marred my forearm, Darian danced in dark ink, the gracefully curving edges of his name unravelling into a spill of colour as joyful and haphazard as the promise of stars. ~ Alexis Hall, #NFDB
565:I believe in the absolute necessity of a new art of colour and drawing, as also of the whole of artistic life. And if we work with this strong faith, we may hope that it will not prove to be an illusion. ~ Anonymous, #NFDB
566:I’m going back to the study,” I say happily. “I’m rearranging the books by the colour of their spines. It gives the room a much artier vibe.” Asa chokes on his tea, and I smile sunnily. “See you later. ~ Lily Morton, #NFDB
567:I think it's because it was an emotional story, and emotions come through much stronger in black and white. Colour is distracting in a way, it pleases the eye but it doesn't necessarily reach the heart. ~ Kim Hunter, #NFDB
568:One should be a painter. As a writer, I feel the beauty, which is almost entirely colour, very subtle, very changeable, running over my pen, as if you poured a large jug of champagne over a hairpin. ~ Virginia Woolf, #NFDB
569:I don't want any colour to be noticeable... I don't want it to operate in the modernist sense as colour, something independent... Full, saturated colours have an emotional significance I want to avoid. ~ Lucian Freud, #NFDB
570:IN EVERY ASPECT OF BUSINESS MAXIMUM INNOVATIONS BY NEW TIMELY HI-FI SOPHISTICATED CREATIONS WILL MAKE AND KEEP RESERVED SPACE TO ANY ONE TODAY IN 24/7 MULTI COLOUR FLASHING MODERN WORLD OF RUNNING CENTURY.. ~ Various, #NFDB
571:There's this saying: in an all-blue world, colour doesn't exist... If something seems strange, you question it; but if the outside world is too distant to use as a comparison then nothing seems strange. ~ Alex Garland, #NFDB
572:Clairvoyants can see flashes of colour, constantly changing, in the aura that surrounds every person: each thought, each feeling, thus translating itself in the astral world, visible to the astral sight. ~ Annie Besant, #NFDB
573:The meagre lighthouse all in white, haunting the seaboard, as if it were the ghost of an edifice that had once had colour and rotundity, dripped melancholy tears after its late buffeting by the waves. ~ Charles Dickens, #NFDB
574:The most admirable method is that by which each wash of colour, large or small, is never disturbed. It admits of practically no overpainting, sponging or scrubbing. The colour stays where it is put. ~ Walter J Phillips, #NFDB
575:You are all the happiness," he said, with an energy of conviction astonishing at half-past nine in the morning, "and all the music, and all the colour, and all the fragrance there is in the world. ~ Elizabeth von Arnim, #NFDB
576:The intellectual attainments of a man who thinks for himself resemble a fine painting, where the light and shade are correct, the tone sustained, the colour perfectly hamonized; it is true to life. ~ Arthur Schopenhauer, #NFDB
577:As I wouldn't wear a costume, I couldn't imagine him wanting to wear one. And seeing that the greater part of my wardrobe is black (It's a sensible colour. It goes with anything. Well, anything black)[...]. ~ Neil Gaiman, #NFDB
578:Even if you don't like colours, you will end up having something red. For everyone who doesn't like colour, red is a symbol of a lot of culture. It has a different signification but never a bad one. ~ Christian Louboutin, #NFDB
579:If you are representing a white body let it be surrounded by ample space, because as white has no colour of its own, it is tinged and altered in some degree by the colour of the objects surrounding it ~ Leonardo da Vinci, #NFDB
580:I was trained to look at colour, edges, to see negative space. I honestly think my greatest influence as a writer is from Cubism - the idea of a multi-faceted, multi-perspective way of looking at things. ~ Rebecca Miller, #NFDB
581:Like most sensitive souls, you already know you’re sensitive. You soak up others’ moods and desires like a sponge. You absorb sensation the way a paintbrush grasps each colour it touches on a palette. ~ Victoria Erickson, #NFDB
582:Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it. ~ John Lasseter, #NFDB
583:The binary colour of words on a page give the sense of simplicity and clarity. But life doesn’t work like that. And neither should a good story. A good story ought to leave a little grey behind, I think. ~ Marcus Sedgwick, #NFDB
584:an Underground train roared and rattled, driving a ghost-wind along the platform, which scattered a copy of the tabloid Sun into its component pages, four-colour breasts and black and white invective scurrying ~ Neil Gaiman, #NFDB
585:I walked away loving the mountains. Mountains don’t see the difference in colour, caste, creed, no Pakistan, no India. They judge everybody the same way. They are pure. It’s we human beings who mess things up. ~ Barkha Dutt, #NFDB
586:There Was A Young Lady Whose Eyes
There was a young lady whose eyes,
were unique as to colour and size;
When she opened them wide,
people all turned aside,
and started away in surprise.
~ Edward Lear,#NFDB
587:An optical impression is produced on our organs of sight which makes us classify as light, half-tone or quartertone, the surfaces represented by colour sensations. So that light does not exist for the painter. ~ Paul Cezanne, #NFDB
588:I always saw Michael Gambon wearing madly psychedelic socks, and I always thought that's it is one of the few areas where men can really express colour and have a bit of a dandyish quality to their outfit. ~ Daniel Radcliffe, #NFDB
589:Drawing makes you look at the world more closely. It helps you to see what you're looking at more clearly. Did you know that?"
I said nothing.
"What colour's a blackbird?" she said.
"Black"
"Typical! ~ David Almond,#NFDB
590:I don't work from drawings and colour sketches into a final painting. Painting, I think, today - the more immediate, the more direct - the greater the possibilities of making a direct - of making a statement. ~ Jackson Pollock, #NFDB
591:Love is the colour of spring sunshine muted through old windows. Love has a taste, a texture - dark chocolate with pistachios; a sound - wind chimes echoing from a distant hill; a rhythm - the tango, obviously. ~ Chloe Thurlow, #NFDB
592:Not only does a lens distort forms, but the ordinary plate makes an unholy mess of colour in its tone relations. Yellow becomes black, and blue white. Black sunflowers against a white sky - what a travesty! ~ Walter J Phillips, #NFDB
593:Fine old Christmas, with the snowy hair and ruddy face, had done his duty that year in the noblest fashion, and had set off his rich gifts of warmth and colour with all the heightening contrast of frost and snow. ~ George Eliot, #NFDB
594:The sky is no longer out there, but it is right on the edge of the space you are in. The sense of colour is generated inside you. If you then go outside you will see a different coloured sky. You colour the sky. ~ James Turrell, #NFDB
595:Blue is the male principle, stern and spiritual. Yellow the female principle, gentle, cheerful and sensual. Red is matter, brutal and heavy and always the colour which must be fought and vanquished by the other two. ~ Franz Marc, #NFDB
596:Blue that was unstable and misbehaved when left in skin. Blue like the sea that had taken his father. Blue, for his mother’s sake, and for the true colour of every bereaved and bloodless heart when it is collapsing. ~ Sarah Hall, #NFDB
597:I don't think that we are capable of anything like this many possible colour responses. Instead I argue that the perception of colour differences between two surfaces viewed side-by-side is a gestalt phenomenon. ~ David Papineau, #NFDB
598:One of the wise and awful truths which this brown-paper art reveals, is that, white is a colour. It is not a mere absence of colour; it is a shining and affirmative thing, as fierce as red, as definite as black. ~ G K Chesterton, #NFDB
599:It’s hard to imagine two more different women than Kathy or Alicia. Kathy makes me think of light, warmth, colour and laughter. When I think of Alicia, I think only of depth, of darkness, of sadness. Of silence. ~ Alex Michaelides, #NFDB
600:Wear red and just be silent, don’t even whisper by yourself; you will see that you will be heard easily because red always speaks on behalf of you! By wearing red, you give your tongue and voice to red colour! ~ Mehmet Murat ildan, #NFDB
601:I feel in colour, strong tones that I hue down for the comfort of the pastelly inclined. Beige and magnolia and a hint of pink are what the well-decorated heart is wearing; who wants my blood red and vein-blue? ~ Jeanette Winterson, #NFDB
602:to say that, or something similar, might lend colour to the tedium, the way a child draws something then clumsily colours it in, blurring the edges, but to me it's just words echoing around the cellars of thought. ~ Fernando Pessoa, #NFDB
603:And of all the objects under my immediate advisement I noted this yacht with the most pleasure and approval. White in colour, in size resembling a young liner, it lent a decided tone to the Chuffnell Regis foreshore. ~ P G Wodehouse, #NFDB
604:I don't think people need to know what colour socks I'm wearing today; I don't think people need to know what shower gel I'm using. There's too much information in the world, and there's no magic or mystery anymore. ~ Noel Gallagher, #NFDB
605:Our mind is the canvas on which the artists lay their colour; their pigments are our emotions; their chiaroscuro the light of joy, the shadow of sadness. The masterpiece is of ourselves, as we are of the masterpiece. ~ Kakuz Okakura, #NFDB
606:People frequently ask me why I devote so much time to seeking out facts about man’s past…the past shows clearly that we all have a common origin and that our differences in race, colour and creed are only superficial. ~ Louis Leakey, #NFDB
607:There was a great historian lost in Wolverstone. He had the right imagination that knows just how far it is safe to stray from the truth and just how far to colour it so as to change its shape for his own purposes. ~ Rafael Sabatini, #NFDB
608:I had an idea for a story about a young woman who was living with people who were different, not just superficially different - such as hair colour, or eye colour, or skin colour - but different in some significant way. ~ Jean M Auel, #NFDB
609:Our mind is the canvas on which the artists lay their colour; their pigments are our emotions; their chiaroscuro the light of joy, the shadow of sadness. The masterpiece is of ourselves, as we are of the masterpiece. ~ Okakura Kakuzo, #NFDB
610:There is a seaward bulge of stratocumulus. Sun glint and littoral drift. I see blooms of plankton in a blue of such Persian richness it seems an animal rapture, a colour change to express some form of intuitive delight. ~ Don DeLillo, #NFDB
611:If we go that way, it seems less like we'll be shot for trespassing. We can't be low profile because of your shirt."
"Aquamarine is a wonderful colour and I won't be made to feel bad for wearing it," Gansey said. ~ Maggie Stiefvater,#NFDB
612:I had been doing wall drawings, but they were always black and white. Then in 1993 I painted all the walls of a room to make an installation and as soon as I saw the colour on the walls, it changed my whole life. ~ Michael Craig Martin, #NFDB
613:Let China's earth, enrich'd with colour'd stains,
Pencil'd with gold, and streak'd with azure veins,
The grateful flavour of the Indian leaf,
Or Mocho's sunburnt berry glad receive.'
MRS. BARBAULD. ~ Elizabeth Gaskell,#NFDB
614:Santa Monica's only walkable if death is no hurdle. The air's the wrong colour. People put sunglasses on their dogs. It's a hideous place where humans are not welcome and those who stay suffer eight kinds of brain damage. ~ Warren Ellis, #NFDB
615:Woods were ringed with a colour so soft, so subtle that it could scarcely be said to be a colour at all. It was more the idea of a colour - as if the trees were dreaming green dreams or thinking green thoughts. ~ Susanna Clarke, #NFDB
616:I felt less unhappy than usual because her melancholy expression, the way the vivid colour of her dress almost cut her off from the rest of the world, made her seem somehow lonely and unhappy, and I found this reassuring. ~ Marcel Proust, #NFDB
617:Sattva brings non-attachment and infuses in the mind discrimination and renunciation. It is the Rajasic mind that causes the ideas ‘I’ and ‘mine’ and the difference of body, caste, creed, colour, order of life, etc. ~ Sivananda Saraswati, #NFDB
618:We should like to have some towering geniuses, to reveal us to ourselves in colour and fire, but of course they would have to fit into the pattern of our society and be able to take orders from sound administrative types. ~ J B Priestley, #NFDB
619:His Colour Told Me
His colour told me
it was he.
I tried to name him
but
my breath froze,
lips petrified
and mouth was still.
All was darkness
but
a lightning showed its teeth.
~ Dina Nath Nadim,#NFDB
620:I learned from Seurat this important thing about colour and light, that 'a light' can be built from colour. I learned a great deal about interaction, that 'a blue' in different parts will play all sorts of different roles. ~ Bridget Riley, #NFDB
621:Imagine a glorious full moon coming over the tops of the spruce, big and yellow, shedding a mysterious light on everything... the moonlight had colour, you could see to paint and be able to appreciate the colour of things. ~ Arthur Lismer, #NFDB
622:It is understandable you would want to come back as yourself into a wonderland with the sharpness of colour of the Queen of Hearts in a newly opened pack of cards. But coming back as yourself is resurrection. It is uncommon. ~ J M Ledgard, #NFDB
623:I believe that here in South Africa, with all our diversities of colour and race; we will show the world a new pattern for democracy. There is a challenge for us to set a new example for all. Let us not side step this task. ~ Albert Lutuli, #NFDB
624:You might find it alarming to think that your doctor will not actually need to see you in person but might make a diagnosis based on the position of the stars, the colour and smell of your urine, and the taste of your blood. ~ Ian Mortimer, #NFDB
625:When you grow up in that (multi-ethnic) environment, you see the world differently. Being a mixed-race child, I didn't always see colour in people, I really didn't. It was other people that made me see the colour all the time. ~ Halle Berry, #NFDB
626:Caleb and Tris exchange a look. The skin on his face and on her knuckles is nearly the same colour, purple-blue-green, as if drawn with ink. This is what happens when siblings collide - they injure each other in the same way. ~ Veronica Roth, #NFDB
627:...he raised his eyes above the black shapes of the trees and saw a small moon, the colour of a lemon, dragged by clouds across the sky. Moons, he thought, were so that men like himself would know they lived here on earth. ~ Beryl Bainbridge, #NFDB
628:I sometimes wish taste wasn't ever an issue, and the sounds of instruments or synths could be judged solely on their colour and timbre. Judged by what it did to your ears, rather than what its historical use reminds you of. ~ Jonny Greenwood, #NFDB
629:When you see a fantastic colour or cut in a magazine, perched up on some famous so-and-so's head, it's tempting to ask your stylist for the same, but DO NOT BE FOOLED. The hair in those fancy photos can be very high maintenance. ~ Beth Ditto, #NFDB
630:So one day, in a fit of trying to do something different, I just dyed my hair dark brown and got my first role a week later, after which I thought: 'People are closed-minded, man! Like a different hair colour changes everything!' ~ Emma Stone, #NFDB
631:The cure for him would be to take a good long look at some potato plants, which have lately had such a deep and distinctive colour and tone, instead of driving himself mad looking at pieces of yellow satin and gold leather. ~ Vincent Van Gogh, #NFDB
632:The future belongs to social media. It is egalitarian and inclusive. Social media is not about any country, any language, any colour, any community but it is about human values and that is the underlying link binding humanity. ~ Narendra Modi, #NFDB
633:The soul has no culture. The soul has no nations. The soul has no colour or accent or way of life. The soul is forever. The soul is one. And when the heart has its moment of truth and sorrow, the soul can't be stilled. ~ Gregory David Roberts, #NFDB
634:Accurate drawing, accurate colour, is perhaps not the essential thing to aim at, because the reflection of reality in a mirror, if it could be caught, colour and all, would not be a picture at all, no more than a photograph. ~ Vincent Van Gogh, #NFDB
635:In most natural scenes there is a prevailing colour, which the landscape painter must learn to identify, and which must prevail also in a slightly exaggerated form, in his painting, for the sake of truth, harmony and unity. ~ Walter J Phillips, #NFDB
636:I want to make paintings full of colour, laughter, compassion and love. I want to make paintings that will make people happy, that will change the course of people's lives. If I can do that, I can paint for a hundred years. ~ Norval Morrisseau, #NFDB
637:You could see her thoughts swimming around in her eyes, like fish - some bright, some dark, some fast, quick, some slow and easy, and sometimes, like when she looked up where Earth was, being nothing but colour and nothing else. ~ Ray Bradbury, #NFDB
638:Colours have their own distinctive beauty that you have to preserve, just as in music you try to preserve sounds. It is a question of organization, of finding the arrangement that will keep the beauty and freshness of the colour ~ Henri Matisse, #NFDB
639:It is comparatively easy to achieve a certain unity in a picture by allowing one colour to dominate, or by muting all the colours. Matisse did neither. He clashed his colours together like cymbals and the effect was like a lullaby. ~ John Berger, #NFDB
640:Let China's earth, enrich'd with colour'd stains,
Pencil'd with gold, and streak'd with azure veins,
The grateful flavour of the Indian leaf,
Or Mocho's sunburnt berry glad receive.'
MRS. BARBAULD. ~ Elizabeth Gaskell,#NFDB
641:Limerick: There Was A Young Lady Of Dorking,
There was a Young Lady of Dorking,
Who bought a large bonnet for walking;
But its colour and size,
So bedazzled her eyes,
That she very soon went back to Dorking.
~ Edward Lear,#NFDB
642:Love Poem/Colour Supplement
It was our first great war
And after the first successful sortie
Into the nomansgland between her thighs
We waited anxiously every month
for poppysellers to appear in her streets
~ Adrian Henri,#NFDB
643:Work at the same time on sky, water, branches, ground, keeping everything going on an equal basis... Don't be afraid of putting on colour... Paint generously and unhesitatingly, for it is best not to lose the first impression. ~ Camille Pissarro, #NFDB
644:But the soul has no culture. The soul has no nations. The soul has no colour or accent or way of life. The soul is forever. The soul is one. And when the heart has its moment of truth and sorrow, the soul can't be stilled. ~ Gregory David Roberts, #NFDB
645:But the soul has no culture. The soul has no nations. The soul has no colour or accent or way of life. The soul is forever. The soul is one. And when the heart has its moment of truth and sorrow, the soul can’t be stilled. ~ Gregory David Roberts, #NFDB
646:Indian yellow, banned. Cows were poisoned with mango leaves and the colour was made from their urine. It is the bright yellow in Indian miniatures. Although yellow occupies one-twentieth of the spectrum, it is the brightest colour. ~ Derek Jarman, #NFDB
647:Shion sat down in front of the heater. His white hair, leaning more on transparent, was tinged red with the colours of the flame. His youthful hair had lost its colour, but still retained its shine. “It’s beautiful” Nezumi thought. ~ Atsuko Asano, #NFDB
648:Shug: More than anything God love admiration.
Celie: You saying God is vain?
Shug: No, not vain, just wanting to share a good thing. I think it pisses God off when you walk by the colour purple in a field and don't notice it. ~ Alice Walker,#NFDB
649:Fashion should be something that in the morning, when you open your window, you say, "Oh fantastic, sun!" Then you take your shower, you say, "OK fantastic, which colour I wear today because I feel happy?" This should be fashion. ~ Roberto Cavalli, #NFDB
650:He'd learned something. Life was booby-trapped and there was no easy passage through. You had to jump from colour to colour, from happiness to happiness. And all those possible explosions in between. It could be all over any time. ~ Rupert Thomson, #NFDB
651:In times of violence, personal predilections for niceties of colour and form seem irrelevant. All primitive expression (like the myths) reveals the constant awareness of powerful forces, the immediate presence of terror and fear. ~ Adolph Gottlieb, #NFDB
652:But the soul has no culture. The soul has no nations. The soul has no colour or accent or way of life. The soul is forever. The soul is one. And when the heart has its moment of truth and sorrow, the soul can’t be stilled. I ~ Gregory David Roberts, #NFDB
653:Every time I have to try on a wig for work, I get excited about the colour; I've often thought about going for a platinum bob or also raven black, as it looks so great against pale skin. But I always end up being loyal to my red colour. ~ Lily Cole, #NFDB
654:If he can only perform good or only perform evil, then he is a clockwork orange—meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil. ~ Anthony Burgess, #NFDB
655:The actual basis of colour is instability. Once you accept that in lieu of something which is stable, which is form, you are dealing with something which is unstable in its basic character, you begin to get a way of dealing with it. ~ Bridget Riley, #NFDB
656:It is, really. And we need stories more than ever now. We need stories to entertain us, to help us to forget our troubles, to fill our lives with colour.” He paused and then added, “The period you’ve chosen is very colourful.” “Would ~ D E Stevenson, #NFDB
657:Before her she could see only colour, now not just a marvellous painting but a previously unimaginable phantasmagoria. She had never felt this liquid intensity before, not even in her most extreme contortions during naked yoga. ~ Panayotis Cacoyannis, #NFDB
658:... darkness isn't the opposite of light, it is simply
its absence, and what was radiating from the book was the light that lies on the far side of
darkness, the light fantastic.
It was a rather disappointing purple colour. ~ Terry Pratchett,#NFDB
659:I felt the beautiful melancholy of being human, captured perfectly in the setting of a sun. Because, as with a sunset, to be human was to be in-between things; a day, bursting with desperate colour as it headed irreversibly towards night. ~ Matt Haig, #NFDB
660:I like to believe that everything in my house, from towels all the same colour, to the coffee machine where I press one button, is there just to make my life simple, but I'm realizing that they are all there to make sure I don't think. ~ Marlon James, #NFDB
661:To give the statement life and colour, let me anticipate what will be explained in much more detail later, namely, that the most essential part of a living cell – the chromosome fibre – may suitably be called an aperiodic crystal. ~ Erwin Schr dinger, #NFDB
662:When I used to do abstract paintings at school, like everyone else, the tutor said these would make great curtains. I would always neglect the formal stuff that was going on by using colour, because colour kind of came naturally to me. ~ Damien Hirst, #NFDB
663:It was a black and white film [at first]. And then it changed to colour film, and I was surprised and culture shocked when I was six or seven years old. And then HD, then 3D now. So what's going? What's coming next? It's so exciting. ~ Hiroyuki Sanada, #NFDB
664:Some people's taste is to an educated taste as is the visual impression received by a purblind eye to that of a normal eye. Where a normal eye will see something clearly articulated, a weak eye will see a blurred patch of colour. ~ Ludwig Wittgenstein, #NFDB
665:What passes relentlessly through the years is blood, and time; all the bitterness or warmth along the way is almost incidental. Even blood gets forgotten eventually, bleached into myth which are bleached of all colour into ashes of myth. ~ Luke Davies, #NFDB
666:And it seemed to me that there were fires Flying till dawn without number And I never found out things-those Strange eyes of his-what colour? Everything trembling and singing and Were you my enemy or my friend, Winter was it or summer? ~ Anna Akhmatova, #NFDB
667:I have been doodling since childhood. I have a passion for illustrating but cannot paint or colour for that matter. I illustrate what I am trying to communicate through my writing. My images are like drawings in a science text book. ~ Devdutt Pattanaik, #NFDB
668:Nature forgot to shade him off, I think... A little too boisterous--like the sea. A little too
vehement--like a bull who has made up his mind to consider every
colour scarlet. But I grant a sledge-hammering sort of merit in him! ~ Charles Dickens,#NFDB
669:Jake Green isn't just Jake Green. Jake represents all of us. The colour green is the central column of the spectrum and the name Jake has all sorts of numerical values. All things come back to him within the film's world of cons and games. ~ Guy Ritchie, #NFDB
670:Perhaps all romance is like that; not a contract between equal parties but an explosion of dreams and desires that can find no outlet in everyday life. Only a drama will do and while the fireworks last the sky is a different colour. ~ Jeanette Winterson, #NFDB
671:I rise early that morning and dress in green and brown, my skirst the same colour as the forest floor. I include a cap copied from one of the duchess's, but set farther back from my face. She may be a bitch, but she does have style. ~ Katherine Longshore, #NFDB
672:It was the way the autumn day looked into the high windows as it waned; the way the red light, breaking at the close from under a low sombre sky, reached out in a long shaft and played over old wainscots, old tapestry, old gold, old colour. ~ Henry James, #NFDB
673:Two people say ‘I love you’ or mutually think it and feel it, and each has in mind a different idea, a different life, perhaps even a different colour or fragrance, in the abstract sum of impressions that constitute the soul’s activity. ~ Fernando Pessoa, #NFDB
674:Yes,’ said Harry quickly. ‘Listen, how much would it be to get to London?’ ‘Eleven Sickles,’ said Stan, ‘but for firteen you get ’ot chocolate, and for fifteen you get an ’ot-water bottle an’ a toofbrush in the colour of your choice.’ Harry ~ J K Rowling, #NFDB
675:Collect impressions. Don't be in a hurry to write them down. Because that's something music can do better than painting: it can centralise variations of colour and light within a single picture a truth generally ignored, obvious as it is. ~ Claude Debussy, #NFDB
676:For true art there is no such thing as preparatory schooling, but there are certainly preparations; the best, however, is when the least pupil takes a share in master's work. Colour-grinders have turned into very good artists. ~ Johann Wolfgang von Goethe, #NFDB
677:"If for instance one doesn't happen to recall, when considering whether to paint the garden gate green or white, that green is the colour of life and hope, the symbolic aspect of 'green' is nevertheless present as an unconscious sous-entendu." ~ Carl Jung, #NFDB
678:The first of all simple colours is White ... We shall set down White for the representative of light, without which no colour can be seen; Yellow for the earth; Green for water; Blue for air; Red for fire; and Black for total darkness. ~ Leonardo da Vinci, #NFDB
679:We call upon all communities to be tolerant, to reject prejudice based on caste, creed, sect, colour, religion or agenda to ensure freedom and equality for women so they can flourish. We cannot all succeed when half of us are held back. ~ Malala Yousafzai, #NFDB
680:The houses sat decently in their own gardens, the curtains drawn, first lace and then brocade, petticoats and skirts. It was like a bad water-colour, the dark things drawn too heavy, the sky grey and soiled in the dusk, the paint too worked. ~ John le Carr, #NFDB
681:Epochs later, the curtains grew dusty and brittle, the deep, vicious colour of a bruise. The floorboards creaked and we were civilized. We were no longer the wild, ravening voices of the world, howling our shame and indignation at the sky. ~ Brenna Yovanoff, #NFDB
682:Food for her was as much about colour, smell and presentation as taste: the experience of eating should start in the eye and the nose and then erupt in the imagination. Chewing and tasting were the climax to a sensual experience. On ~ Hannah Mary Rothschild, #NFDB
683:I lived in a country where I couldn't live where I wanted to live. I lived in a country where I couldn't go where I wanted to eat. I lived in a country where I couldn't get a job, except for those put aside for people of my colour or caste. ~ Sidney Poitier, #NFDB
684:I say I became habituated to the Beast People, that a thousand things which had seemed unnatural and repulsive speedly became natural an ordinary to me. I suppose everything in existence takes its colour from the average hue of our surroundings. ~ H G Wells, #NFDB
685:Some of you are most likely thinking that white is not really a colour and all of that tired sort of nonsense. Well, I'm here to tell you that it is. White is without question a colour, and personally, I don't think you want to argue with me. ~ Markus Zusak, #NFDB
686:In the garden, Autumn is, indeed the crowning glory of the year, bringing us the fruition of months of thought and care and toil. And at no season, safe perhaps in Daffodil time, do we get such superb colour effects as from August to November. ~ George Eliot, #NFDB
687:Before he met Finkler, Treslove had never met a Jew. Not knowingly at least. He supposed a Jew would be like the word Jew — small and dark and beetling. A secret person. But Finkler was almost orange in colour and spilled out of his clothes. ~ Howard Jacobson, #NFDB
688:I haven't yet managed to capture the colour of this landscape; there are moments when I'm appalled at the colours I'm having to use, I'm afraid what I'm doing is just dreadful and yet I really am understating it; the light is simply terrifying. ~ Claude Monet, #NFDB
689:I often think of that rare fulfilling joy, when I am in the presence of some wonderful alignment of events. Where the light, the colour, the shapes and the balance all interlock so beautifully that I feel truly overwhelmed by the wonder of it. ~ Charlie Waite, #NFDB
690:Oh who is that young sinner with the handcuffs on his wrist? And what has he been after that they groan and shake their fists? And wherefore is he wearing such a conscience-stricken air? Oh they're taking him to prison for the colour of his hair. ~ A E Housman, #NFDB
691:pay her back for imaginary wrongs, or real wrongs she had not personally done him but had done representatively because she was of her race and of her colour, and he could not in his simple rage any longer distinguish between individual and crowd. ~ Paul Scott, #NFDB
692:What animal would do this?"he said harshly. "No, little one, animals might scratch you, or bite you, or even rip you apart in hunger or fear, but only a man can crush you inside, in your heart, for no other reason than the colour of tour skin. ~ Lauren St John, #NFDB
693:42. The colour of milk is one, the colours of the cows many, So is the nature of knowledge, observe the wise ones. Beings of various marks and attributes, Are like the cows, their realisation is the same; This is an example we should know. ~ Sri Ramana Maharshi, #NFDB
694:Actually, I was rock climbing on this film at 7 in the morning. It was quite unique! But in any event, the colour of the leaves disturbed me so we had to work on that. On the other hand, I didn't want to drench it in a kind of depressing tone. ~ Martin Scorsese, #NFDB
695:If you are a woman, if you are a person of colour, if you are gay, lesbian, bisexual, transgender, if you are a person of size, if you are person of intelligence, if you are a person of integrity, then you are considered a minority in this world. ~ Margaret Cho, #NFDB
696:I've never got on with the British press because they've always given me such a hard time. Once they build a band up they just want to do people down. They shouldn't concentrate on the colour of someone's shirt they should listen to the music. ~ Andrew Eldritch, #NFDB
697:42.'The colour of milk is one, the colours of the cows'many, So is the nature of knowledge, observe the wise ones. Beings of various marks and attributes, Are like the cows, their realisation is the same; This is an example we should know. ~ Sri Ramana Maharshi, #NFDB
698:ÆTHIOPS-MINERAL (Æ'THIOPS-MINERAL) n.s. A medicine so called, from its dark colour, prepared of quicksilver and sulphur, ground together in a marble mortar to a black powder. Such as have used it most, think its virtues not very great.Quincy. ~ Samuel Johnson, #NFDB
699:My paintings are about light, about the way things look in their environment and especially about how things look painted. Form, colour and space are at the whim of reality, their discovery and organization is the assignment of the realist painter. ~ Ralph Goings, #NFDB
700:The river had no qualms about the colour of his skin. She would embrace anyone who came to her and keep them in her heart. She waited for him below, laughing with her countless hands beating over as many rocks. The river with a heart of stone. ~ Anand Neelakantan, #NFDB
701:I believe that one should not think too much about nature when painting, at least not during the painting's conception. The colour sketch should be made exactly as one has perceived things in nature. But personal feeling is the main thing. ~ Paula Modersohn Becker, #NFDB
702:When I was at Hartford in Connecticut, where I lived during the war, I published several pieces which were well received, not only by those of my own colour, but by a number of the white people, who thought they might do good among their servants. ~ Jupiter Hammon, #NFDB
703:All sedentary workers ... suffer from the itch, are a bad colour, and in poor condition ... for when the body is not kept moving the blood becomes tainted, its waste matter lodges in the skin, and the condition of the whole body deteriorates. ~ Bernardino Ramazzini, #NFDB
704:It gives a message to people of love... it does not matter what's the colour of your skin, what language do you speak, what religion do you believe in. It is that we should all consider each other as human beings and we should respect each other. ~ Malala Yousafzai, #NFDB
705:This is astounding, amazing, so incredibly thrilling. Only today a world travelling cabaret performing drag queen took me out for lunch and named me as his new best friend. The idea plunges my black and white world into a vibrant techni-colour rainbow. ~ L H Cosway, #NFDB
706:The expectations of theory colour perception to such a degree that new notions seldom arise from facts collected under the influence of old pictures of the world. New pictures cast their influence before facts can be seen in a different perspective. ~ Niles Eldredge, #NFDB
707:White... is not a mere absence of colour; it is a shining and affirmative thing, as fierce as red, as definite as black... God paints in many colours; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white. ~ Gilbert K Chesterton, #NFDB
708:Achilles too staggered a moment. He felt his soul change colour. Blood pooled at his feet, and though he continued to stand upright and triumphant in the sun, his spirit set off on its own downward path and approached the boarders of an unknown region. ~ David Malouf, #NFDB
709:I am sure everyone has had the experience of reading a book and finding it vibrating with aliveness, with colour and immediacy. And then, perhaps some weeks later, reading it again and finding it flat and empty. Well, the book hasn't changed: you have. ~ Doris Lessing, #NFDB
710:I had the view of a castle of romance inhabited by a rosy spirit, such a place as would somehow, for diversion of the young idea, take all colour out of story-books and fairy-tales. Was n't it just a story-book over which I had fallen a-doze and a-dream? ~ Henry James, #NFDB
711:She knew his secrets, knew him inside out.
Humans could never know each other that way.
They could never really get into another person's head.
All the talking in the world couldn't even prove that you and the other person saw the same colour red. ~ L J Smith,#NFDB
712:The craving for colour is a natural necessity just as for water and fire. Colour is a raw material indispensable to life. At every era of his existence and his history, the human being has associated colour with his joys, his actions and his pleasures. ~ Fernand Leger, #NFDB
713:I remember the good evenings I have fished, even the ones that realised material hopes not by the fish that came to the fly, but by the colour and movement of the water and sky, by the sounds and scents and gentle stirrings that were all about me. ~ Roderick Haig Brown, #NFDB
714:Catherine Cookson’s Books NOVELS Colour Blind Maggie Rowan Rooney The Menagerie Fanny McBride Fenwick Houses The Garment The Blind Miller The Wingless Bird Hannah Massey The Long Corridor The Unbaited Trap Slinky Jane Katie Mulholland The Round Tower ~ Catherine Cookson, #NFDB
715:Each individual work serves as an expression of our most personal state of mind at that particular moment and of the inescapable, imperative need for release by means of an appropriate act of creation: in the rhythm, form, colour and mood of a picture. ~ Lyonel Feininger, #NFDB
716:Every book should begin with attractive endpapers. Preferably in a dark colour: dark red or dark blue, depending on the binding. When you open the book it's like going to the theatre. First you see the curtain. Then it's pulled aside and the show begins. ~ Cornelia Funke, #NFDB
717:In my house there is no attempt whatever to secure harmonies of colour, or form, or furniture.... I am entirely independent for daily happiness upon the sensual qualities of form or colour-when I want them I take them either from the sky or from the fields. ~ John Ruskin, #NFDB
718:Taking architecture seriously therefore makes some singular and strenuous demands upon us...It means conceding that we are inconveniently vulnerable to the colour of our wallpaper and that our sense of purpose may be derailed by an unfortunate bedspread ~ Alain de Botton, #NFDB
719:There is a brain mechanism that works to identify colour differences directly, without first identifying the absolute colour of each surface. So on my view there is no reason to suppose anything like ten million colour responses to surface viewed singly. ~ David Papineau, #NFDB
720:Those who can serve best, those who help most, those who sacrifice most, those are the people who will be loved in life and honoured in death, when all questions of colour are swept away and when in a free country free citizens shall meet on equal grounds. ~ Annie Besant, #NFDB
721:... the new high-class lively evening paper which was expected to meet a want felt in circles increasingly conscious that Conservatism must be made amusing, and unconvinced when assured by those of another political colour that it was already amusing enough. ~ Henry James, #NFDB
722:If there's loads of material going by you don't notice the individual things quite so much. Also it really foregrounds the sonic dimensions like electronic ambient music, it's pushes all of that colour to the foreground so you hear little every atom of sound. ~ Max Richter, #NFDB
723:Only two percent of the world’s population have green eyes.”
Kell said it so Gethin would turn and look at him full on. He did. Moss green. Lagoon green. A tiger’s eyes. He wished he had the perfect words to describe the colour. Exotic. Exciting. Sexy. ~ Barbara Elsborg,#NFDB
724:So quiet and subtle is the beauty of December that escapes the notice of many people their whole lives through. Colour gives way to form: every branch distinct, in a delicate tracery against the sky. New vistas, obscured all Summer by leafage, now open up. ~ Flora Thompson, #NFDB
725:While progressing in this way, with a dirty street ahead of him and a clean one behind, he often had grand ideas. They were ideas that couldn't easily be put into words, though - ideas as hard to define as a half-remembered scent or a colour seen in a dream. ~ Michael Ende, #NFDB
726:AMETHYST (A'METHYST) n.s.[al contrary to wine, or contrary to drunkenness; so called, either because it is not quite of the colour of wine, or because it was imagined to prevent inebriation.] A precious stone of a violet colour, bordering on purple. The ~ Samuel Johnson, #NFDB
727:And it seemed to me that there were fires
Flying till dawn without number
And I never found out things-those
Strange eyes of his-what colour?
Everything trembling and singing and
Were you my enemy or my friend,
Winter was it or summer? ~ Anna Akhmatova,#NFDB
728:It was just a colour out of space—a frightful messenger from unformed realms of infinity beyond all Nature as we know it; from realms whose mere existence stuns the brain and numbs us with the black extra-cosmic gulfs it throws open before our frenzied eyes. ~ H P Lovecraft, #NFDB
729:NUREMBERG, September 5 I’m beginning to comprehend, I think, some of the reasons for Hitler’s astounding success. Borrowing a chapter from the Roman church, he is restoring pageantry and colour and mysticism to the drab lives of twentieth-century Germans. ~ William L Shirer, #NFDB
730:A rose by any other name Would get the blame For being what it is-- The colour of a kiss, The shadow of a flame. A rose may earn another name, So call it love; So call it love I will, And love is like the sea, Which changes constantly, And yet is still The same. ~ Tanith Lee, #NFDB
731:One of the amazing things about Spider-Man is that you don’t see skin colour when he’s in the suit. You don’t see any religious beliefs. A hero is a hero, whether you’re a man, woman, gay, lesbian, straight, black, white or red all over ― it doesn’t matter. ~ Andrew Garfield, #NFDB
732:And as he spoke, like the flush creeping along the underside of a cloud at sunrise, the colour came back to her white face and get eyes grew bright and she sat up and said, 'Why, I do declare I feel that better. I think I could take a little breakfast this morning. ~ C S Lewis, #NFDB
733:First love is the only pure and happy one. If it goes wrong, nothing can replace it. Later loves can never attain to the same limpid perfection; though they may be as solid, as marble, they are streaked with veins of another colour, the dried blood of the past. ~ Maurice Druon, #NFDB
734:...his size drew attention
from everyone who happened to glance downwards. But Mulch quickly discovered that Mud
People could find a reason to distrust almost anyone. Height, weight, skin colour, religion. It was
almost safer to be different in some way. ~ Eoin Colfer,#NFDB
735:I take your hand, brother, so that you may go in peace. Will had opened his blue eyes that never lost their colour over all the passing years, and looked at Jem and then Tessa, and smiled, and died, with Tessa's head on his shoulder and and his hand in Jem's. ~ Cassandra Clare, #NFDB
736:my mother was taught the ch'an concept of happiness, which was to find satisfaction in small things. i was taught to appreciate the fresh air in the morning, the colour of leaves turning red in autumn and the water's smoothness when i soaked my hands in the basin. ~ Anchee Min, #NFDB
737:Seventy per cent of the clothes you own should be meat and potatoes. Thirty per cent should be icing and fluff - that's colour, pattern, shine, accessories. Too many women get the proportions the other way round, then can't figure out why they can't get dressed. ~ Michael Kors, #NFDB
738:Despite all the troubles of our world, in my heart I have never given up on the love in which I was brought up or on man's hope in love. In life, just as on the artist's palette, there is but one single colour that gives meaning to life and art–the colour of love ~ Marc Chagall, #NFDB
739:I think that everybody in the world, whatever colour or creed, has a jerk like JR in his or her family somewhere. Whether it is a father, uncle, cousin or brother, everybody can identify with JR and that certainly had something to do with the success of 'Dallas.' ~ Larry Hagman, #NFDB
740:Two aisles, each a quarter of a mile long, were entirely devoted to camouflage clothing in every possible colour: desert brown, forest green, arctic grey, and hot pink, just in case your spec-ops team needed to infiltrate a child's princess-themed birthday party. ~ Rick Riordan, #NFDB
741:When I was your age, I would go to plays all the time, just sit in the darkness and try to take it all in inside me. Contain everything in some corner of my heart so that when I had my shot, it could all come pouring out - all the lights and moments and colour. ~ Brenna Ehrlich, #NFDB
742:Colour-blindness always extends to the complementary colours. Those who are red blind are also green blind; those who are blind to blue have no consciousness of yellow. This law holds good for all mental phenomena; it is a fundamental condition of consciousness. ~ Otto Weininger, #NFDB
743:For with him the phantoms of the mind (which to the average man are merely phantoms) projected themselves with a bodily vividness and violence. Not only had they the colour and authority of accomplished fact, they were invested with an immortality denied to facts. ~ May Sinclair, #NFDB
744:God's wisdom is like the rainbow, in symmetry, beauty, and variety. He does not paint scenes merely in black and white, but uses a riot of colour from the heavenly palette in order to show the wonder of His wise dealings with His people. - Sinclair Ferguson ~ John F MacArthur Jr, #NFDB
745:This was the way it was going to be then, this road she was going to have to walk. She would always be thinking of him so that he would be beside her even when he wasn't there, making her joyous or miserable, but always, always controlling the colour of her days. ~ Jane Urquhart, #NFDB
746:And her eyes...Richard realised that he could not tell what colour her eyes were. They were not blue, or green, or brown, or grey; they reminded him of fire opals: there were burning greens and blues, and even reds and yellows that vanished and glinted as she moved. ~ Neil Gaiman, #NFDB
747:Grief has a colour. It has other characteristics, I know now, collectively forming a personality of sorts. An antagonizing figure that arrives in your life and refuses to leave or sit anywhere but next to you or stop whispering the name of the departed in your ear. ~ Andrew Pyper, #NFDB
748:the force of doom, which almost invariably compels human beings to linger around and haunt, ghost-like, the spot where some great and marked event has given the colour to their lifetime; and, still the more irresistibly, the darker the tinge that saddens it. ~ Nathaniel Hawthorne, #NFDB
749:3D is great, but I just think of it as another tool, like colour or music or sound. It has the potential to add another emotional layer to certain things if you use it right. But it's not the saviour [of the movies], the be all and end all, the reason to do something. ~ Tim Burton, #NFDB
750:I take your hand, brother, so that you may go in peace.
Will had opened his blue eyes that never lost their colour over all the passing years, and looked at Jem and then Tessa, and smiled, and died, with Tessa's head on his shoulder and and his hand in Jem's. ~ Cassandra Clare,#NFDB
751:After lunch Marion and I sat with hundreds of children and watched the dwarf movie. Entrancing in its own way and the colour is extraordinary. Yet I wonder if children who see it will ever again read Snow White in quite the same way and with quite the same magic? ~ Richard B Wright, #NFDB
752:In the bottle the acids were long ago resolved; the imperial dye had softened with time, as the colour grows richer in stained windows; and the glow of hot autumn afternoons on hillside vineyards, was ready to be set free and to disperse the fogs of London. ~ Robert Louis Stevenson, #NFDB
753:We had spent two months in Malmo, Sweden, the place for which God saved all the most beautiful things in nature. The greenest grass. Sky the colour of cornflowers. Children who seemed born of that landscape, their hair spun from white clouds, eyes of cobalt sea. ~ Martha Hall Kelly, #NFDB
754:absinthe removes the bitter taste of failure and grants me strange visions which are charming principally because they cannot be written down. Only in absinthe do I become entirely free and, when I drink it, I understand the symbolic mysteries of odour and of colour. ~ Peter Ackroyd, #NFDB
755:After two hours it stopped raining and in the same moment the spell broke, which Peroquet and the Admiral and Captain Jumeau knew by a curious twist of their senses, as if they had tasted a string quartet, or been, for a moment, deafened by the sight of colour blue. ~ Susanna Clarke, #NFDB
756:This new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour. ~ Piet Mondrian, #NFDB
757:We may be sure there is no nervous process whose objective description includes the characteristic ‘yellow colour’ or ‘sweet taste,’ just as little as the objective description of an electro-magnetic wave includes either of these characteristics. ~ Erwin Schrödinger, Mind and Matter, #NFDB
758:The colour which had been driven from her face, returned for half a minute with an additional glow, and a smile of delight added lustre to her eyes, as she thought for that space of time that his affection and wishes must still be unshaken. But she would not be secure". ~ Jane Austen, #NFDB
759:With the early prototypes, I held the phone to my ear and my ear [would] dial the number. You have to detect all sorts of ear-shapes and chin shapes, skin colour and hairdo... that was one of just many examples where we really thought, perhaps this isn’t going to work. ~ Jonathan Ive, #NFDB
760:Colour is uncontainable. It effortlessly reveals the limits of language and evades our best attempts to impose a rational order on it To work with colour is to become acutely aware of the insufficiency of language and theory – which is both disturbing and pleasurable. ~ David Batchelor, #NFDB
761:I know I can not paint a flower, I can not paint the sun on the desert on a bright summer morning but maybe in terms of paint colour I can convey to you my experience of the flower or the experience that makes the flower of significance to me at that particular time. ~ Georgia O Keeffe, #NFDB
762:The act of writing itself is like an act of love. There is contact. There is exchange too. We no longer know whether the words come out of the ink onto the page, or whether they emerge from the page itself where they were sleeping, the ink merely giving them colour. ~ Georges Rodenbach, #NFDB
763:The red lotus is the flower of Sri Aurobindo, but specially for his centenary we shall choose the blue lotus, which is the colour of his physical aura, to symbolise the centenary of the manifestation of the Supreme upon earth. 21 December 1971
*
~ The Mother, Words Of The Mother I,#NFDB
764:The snow had turned to glass, growing green and blue; a rose colour filled our eyes until they almost died. We stayed until we too felt that we too were metamorphosing into trees. We could feel the frost-cold roots beneath our feet, growing, binding us to to the ground. ~ Merc Rodoreda, #NFDB
765:White ceiling tiles. Low-energy bulbs in cylindrical down-lighters. Walls and chairs in Hospital Yellow. A colour so blatantly designed to soothe those in medical distress that it makes me want to bubble blood from the corners of my mouth, just to show it who’s boss. ‘I ~ Harry Bingham, #NFDB
766:Comrade Blade Nzimande is complaining that EFF stole the ‘red colour’, he does not have a copyright on the ‘red colour’. There’s nothing we can steal from him because he has nothing but that skuurpot (pot scourer) face of his. Why didn’t he complain when Vodacom was red? ~ Julius Malema, #NFDB
767:In the case of composite colour, an infinity of systems must be obtained for maxima infinitely slight and with an infinity of interval values separating them - that is to say, the whole thickness of the sensitive layer is occupied in continuous manner by these maxima. ~ Gabriel Lippmann, #NFDB
768:No, it was not regret which made Anne's heart beat in spite of herself, and brought the colour into her cheeks when she thought of Captain Wentworth unshackled and free. She had some feelings which she was ashamed to investigate. They were too much like joy, senseless joy! ~ Jane Austen, #NFDB
769:It was then that I remembered the colour blue, the blue of the sky in nice that was at the origin of my career as monochromist. I started work towards the end of 1956 and in 1957 I had an exhibition in Milan which consisted entirely of what I dared to call my 'Epoque bleue'. ~ Yves Klein, #NFDB
770:But was it snobbery to feel that someone's world was too different from yours to ever meld, despite what he had felt back among the light and chatter? Was it prejudiced to acknowledge that skin colour did make a difference, simply because it did matter to so many? ~ Jackie French, #NFDB
771:A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too. ~ Walter J Phillips, #NFDB
772:As your relationship with the music gets stronger, so does your motivation for playing it and finding different sounds. If you have the idea that you can find a colour that is better for one composer or another, even if it’s an illusion, this generates enormous pleasure. ~ Maurizio Pollini, #NFDB
773:In practice it is possible to determine directly the skin colour and hence the ethnic affiliations of the ancient Egyptians by microscopic analysis in the laboratory; I doubt if the sagacity of the researchers who have studied the question has overlooked the possibility. ~ Cheikh Anta Diop, #NFDB
774:Sufia began to grind turmeric with a giant stone shaped like a rolling pin. She passed the stone back and forth over the turmeric bulb, smashing it into a rough paste, and then went over it again and again until it turned smooth, darkening to the colour of crushed marigolds. ~ Tahmima Anam, #NFDB
775:I do not fear of death because my world had lost it's colour and I had lost my happiness. But life goes on. So, I decided to cover the pain I suffer with a shiny,bright smile.I might look happy but you do not know what's going on inside. It's scary what a smile can hide, right ? ~ Anonymous, #NFDB
776:If you take myth and folklore, and these things that speak in symbols, they can be interpreted in so many ways that although the actual image is clear enough, the interpretation is infinitely blurred, a sort of enormous rainbow of every possible colour you could imagine. ~ Diana Wynne Jones, #NFDB
777:I moved forward in the trace of their footsteps as in a waking dream where the scent of a newly blown poppy is no longer a perfume but a blossoming: where the deep red of a maple leaf in autumn is no longer a colour but a grace; where a country is no longer a place but a lullaby. ~ Kim Th y, #NFDB
778:I think my view is rather more radical than Pete Mandik's. Both of us want to show that colour perception doesn't transcend what can be conceptualized, but I don't think he goes so far as to deny that it doesn't involve different responses to all the discriminable surfaces. ~ David Papineau, #NFDB
779:Rangoon
ust a changing sea of colour
Surging up and flowing down;
And pagodas shining golden, night and noon;
And a sun-burst-tinted throng
Of young priests that move along
Under sun-burst-hued umbrellas through the town.
That's Rangoon.
~ Ella Wheeler Wilcox,#NFDB
780:take a strict view of their excrements, and, from the colour, the odour, the taste, the consistence, the crudeness or maturity of digestion, form a judgment of their thoughts and designs; because men are never so serious, thoughtful, and intent, as when they are at stool... ~ Jonathan Swift, #NFDB
781:For me, the subtlety of black and white inspires the imagination of the individual viewer to complete the picture in the mind's eye. It doesn't attempt to compete with the outside world. I believe it is calmer and gentler than colour, and persists longer in our visual memory. ~ Michael Kenna, #NFDB
782:Seasons are like life. Some seasons are better than others. Some have more sun and rainbows. Others have storms and tornadoes. Some have both. You have to accept that, and bring colour and light to the season you're in as best you can, and always look forward to the next season. ~ Cathy Lamb, #NFDB
783:People don't want drama 365 days a year. I'm a sense of relief; it's my job to take your mind off what's bad for that brief second you're in the room with me, regardless of shape, race, colour or anything. It brings people together, and it makes me feel good about what I'm doing. ~ Kevin Hart, #NFDB
784:The divisions of Perspective are 3, as used in drawing; of these, the first includes the diminution in size of opaque objects; the second treats of the diminution and loss of outline in such opaque objects; the third, of the diminution and loss of colour at long distances. ~ Leonardo da Vinci, #NFDB
785:Men are like pillow-cases. The colour of one may be red, that of another blue, and that of the third black; but all contain the same cotton within. So it is with man; one is beautiful, another is ugly, a third holy, and a fourth wicked; but the Divine Being dwells in them all. ~ Sri Ramakrishna, #NFDB
786:Opposite to where she sat the water was a boggy brown, but not too far along it was a dark violet colour, always changing, the way the sweep of the current changed, but as she saw it, her own life did not change at all - the same routine, the same longing and the same loneliness. ~ Edna O Brien, #NFDB
787:Style has no formula, but it has a secret key. It is the extension of your personality. The summation of this indefinable net of your feeling, knowledge and experience. Take colour as a totality of relations within a framecolour is joy. One does not think joy. One is carried by it. ~ Ernst Haas, #NFDB
788:I don’t think you should make so many off-colour jokes about him becoming a cuckold. You’re only getting away with it because he doesn’t know what it means.’ ‘That’s the beauty of the English language. One can wrap insults inside elegance, like popping anchovies into pastry. ~ Christopher Fowler, #NFDB
789:Some people call the sunset a creation of extraordinary beauty, and proof of God’s existence. But what benevolent force would bewitch the human spirit by choosing pink to light the path of a slave vessel? Do not be fooled by that pretty colour, and do not submit to its beckoning. ~ Lawrence Hill, #NFDB
790:Fat Charlie went back to his hotel room, the colour of underwater, where his lime sat, like a small green Buddha, on the countertop.
"You're no help," he told the lime. This was unfair. It was only a lime; there was nothing special about it at all. It was doing the best it could. ~ Neil Gaiman,#NFDB
791:He's of the colour of the nutmeg. And of the heat of the ginger.... he is pure air and fire; and the dull elements of earth and water never appear in him, but only in patient stillness while his rider mounts him; he is indeed a horse, and all other jades you may call beasts. ~ William Shakespeare, #NFDB
792:My own kind? If I had to pinpoint a moment when the human race divided into the severe distinctions of blak and whyte, that was it: people belonged to one of two colours and in the society I was about to join my colour, not my personality or ability, would determine my fate. ~ Bernardine Evaristo, #NFDB
793:The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism - Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860 - it is part of the technique of Impressionism but used for quite a different reason. ~ John Singer Sargent, #NFDB
794:The only thing we are naturally afraid of is pain, or loss of pleasure. And because these are not annexed to any shape, colour, or size of visible objects, we are frighted of none of them, till either we have felt pain from them, or have notions put into us that they will do us harm. ~ John Locke, #NFDB
795:As soon as I turned the key I saw it hanging, the color of fire and sunset. the colour of flamboyant flowers. ‘If you are buried under a flamboyant tree, ‘ I said, ‘your soul is lifted up when it flowers. Everyone wants that.’
She shook her head but she did not move or touch me. ~ Jean Rhys,#NFDB
796:I thought I could rely on the plot in the novel and fill in the colour between the lines, but I made a mistake with that assumption. It was really, really hard because you pull a few things apart and then you realise how everything relies on everything else and it can all fall apart. ~ Ben Affleck, #NFDB
797:Should a man, to preserve his life, pay everything that gives life colour, scent and excitement? Can one accept a life of digestion, respiration, muscular and brain activity - and nothing more? Become a walking blueprint? Is this not an exorbitant price? Is it not mockery? ~ Aleksandr Solzhenitsyn, #NFDB
798:That the several states who formed that instrument, being sovereign and independent, have the unquestionable right to judge of its infraction; and that a nullification, by those sovereignties, of all unauthorized acts done under colour of that instrument, is the rightful remedy. ~ Thomas Jefferson, #NFDB
799:Was she the same person to-night as last night? Was she two persons? If she was only one, which one? Or was she a mere vessel of receptiveness, a transparent vessel into which other people poured their view of her, and she instantly reflected the exact colour of their opinion? ~ Elizabeth von Arnim, #NFDB
800:adjectives in English absolutely have to be in this order: opinion-size-age-shape-colour-origin-material-purpose Noun. So you can have a lovely little old rectangular green French silver whittling knife. But if you mess with that word order in the slightest you’ll sound like a maniac. ~ Mark Forsyth, #NFDB
801:Gods work! Silence so great it hurts your ears, colour so bright it hurts your staring eyes. A vicious ruined class of man could cry at such scenes because it seems to tell him that his life is not approved. The remnant of innocence burns in his breast like a ember of the very sun. ~ Sebastian Barry, #NFDB
802:I made art a philosophy, and philosophy an art: I altered the minds of men, and the colour of things: I awoke the imagination of my century so that it created myth and legend around me: I summed up all things in a phrase, all existence in an epigram: whatever I touched I made beautiful ~ Oscar Wilde, #NFDB
803:Jean-Louis had never had a day's illness in his life. He was tall and as gnarled as an oak. The sun had baked his skin until it had the colour and toughness and stillness of a tree. With advancing years, he had lost his tongue. He now never spoke, considering such an activity pointless. ~ mile Zola, #NFDB
804:the ancient ordinance which distinguished the various classes and professions by the colours in their dress. A King or Queen might wear seven colours; a poet or Ollam six; a chieftain five; an army leader four; a land-owner three; a rent-payer two; a serf one colour only. Tighernmas ~ Seumas MacManus, #NFDB
805:I don't think that we can figure out what is going on in conscious colour perception just by phenomenological introspection. We need to know about brain mechanisms as well. We need to figure out what information is present in the mechanisms that constitute conscious colour perception. ~ David Papineau, #NFDB
806:I don't wear base, as I don't like to cover up my freckles, but I couldn't live without YSL Touche Eclat for hiding my under-eye circles. I love the smoky-eye look, so I use Dior's 5-Colour Eyeshadow in Night Dust and lashings of mascara. I finish with a dash of bronzer for a healthy glow. ~ Eva Green, #NFDB
807:Whether a woman's running for office or she's supporting her husband who's running for office and she gets criticised for wearing open-toed shoes or for the colour of her coat, there's just a lot of history that you bear if you are a woman who puts herself out in the political arena. ~ Hillary Clinton, #NFDB
808:When the immense drugged universe explodes In a cascade of unendurable colour And leaves us gasping naked, This is no more than the ectasy of chaos: Hold fast, with both hands, to that royal love Which alone, as we know certainly, restores Fragmentation into true being. Ecstasy of Chaos ~ Robert Graves, #NFDB
809:Her blue, almond-shaped eyes - now even more elongated - had altered in appearance; they were indeed of the same colour, but seemed to have passed into a liquid state. So much so that, when she closed them, it was as though a pair of curtains had been drawn to shut out a view of the sea. ~ Marcel Proust, #NFDB
810:Many rules for the creation of colour schemes have been published in recent years, but, while they are popular in commercial studies, I know of no creative artist who employs them. They are, per se, restrictive; their use precludes any chance of adventuring in this interesting field. ~ Walter J Phillips, #NFDB
811:The air of England is too pure for a slave to breathe, and so everyone who breathes it becomes free. Everyone who comes to this island is entitled to the protection of English law, whatever oppression he may have suffered and whatever may be the colour of his skin. ~ William Murray 1st Earl of Mansfield, #NFDB
812:The mountain endures. But when after ages it has worn away, it has gone. If a replica arises, it is yet a new mountain.
A colour is eternal. It haunts time like a spirit. It comes and it goes. But where it comes, it is the same colour. It neither survives nor does it live. ~ Alfred North Whitehead,#NFDB
813:A man driving a wagonload of children in a cage doesn’t have to state his business. A farmer whose flesh lies sunken around his bones, and whose eyes are the colour of hunger, doesn’t have to explain himself if he walks up to such a man. Hunger lies beneath all of our ugliest transactions. ~ Mark Lawrence, #NFDB
814:I think love is caramel. Sweet and fragant; always welcome. It is the gentle golden colour of a setting harvest sun; the warmth of a squeezed embrace; the easy melting of two souls into one and a taste that lingers even when everything else has melted away. Once tasted it is never forgotten. ~ Jenny Colgan, #NFDB
815:My tailor - a tailor who maintains the devoted manners of a bygone era and who speaks to me in the third person - finally couldn't prevent himself from suggesting a less morose wardrobe for me. "For however elegant, black is sad." And so it's the colour that suits me, for I am also sad. ~ Gabrielle Wittkop, #NFDB
816:The Angel's eyes widened curiously and her lips parted. a deep colour swept into her cheeks. She had intended to arouse him. She had more than succeeded. She was too young to know that in the effort to rouse a man, women frequently kindle fires that they neither can quench or control. ~ Gene Stratton Porter, #NFDB
817:I loved playing [the Doctor], and taking part in the basic essence and message of the series which is, it's a short life, seize it, and live it as fully as you can. Care for others. Be respectful of all other life forms, regardless of colour or creed. To be part of that was fantastic. ~ Christopher Eccleston, #NFDB
818:The fact that all heated objects emit light of the same colour at the same temperature was well known to potters long before 1859, the year that Gustav Kirchhoff, a 34-year-old German physicist at Heidelberg University, started his theoretical investigations into the nature of this correlation. ~ Manjit Kumar, #NFDB
819:We tend to misunderstand the colour black, seeing it as evil, or negation of life. Rather, black means all things being possible, infinite energy of life before consciousness has constructed any boundaries. When we fear blackness or darkness we fear the deep unconscious source of life itself. ~ Rachel Pollack, #NFDB
820:An intense, peculiar exhalation of light and colour emanates from these fantasies of mine. I start with surprise as I note one good thing after another, and tell myself that this is the best thing I have ever read. My head swims with a sense of satisfaction; delight inflates me; I grow grandiose. ~ Knut Hamsun, #NFDB
821:Are they topaz?” I ask, and he smiles slightly shyly, sitting up to face me.
“Yes, they reminded me of the colour of your dress the night I made you mine.”
“I’ve always been yours,” I whisper, and for a second I see the glint of tears in his eyes as he slowly pushes the ring onto my finger. ~ Lily Morton,#NFDB
822:A rose by any other name
Would get the blame
For being what it is--
The colour of a kiss,
The shadow of a flame.
A rose may earn another name,
So call it love;
So call it love I will,
And love is like the sea,
Which changes constantly,
And yet is still
The same. ~ Tanith Lee,#NFDB
823:What colour are your eyes?
Olly (O): blue
Madeline (M): Be more specific please
O: jesus. girls. ocean blue
M: Atlantic or Pacific
O: atlantic. What colour are yours?
M: Chocolate brown.
O: More specific please
M: 75% cacao butter, dark chocolate brown
O: hehe. nice ~ Nicola Yoon,#NFDB
824:As I looked about me I felt that the grass was the country, as the water is the sea. The red of the grass made all the great prairie the colour of winestains, or of certain seaweeds when they are first washed up. And there was so much motion in it; the whole country seemed, somehow, to be running. ~ Willa Cather, #NFDB
825:I’d thought she’d nixed the MAGA cap because it wasn’t funny. Turned out she didn’t want Todd stealing her thunder. She had dyed her hair the colour of listeria and she was wearing a terrible blue trouser suit and a long red paper-clipped tie. She’d bound her breasts and added a fake paunch. ~ Catriona McPherson, #NFDB
826:If the image was sketched onto the canvas and spontaneously drawn, colour would often be restrained and unfree... The most important and the most difficult liberation process we went trough, the one that has distinguished our art, was the freeing of colour, the transition to a painterly spontaneity. ~ Asger Jorn, #NFDB
827:I tried to get the word out to people who are information hubs in their communities, because they could propagate the call quickly. One challenge is that breaking science fiction means, well, breaking science fiction. Many communities of colour have a different approach to narratives of science. ~ Nalo Hopkinson, #NFDB
828:Or, to state his character as it stood in the scale of public opinion, when his friends and critics were in tantrums, he was considered rather a bad man; when they were pleased, he was rather a good man; when they were neither, he was a man whose moral colour was a kind of pepper-and-salt mixture. ~ Thomas Hardy, #NFDB
829:As I looked about me I felt that the grass was the country, as the water is the sea. The red of the grass made all the great prairie the colour of wine-stains, or of certain seaweeds when they are first washed up. And there was so much motion in it; the whole country seemed, somehow, to be running. ~ Willa Cather, #NFDB
830:(Excerpt from Leaving Things Alone)
You train your eye and your vision lusts after colour. You train your ear, and you long for delightful sound. You delight in doing good, and your natural kindness is blown out of shape. You delight in righteousness, and you become righteous beyond all reason. ~ Thomas Merton,#NFDB
831:If he can only perform good or only perform evil, then he is a clockwork orange-meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil or (since this is increasingly replacing both) the Almighty State. ~ Anthony Burgess, #NFDB
832:If he can only perform good or only perform evil, then he is a clockwork orange—meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil or (since this is increasingly replacing both) the Almighty State. ~ Anthony Burgess, #NFDB
833:No religion is absolutely perfect. Yet not only do we fight for religion, but also are we often willing to sacrifice our lives for it. And what we hopelessly fail to do is to live it. A true religion is that which has no caste, no creed, no colour. It is but an all-uniting and all-pervading embrace. ~ Sri Chinmoy, #NFDB
834:Summer sky swallowed colour, but the sky of late August made colour ricochet back to earth, and there were sharp edges on all the buildings and curbs and even on the leaves of the trees and on the impatiens in the flowerbeds of all the towns through which Wayne travelled to reach Wally Michelin. ~ Kathleen Winter, #NFDB
835:Colour's five hues from th' eyes their sight will take;
Music's five notes the ears as deaf can make;
The flavours five deprive the mouth of taste;
The chariot course, and the wild hunting waste
Make mad the mind; and objects rare and strange,
Sought for, men's conduct will to evil change. ~ Lao Tzu,#NFDB
836:In short, it was precisely the kind of friendship an Englishman makes on holiday, that he can make only on holiday. A friendship that crosses class and colour, a friendship that takes as its basis physical proximity and survives because the Englishman assumes the physical proximity will not continue. ~ Zadie Smith, #NFDB
837:...there is a kind of comfort to be gained from the passing of time, hour upon hour, day upon day, time falling like thick flakes of snow, the next laid upon the last, again and again, until what has been is gradually covered over, its original shape and colour hidden under a blanket of what is now. ~ Sarah Dunant, #NFDB
838:And there is no better reason for preferring this elderberry bush than that it stirs an early memory, that it is no novelty in my life, speaking to me merely through my present sensibilities to form and colour, but the long companion of my existence that wove itself into my joys when joys were vivid. ~ George Eliot, #NFDB
839:I have sat here happy in the gardens, Watching the still pool and the reeds And the dark clouds. . . . But though I greatly delight In these and the water lilies, That which sets me nighest to weeping Is the rose and white colour of the smooth flag-stones, And the pale yellow grasses Among them. ~ Richard Aldington, #NFDB
840:I let myself go. I thought little of the houses and trees, but applied colour stripes and spots to the canva... Within me sounded the memory of early evening in Moscow, before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows. ~ Wassily Kandinsky, #NFDB
841:The greatest of characters, no doubt, would be he, who, free of all trifling accidental helps, could see objects through one grand immutable medium, always at hand, and proof against illusion and time, reflecting every object in its true shape and colour through all the fluctuation of things. ~ Johann Kaspar Lavater, #NFDB
842:Lines On Curll
So when Curll's Stomach the strong Drench o'ercame,
(Infus'd in Vengenance of insulted Fame)
Th' Avenger sees, with a delighted Eye,
His long Jaws open, and his Colour fly;
And while his Guts the keen Emeticks urge,
Smiles on the Vomit, and enjoys the Purge.
~ Alexander Pope,#NFDB
843:But when reflexion begins to play upon these objects... like some trick of magic each object is loosed into a group of impressions - colour, odour, texture... And if we continue to dwell in thought on this world... the whole scope of observation is dwarfed into the narrow chamber of the individual mind. ~ Walter Pater, #NFDB
844:Very likely even his splendid coloration is a little too marked and would be objected to by those who put the laws of breeding above the value of personality, for it would appear that the classic pointer type should have a coat of one colour or at most with spots of a different one, but
never stripes. ~ Thomas Mann,#NFDB
845:that shall be the truth with them, and nothing else. Unto persons whose minds are wholly vitiated with the leaven of this corrupt affection, there is not a line in the Scripture whose sense can be truly and clearly represented; all appears in the colour and figure that their prejudices frame in their minds. ~ John Owen, #NFDB
846:For me, in those days, the great question was: Does God exist? Or doesn't God exist? Can we, by an attitude of faith, attain to a sense of community and a better world? Or, if God doesn't exist, what do we do then? What does our world look like then? In none of this was there the least political colour. ~ Ingmar Bergman, #NFDB
847:Many magical traditions work with the eastern belief that there are seven energy centres in the human body, each displaying a pure, vibrant colour of the spectrum. These energy centres are known as chakras, and the condition of the energy within them has direct effects upon our health and well-being. ~ Storm Constantine, #NFDB
848:He leaned against me, holding my arms, but didn't get up. He was crying. He kept crying and crying, then stopped suddenly, and turned my face towards the sky. He asked me what colour I saw. Blue. Then he raised his thumb and pointed his index finger towards my temple, asking me again if the sky was still blue. ~ Kim Th y, #NFDB
849:I cannot climb out onto the nature of your mind. So how then do I know anything about your mental life? How do I know, for instance, that you see the colour blue the way that I do? Might it be that some of us feel pain more, but make less fuss about it, or that others feel pain less, but make more fuss? ~ Simon Blackburn, #NFDB
850:I think when people mean that Discworld books have become darker they really mean the series is growing up. In 'The Colour of Magic' most of the city is set alight. It's a joke, in much the same way that the Earth is destroyed almost at the start of Douglas Adams's 'The Hitchhikers Guide to the Galaxy.' ~ Terry Pratchett, #NFDB
851:My general view is that best actor best suited to role should get the job. Obviously when it comes to colour and issues of ethnicity the choice is clear. But I do not believe you have to be transgender or have undergone sex reassignment surgery to be able play a character who has.Acting is acting after all. ~ Stephen Fry, #NFDB
852:William," the professor said, softly, "what now is your weapon?"...."Truth," he whispered, his voice rasping. He cleared his throat. "Truth is my sword."
...."And what now is your defense?" Colour returned to Billy's face, and his jaw tightened. His voice surged with emotion. "Faith...faith is my shield. ~ Bryan Davis,#NFDB
853:Do you know why the leaves change colour?... Before a tree sheds a leaf it pumps it full of all the poison it can't rid itself of otherwise. That red there--that's a man's skin blotching with burst veins after an assassin spikes his last meal with roto-weed. The poison spreading through him before he dies. ~ Mark Lawrence, #NFDB
854:Is it snowing where you are? All the world that I see from my tower is draped in white and the flakes are coming down as big as pop-corns. It's late afternoon - the sun is just setting (a cold yellow colour) behind some colder violet hills, and I am up in my window seat using the last light to write to you. ~ Jean Webster, #NFDB
855:Anyhow, it is a definite colour: I am glad I have red hair. There is it is in the mirror, it makes itself seen, it shines. I am still lucky if my forehead was surmounted by one of those neutral heads of hair which are neither chestnut not blond, my face would be lost in vagueness, it would make me dizzy. ~ Jean Paul Sartre, #NFDB
856:It was the association of Celtic women with barbarism that persuaded the Senate to decree in AD 40 that prostitutes should make their hair blonde – the colour the Romans associated with the Celts. It was the eroticism, how-ever, that persuaded ladies at the highest level of Roman society to put on blonde wigs. ~ Terry Jones, #NFDB
857:That's because only a real artist knows the actual anatomy of the terrible or the physiology of fear - the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness. ~ H P Lovecraft, #NFDB
858:The eighteenth-century view of the garden was that it should lead the observer to the enjoyment of the aesthetic sentiments of regularity and order, proportion, colour and utility, and, furthermore, be capable of arousing feelings of grandeur, gaiety, sadness, wildness, domesticity, surprise and secrecy. ~ Penelope Hobhouse, #NFDB
859:Visiting his neighbours’ apartments, he would find himself physically repelled by the contours of an award-winning coffee-pot, by the well-modulated colour schemes, by the good taste and intelligence that, Midas-like, had transformed everything in these apartments into an ideal marriage of function and design. ~ J G Ballard, #NFDB
860:A Chrysanthemum Espied A Marigold
A chrysanthemum espied a marigold
and said:
'Why hurry!
Stay a while.
The sunshine is still all colour.
You are in the dawn of youth;
my childhood died a long ago.
Yours are the shavings of autumn;
mine is only the incense of spring.'
~ Dina Nath Nadim,#NFDB
861:Sometimes the things I learn making paintings or drawings - composition, colour, expressionism, texture - can directly influence the making of a film. Sometimes it's great that they are different, and simply taking a break from one medium to spend time with another, recharges the batteries and I feel refreshed. ~ Dave McKean, #NFDB
862:To visit the Białowieża Forest in eastern Poland, which is as close to being an undisturbed ecosystem as any remaining in Europe, in May, when dozens of flower species jostle each other in an explosion of colour, is to see how much Britain is missing, and the extent to which boar transform their environment. ~ George Monbiot, #NFDB
863:Bran said, "Why should some of the Riders of the Dark be dressed all in white and the rest all in black?"
"Without colour...." Will said reflectively. "I don't know. Maybe because the Dark can only reach people at extremes-- blinded by their own shining ideas, or locked up in the darkness of their own heads. ~ Susan Cooper,#NFDB
864:I took the money and passed the box across the counter and said politely, ‘Your choice of colour
really lacks style.’ I smiled and Beth laughed and the guy asked to see my manager.
I got Bert and he leant over the box and looked at the paint and said, ‘Ed was being polite. Your
choice of colour is shit. ~ Cath Crowley,#NFDB
865:When the immense drugged universe explodes
In a cascade of unendurable colour
And leaves us gasping naked,
This is no more than the ectasy of chaos:
Hold fast, with both hands, to that royal love
Which alone, as we know certainly, restores
Fragmentation into true being.
Ecstasy of Chaos ~ Robert Graves,#NFDB
866:I had a new idea in my head... this time it's just simply my bedroom, only here colour is to do everything, and, giving by its simplification a grander style to things, is to be suggestive here of rest or of sleep in general. In a word, to look at the picture ought to rest the brain or rather the imagination. ~ Vincent Van Gogh, #NFDB
867:..nevertheless there is a kind of comfort to be gained from the passing of time; hour upon hour, day upon day, time falling like thick flakes of snow, the next laid upon the last, again and again, until what has been is gradually covered over, its original shape and colour hidden under the blanket of what is now. ~ Sarah Dunant, #NFDB
868:11. I am inclined to say: I 'point' in different senses to this body, to its shape, to its colour, etc.--What does that mean?
What does it mean to say I 'hear' in a different sense the piano, its sound, the piece, the player, his fluency? I 'marry', in one sense a woman, in another her money. ~ Ludwig Wittgenstein,#NFDB
869:And in it's magical pattern there was now a new element, a new glow, a cast of a golden colour which suffused everything, the source of which was a character in a book he had half read of and would never finish. He was not interested in what happened to Jay Gatsby. He was only interested that Jay Gatsby should exist. ~ Peter Carey, #NFDB
870:Colour, Figure, Motion, Extension and the like, considered only so many Sensations in the Mind, are perfectly known, there being nothing in them which is not perceived. But if they are looked on as notes or Images, referred to Things or Archetypes existing without the Mind, then are we involved all in Scepticism. ~ George Berkeley, #NFDB
871:He (Napolean) was in love with himself and France joined in. It was a romance. Perhaps all romance is like that; not a contract between equal parties but an explosion of dreams and desires that can find no outlet in everyday life. Only a drama will do and while the fireworks last the sky is a different colour. ~ Jeanette Winterson, #NFDB
872:Hence the vanity of translation; it were as wise to cast a violet into a crucible that you might discover the formal principle of its colour and odour, as seek to transfuse from one language into another the creations of a poet. The plant must spring again from its seed, or it will bear no flower—and this is ~ Percy Bysshe Shelley, #NFDB
873:I always loved both 'Breakout' and 'Asteroids' - I thought they were really good games. There was another game called 'Tempest' that I thought was really cool, and it represented a really hard technology. It's probably one of the only colour-vector screens that was used in the computer graphics field at that time. ~ Nolan Bushnell, #NFDB
874:The chief news is that I have grown a beard! Its colour is very much admired, and it is generally considered extremely effective, though some ill-bred persons have been observed to laugh. It is a red-brown of the most approved tint, and makes me look like a French decadent poet—or something equally distinguished. ~ Lytton Strachey, #NFDB
875:Those who have darkness in their minds turn their bodies into darkness as well! Life is colourful; be like a rainbow, use every colour! Don’t get stuck in one colour, be colourful! Black, red, yellow, green, let all the colours be your colours! Those who have colourful minds will have colourful bodies as well! ~ Mehmet Murat ildan, #NFDB
876:More than ever, I feel that the human race is one. There are differences of colour, language, culture and opportunities, but people's feelings and reactions are alike. People flee wars to escape death, they migrate to improve their fortunes, they build new lives in foreign lands, they adapt to extreme hardship…. ~ Sebastiao Salgado, #NFDB
877:Roxane: His face is like yours, burning with spirit and imagination. He is proud and noble and young and fearless and beautiful- Cyrano:(losing all his colour.) Beautiful! Roxane: Yes. What's wrong? Cyrano: With me? Nothing. It's only... only... (Displaying his bandaged hand, with a little smile.) This fatal wound. ~ Edmond Rostand, #NFDB
878:see how the white womens goin’ look and hear how white womens laugh in the colonies. She think of white flesh and black flesh, that really be brown flesh by blood and the two flesh melt into one flesh that don’t know colour. Then Lilith wonder if she dreaming because dreaming is one thing God never allow negro to do. ~ Marlon James, #NFDB
879:I rather incline towards 'conceptualism', in line with my view of colour perception - I don't think that we can represent objects and properties for which we have no concepts, not even in perceptual experience. In this sense I differ from those who defend 'non-conceptual content' like Michael Tye and Chris Peacocke. ~ David Papineau, #NFDB
880:It is often said that the modern exhibition has ruined painting. It is an unfortunate fact that it does encourage competition, so that, to attract attention to his work, an artist is tempted to descend to sensationalism, whether it is expressed by strong colour, grotesque handling, unusual subject, or sheer size. ~ Walter J Phillips, #NFDB
881:Listen, God love everything you love - and a mess of stuff you don't. But more than anything. God loves admiration.
You saying God vain? I ast.
Naw, she say. Not vain, just wanting to share a good thing. I think it pisses God off if you walk by the colour purple in a field somewhere and don't notice it. ~ Alice Walker,#NFDB
882:There are still fierce pressure groups shouting about letting go of humanity, but they are the same groups who cry that Bioforms are less than human. One day the world will be ready to accept that humanity, just as it not constrained by skin colour, gender or nation, is not a condition penned into any one shape. ~ Adrian Tchaikovsky, #NFDB
883:If neuroscientific research shows that those mechanisms only contain comparative information about colour differences, and have 'thrown away' more fine-grained information about the absolute colours of single surfaces, then that would support my position, in a way that just introspecting our colour experiences can't. ~ David Papineau, #NFDB
884:I would say to myself: “Curious sunset, this; it’s different from what they usually are but after all I’ve seen them just as fine, just as remarkable as this.” I had more pleasure on evenings when a ship, absorbed and liquefied by the horizon so much the same in colour as herself (an Impressionist exhibition this time ~ Marcel Proust, #NFDB
885:Seems once was enough to infect me. From then on you've been lying dormant, like a virus. Or an incurable chronic condition that flares up from time to time.'
A long pause, where life transforms from black-and-white to colour.
'I'm eczema?'
Ben beams. 'Eczema of the heart. That's it. Psoriasis of the soul. ~ Mhairi McFarlane,#NFDB
886:1. What is Gilderoy Lockhart's favorite colour?
2. What is Gilderoy Lockhart's secret ambition?
3. What, in you opinion, is Gilderoy Lockhart's greatest achievement to date?
On and on it went, over three sides of paper, right down to:
54. When is Gilderoy Lockhart's birthday, and what would his ideal gift be? ~ J K Rowling,#NFDB
887:Being an artist and being a teacher are two conflicting things. When I paint, my work manifests the unexpected... In teaching it's just the opposite. I must account for every line, shape and colour and I am forced to give an explanation of the inexplicable and account for the variety of styles the students present. ~ Pierre Alechinsky, #NFDB
888:Far, far away, there is a beautiful Country which no human eye has ever seen in waking hours. Under the Sunset it lies, where the distant horizon bounds the day, and where the clouds, splendid with light and colour, give a promise of the glory and beauty which encompass it. Sometimes it is given to us to see it in dreams. ~ Bram Stoker, #NFDB
889:Loss bites and pulls. It is a thing of hooks sunk into every part of you, parts that you would not think could feel loss like thumbs and lips, hooks moored to wind and memory so that slightest disturbance, the slightest act of recall, tugs at those fine lines. Red is the colour of loss and its smell is like burned roses. ~ Ian McDonald, #NFDB
890:OUr teachers at LT&C had their A levels and the odd teaching certificate. It is astonishing how a black crepe robe worn over a coat or blouse gives a Cockney punter or a Covent Garden flower girl the gravitas of an Oxford don. Accent be damned in Africa, as long as it's foreign and you have the right skin colour. ~ Abraham Verghese, #NFDB
891:And a face above mine, white and beautiful, eyes as large as the moon. You saved me. A hand on my cheek, cool and dry. Why did you save me? Words welling up on a tide: No, the opposite. Eyes the colour of a dawn sky, a crown of blond hair, so bright and white and blinding I could swear it was a halo. ~ Lauren Oliver, #NFDB
892:I often use colour to attack form, to break it down a little or begin to dissolve it. But I am not at all interested in 'pure' colour or in colour as a transcendental presence... So if I use colours to begin to dissolve forms, I also use forms to prevent colours becoming entirely detached from their everyday existence. ~ David Batchelor, #NFDB
893:Not a look, not a gesture of Valerie Saintclair’s but expressed drama. She seemed to exhale an atmosphere of romance. A scarlet flannel dressing gown covered her feet—a homely garment in all conscience; but the charm of her personality invested it with an exotic flavour, and it seemed an Eastern robe of glowing colour. ~ Agatha Christie, #NFDB
894:We do not very often come across opportunities for exercising strength, magnanimity, or magnificence; but gentleness, temperance, modesty, and humility, are graces which ought to colour everything we do. There may be virtues of a more exalted mould, but... these are the most continually called for in daily life. ~ Saint Francis de Sales, #NFDB
895:1918 article in the trade publication Earnshaw’s Infants’ Department intoned that: ‘The generally accepted rule is pink for the boys, and blue for the girls. The reason is that pink, being a more decided and stronger colour, is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl. ~ Anonymous, #NFDB
896:I cannot remember my past, my nose, or the colour of my eyes, or what my general opinion of myself is. Only in moments of emergency, at a crossing, at a kerb, the wish to preserve my body springs out and seizes me and stops me , here, before this omnibus. We insist, it seems, on living. Then again, indifference descends. ~ Virginia Woolf, #NFDB
897:Let's assume that all the cassettes of monochrome film Cartier-Bresson ever exposed had somehow been surreptitiously loaded with colour film. I'd venture to say that about two thirds of his pictures would be ruined and the remainder unaffected, neither spoiled nor improved. And perhaps one in a thousand enhanced. ~ Philip Jones Griffiths, #NFDB
898:IN THE CINEMA A DIRECTOR EXPRESSES HIS INDIVIDUALITY FIRST AND FOREMOST THROUGH HIS SENSE OF TIME, THROUGH RHYTHM. RHYTHM GIVES COLOUR TO A WORK BY DISTINGUISHABLE STYLISTIC CHARACTERISTICS. RHYTHM MUST ARISE NATURALLY IN A FILM, A FUNCTION OF THE DIRECTOR'S INNATE SENSE OF LIFE AND COMMENSURATE WITH HIS QUEST FOR TIME. ~ Andrei Tarkovsky, #NFDB
899:Scarlet! It is the first colour I have seen in months. Or so it seems. Scarlet. A little wild poppy, of a red so sudden it made my blood stop. I kept saying the word over and over to myself, scarlet, as if the word, like the colour, had escaped me till now, and just saying it would keep the little windblown flower in sight. ~ David Malouf, #NFDB
900:hypocrisy is natural to all creatures. The tiger crouches in the bush before pouncing on the unsuspecting deer. The chameleon changes colour as per the surroundings. Are these creatures not a part of nature? Spider weaves the web and waits for the prey. Nature is deception, nature is opportunistic. Hypocrisy is natural. ~ Anand Neelakantan, #NFDB
901:Lord Sacks, Chief Rabbi of the United Hebrew Congregations of the Commonwealth says in the Times London that multiculturalism was intended to create a more tolerant society, one in which everyone, regardless of colour, creed or culture, felt at home. But, he says, multiculturalism's message is "there is no need to integrate". ~ Citizen One, #NFDB
902:To conjure, even for a moment, the wistfulness which is the past is like trying to gather in one's arms the hyacinth colour of the distance. But if it is once achieved, what sweetness! - like the gentle, fugitive fragrance of spring flowers, dried with bergamot and bay" ~ From Mary Webb's introduction to her novel Precious Bane ~ Mary Webb, #NFDB
903:You know that great pause that comes upon things before the dusk? Even the breeze stops in the trees. To me there is always an air of expectation about that evening stillness. The sky was clear, remote, and empty save for a few horizontal bars far down in the sunset. Well, that night the expectation took the colour of my fears. ~ H G Wells, #NFDB
904:Is it not the interest of the human race, that every one should be so taught and placed, that he would find his highest enjoyment to arise from the continued practice of doing all in his power to promote the well-being, and happiness, of every man, woman, and child, without regard to their class, sect, party, country or colour ~ Robert Owen, #NFDB
905:Roxane: His face is like yours, burning with spirit and imagination. He is proud and noble and young and fearless and beautiful-
Cyrano:(losing all his colour.) Beautiful!
Roxane: Yes. What's wrong?
Cyrano: With me? Nothing. It's only... only... (Displaying his bandaged hand, with a little smile.) This fatal wound. ~ Edmond Rostand,#NFDB
906:The journey towards understanding structural racism still requires people of colour to prioritise white feelings. Even if they can hear you, they’re not really listening. It’s like something happens to the words as they leave our mouths and reach their ears. The words hit a barrier of denial and they don’t get any further. ~ Reni Eddo Lodge, #NFDB
907:(wizards, even failed wizards, have in addition to rods and cones in their eyeballs the tiny octagons that enable them to see into the far octarine, the basic colour of which all other colours are merely pale shadows impinging on normal four-dimensional space. It is said to be a sort of fluorescent greenish-yellow purple). ~ Terry Pratchett, #NFDB
908:August says to Lily," You know some things don't matter that much Lily. Like the colour of the house. How big is that in overall scheme of life? But lifiting person's heart- now that matters. The whole problem with people is – they know what matters but they don't choose it. The hardest thing on earth is choosing what matters ~ Sue Monk Kidd, #NFDB
909:So, we know that as much as the subject needs nuance, groups of white men who rape and abuse children and babies are reported on by the press, but their crimes are not seized upon as indicative of the inherent problem with men in the same way that men of colour's crimes are held up as evidence of the savagery of their race. ~ Reni Eddo Lodge, #NFDB
910:And as hearbes and trees are bettered and fortified by being transplanted, so formes of speach are embellished and graced by variation.... As in our ordinary language, we shall sometimes meete with excellent phrases, and quaint metaphors, whose blithnesse fadeth through age, and colour is tarnish by to common using them. ~ Michel de Montaigne, #NFDB
911:Grey. It makes no statement whatever; it evokes neither feelings nor associations: it is really neither visible nor invisible. Its inconspicuousness gives it the capacity to mediate, to make visible, in a positively illusionistic way, like a photograph. It has the capacity that no other colour has, to make 'nothing' visible. ~ Gerhard Richter, #NFDB
912:Hours later there came a change. It began to grow light in the bus. The greyness outside the
windows turned from mud-colour to mother of pearl, then to faintest blue, then to a bright blueness that stung the eyes. We seemed to be floating in a pure vacancy. There were no lands, no sun, no stars in sight: only the radiant abyss. ~ C S Lewis,#NFDB
913:My brother distrusts the essential truth of memories; I distrust the way we colour them in. We each have our own cheap-mail-order paintbox, and our favourite hues. Thus, I remembered Grandma a few pages ago as "petite and unopinionated". My brother, when consulted, takes out his paintbrush and counterproposes "short and bossy. ~ Julian Barnes, #NFDB
914:Youngsters inspired by Maoism have taken the gun and are spilling blood on streets, but our land needs the colour of progress not the colour of blood. Maoists must not have the gun in their hands, instead they must have agriculture tools and pens so that they can serve others. Raasta kalam, hal aur pasine ka hai, khoon ka nahi. ~ Narendra Modi, #NFDB
915:The most thrilling day of the year, the first real day of Spring had enclosed its warm delicious beauty even to London eyes. It had put a spangle in every colour and a new tone in every voice, and city folks walked as though they carried real bodies under their clothes with real live hearts pumping the still blood through. ~ Katherine Mansfield, #NFDB
916:What love is to man, music is to the arts and to mankind. Music is love itself, -- it is the purest, most ethereal language of passion, showing in a thousand ways all possible changes of colour and feeling; and though true in only a single instance, it yet can be understood by thousands of men -- who all feel differently. ~ Carl Maria von Weber, #NFDB
917:I was trying to show colour, but I realized at the private view that the public were prisoners of a preconceived point of view and that, confronted with all these surfaces of different colours, they responded far more to the inter-relationship of the different propositions, they reconstituted the elements of a decorative polychromy. ~ Yves Klein, #NFDB
918:Yes, Sangre de Cristo; but no matter how scarlet the sunset, those red hills never became vermillion, but a more and more intense rose-carnelian; not the colour of living blood, the Bishop had often reflected, but the colour of the dried blood of saints and martyres preserved in old churches in Rome, which liquefies upon occasion. ~ Willa Cather, #NFDB
919:It was octarine, the colour of magic. It was alive and glowing and vibrant and it was the undisputed pigment of the imagination, because wherever it appeared it was a sign that mere matter was a servant of the powers of the magical mind. It was enchantment itself. But Rincewind always thought it looked a sort of greenish-purple. ~ Terry Pratchett, #NFDB
920:Therefore in 1909 I announced one morning, without any previous warning, that in the future we were going to build only one model, that the model was going to be "Model T," and that the chassis would be exactly the same for all cars, and I remarked: "Any customer can have a car painted any colour that he wants so long as it is black. ~ Henry Ford, #NFDB
921:The writing is the springboard for your intuitive stuff and then you see, maybe a colour of what you want to achieve. Then you bring in the technique you've learnt. But when you're on film, you're not always in control of that. That's what makes me believe in a kind of collective unconscious, a sort of experience you draw on. ~ Miranda Richardson, #NFDB
922:He kisses me until my mouth is sore from his stubble, and most likely cherry red. Then, when he sees its ripe colour, he kisses me more to make up for it. He kisses me between courses and in the middle of them too, licking chocolate from my lips when I accidentally make a mess – so uncaring of whatever anyone in here might think. ~ Charlotte Stein, #NFDB
923:I’d heard, once, that all the gods were defined by certain colours, but the only part of that particular lesson that had actually stuck with me had been the fact that Death’s colour was black. It just seemed so … predictable. Where’s the creativity, gods? I didn’t see why Death couldn’t have pink. Or purple. What if he liked sparkles? ~ Jaymin Eve, #NFDB
924:I love the train. Sitting here I feel connected to the last time I sat here, and the train to London too. It is in-between, suspended; and in rapid motion towards and away from, it is also poised between. There's a magic in that, not a magic you can work, a magic that's just there, giving a little colour and exhilaration to everything. ~ Jo Walton, #NFDB
925:I love the train. Sitting here I feel connected to the last time I sat here, and the train to London too. It is in-between, suspended; and in rapid motion towards and away from, it is also poised between. There’s a magic in that, not a magic you can work, a magic that’s just there, giving a little colour and exhilaration to everything. ~ Jo Walton, #NFDB
926:In the 20th century, we had a century where at the beginning of the century, most of the world was agricultural and industry was very primitive. At the end of that century, we had men in orbit, we had been to the moon, we had people with cell phones and colour televisions and the Internet and amazing medical technology of all kinds. ~ David Gerrold, #NFDB
927:It was the first day of June, and the sheep-shearing season culminated, the landscape, even to the leanest pasture, being all health and colour. Every green was young, every pore was open, and every stalk was swollen with racing currents of juice. God was palpably present in the country, and the devil had gone with the world to town. ~ Thomas Hardy, #NFDB
928:Malcolm Fraser, in the marrow of his bones, despised racism. He despised people who discriminated against other people because they were different and in particular because of the colour of their skin, and I don't think there has been a time in Australian politics where there has been more attention to the importance of that value. ~ George Brandis, #NFDB
929:The colour grey makes you feel uneasy, makes things seem complicated and hopeless, it upsets the notion of black and white. Good and evil? There is no such thing. There is a little good and a evil, a little black and a little white. Grey is not an attractive colour, but perhaps it is the one that describes the world most accurately. ~ Akif Pirincci, #NFDB
930:There is silver blue, sky blue and thunder blue. Every colour holds within it a soul, which makes me happy or repels me, and which acts as a stimulus. To a person who has no art in him, colours are colours, tones tones...and that is all. All their consequences for the human spirit, which range between heaven to hell, just go unnoticed. ~ Emil Nolde, #NFDB
931:We were in the main dining-room, and there was a fine-dressed crowd there, all talking loud and enjoyable about the two St. Louis topics, the water supply and the colour line. They mix the two subjects so fast that strangers often think they are discussing water-colours; and that has given the old town something of a rep as an art centre. ~ O Henry, #NFDB
932:It was octarine, the colour of magic. It was alive and glowing and vibrant and it was the undisputed pigment of the imagination, because wherever it appeared it was a sign that mere matter was a servant of the powers of the magical mind. It was enchantment itself.
But Rincewind always thought it looked a sort of greenish-purple. ~ Terry Pratchett,#NFDB
933:The 'Women' had to do with the female painted through all ages, all those idols, and maybe I was stuck to a certain extent; I couldn't go on. It did one thing for me: it eliminated composition, arrangement, relationships, light - all this silly talk about line, colour and form - because that was the thing I wanted to get hold of. ~ Willem de Kooning, #NFDB
934:To conjure, even for a moment, the wistfulness which is the past is like trying to gather in one's arms the hyacinth colour of the distance. But if it is once achieved, what sweetness! - like the gentle, fugitive fragrance of spring flowers, dried with bergamot and bay" ~ Mary Webb From Mary Webb's introduction to her novel Precious Bane ~ Mary Webb, #NFDB
935:English’s drive to exploit the new and the alien, its zeal in robbing words from other languages, its incapacity to feel qualms over the matter, its museum-size overabundance of vocabulary, its shoulder-shrug approach to spelling, its don’t-worry-be-happy concern for grammar—the result was a language whose colour and wealth Henry loved. ~ Yann Martel, #NFDB
936:Life isn't always easy but so long as we have hope that we will find someone to help us through the darkness things will always get better. When we find that person, life suddenly explodes and darkness turns into a riot of colour. We're always looking for someone, what we need to remember is that someone is out there looking for us too. ~ George Sand, #NFDB
937:Put her in any situation that was even vaguely new and personal and she was lost; her pale, almost translucent skin and auburn hair seemed to signal everything she was feeling. She may raise her chin in proud disdain and even curl her lip in an emergency, but nobody was likely to be fooled if she glowed the colour of a midsummer sunset. ~ Stuart Hill, #NFDB
938:You don't usually think of boredom as something similar to pain. That's because you've only been exposed to it in relatively small doses. You don’t know its true colour. The difference between the boredom you know and the boredom I know is like the difference between touching snow and putting your hand in a vat of liquid nitrogen. ~ Alastair Reynolds, #NFDB
939:Firestarter Create an image of the archetype of Burning Woman. What does she look like? What symbols represent her? Paint her, draw her, collage or art journal her. Sculpt her from clay or papier maché, needle-felt or knit her...what colour and form suits her best? Where might you keep her so her presence is visible to you as you read? ~ Lucy H Pearce, #NFDB
940:It was like stepping into the pages of a book - a book alive with colour and fragrance, filth and chaos - and the blue-haired girl moved through it all like a fairy through a story, the light treating her differently than it did others, the air seeming to gather around her like held breath. As if this whole place were a story about her. ~ Laini Taylor, #NFDB
941:Based on mixtures of the three primary colours, along with black and white, I come up with a certain number of possible colours and, by multiplying these by two or four, I obtain a definite number of colour fields that I multiply yet again by two, etc. But the complete realization of this project demands a great deal of time and work. ~ Gerhard Richter, #NFDB
942:My culture had taught me all the wrong things well. So I lay completely still, and gave no reaction at all. But the soul has no culture. The soul has no nations. The soul has no colour or accent or way of life. The soul is forever. The soul is one. And when the heart has its moment of truth and sorrow, the soul can't be stilled. ~ Gregory David Roberts, #NFDB
943:A man is not usually called upon to have an opinion of his own talents at all, since he can very well go on improving them to the best of his ability without deciding on his own precise niche in the temple of Fame... [Man] did not create themselves... their talents were given them, and they might as well be proud of the colour of their hair. ~ C S Lewis, #NFDB
944:A novelist can shift view-point if it comes off. ... Indeed, this power to expand and contract perception (of which the shifting view-point is a symptom), this right to intermittent knowledge - I find one of the great advantages of the novel-form ... this intermittence lends in the long run variety and colour to the experiences we receive. ~ E M Forster, #NFDB
945:She wanted to check that it was not her imagination, that she was not being unfair or undemocratic, or worse still racist (but she had read Colour Blind, a seminal leaflet from the Rainbow Coalition, she had scored well on the self-test), racist in ways that were so deeply ingrained and socially determining that they escaped her attention. ~ Zadie Smith, #NFDB
946:She would have liked a drink, but staying awake was proving a challenge and somehow, she felt, as deputy Midnight Mayor she was still on duty. So she cradled an orange juice, whose contents were two parts ice to five parts acid to one part remnant of the colour orange, and trod on her own toes under the table in an effort to remain awake. ~ Kate Griffin, #NFDB
947:The world is full of interiors that bleach the spirit. Hospitals, police stations, job centres, local government offices and prisons all have their own subtle type of vampire colour scheme and black-hole furnishing, capable by accident or design of wiping away a person's self-esteem and will to resist, like boiled-over soup off a ceramic hob. ~ Tom Holt, #NFDB
948:She is standing on my lids And her hair is in my hair She has the colour of my eye She has the body of my hand In my shade she is engulfed As a stone against the sky She will never close her eyes And she does not let me sleep And her dreams in the bright day Make the suns evaporate And me laugh cry and laugh Speak when I have nothing to say ~ Paul Eluard, #NFDB
949:The design of the gum is expressed in the flow of it trunk and limbs, and the design of the European tree mainly in its foliage. In Europe great masses of foliage first attract the eye, here the limbs and trunk, which, on account of their proportion and colour, make themselves felt first, and one thinks of the foliage as a secondary matter. ~ Hans Heysen, #NFDB
950:The grey is certainly inspired by the photo-paintings, and, of course, it's related to the fact that I think grey is an important colour - the ideal colour for indifference, fence-sitting, keeping quiet, despair. In other words, for states of being and situations that affect one, and for which one would like to find a visual expression. ~ Gerhard Richter, #NFDB
951:The leading distinction in magnets is the sex, male and female, and the next great difference in them is the colour. Those of Magnesia, bordering on Macedonia, are of a reddish black; those of Breotia are more red than black; and the kind that is found in Troas is black, of the female sex, and consequently destitute of attractive power. ~ Pliny the Elder, #NFDB
952:To speak of these things and to try to understand their nature and, having understood it, to try slowly and humbly and constantly to express, to press out again, from the gross earth or what it brings forth, from sound and shape and colour which are the prison gates of our soul, an image of the beauty we have come to understand—that is art. ~ James Joyce, #NFDB
953:What do I want to express? The subject means little. The arrangement, the design, colour, shape, depth, light, space, mood, movement, balance, not one or all of these fills the bill. There is something additional, a breath that draws your breath into its breathing, a heartbeat that pounds on yours, a recognition of the oneness of all things. ~ Emily Carr, #NFDB
954:With the passing of time, as well as the social evolution and genetic exchange, we ended up putting our conscience in the colour of blood and in the salt of tears, and, as if that were not enough, we made our eyes into a kind of mirror turned inwards, with the result that they often show without reserve what we are verbally trying to deny. ~ Jos Saramago, #NFDB
955:During the 20th century, we came to understand that the essence of all substances - their colour, texture, hardness and so forth - is set by their structure, on scales far smaller even than a microscope can see. Everything on Earth is made of atoms, which are, especially in living things, combined together in intricate molecular assemblages. ~ Martin Rees, #NFDB
956:I tell my students, it's not difficult to identify with somebody like yourself, somebody next door who looks like you. What's more difficult is to identify with someone you don't see, who's very far away, who's a different colour, who eats a different kind of food. When you begin to do that then literature is really performing its wonders. ~ Chinua Achebe, #NFDB
957:Promotional or "promo" records were free records sent to radio or television stations (and others) to announce a new release that would be coming soon from the record company. They were identified by the label (often plain white in colour) and were marked “Promotional”, “Audition” or "Demonstration". Most promo labels also state “Not for Sale. ~ Anonymous, #NFDB
958:Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly. ~ Gerhard Richter, #NFDB
959:But there is a fatality, a feeling so irresistible and inevitable that it has the force of doom, which almost invariably compels human beings to linger around and haunt, ghost-like, the spot where some great and marked event has given the colour to their lifetime; and, still the more irresistibly, the darker the tinge that saddens it. ~ Nathaniel Hawthorne, #NFDB
960:There was something really wonderful about being able to feel confident about doing my first exhibition in China, that people would have no trouble recognising the images and understanding my work. I also have a lot of freedom in the way I use colour, and I think that kind of freedom in colour is also understandable in every culture. ~ Michael Craig Martin, #NFDB
961:Nature contains the elements, in colour and form, of all pictures, as the keyboard contains the notes of all music. But the artists is born to pick, and choose, and group with science, these elements, that the result may be beautiful - as the musician gathers his notes, and forms his chords, until he brings forth from chaos glorious harmony ~ James Whistler, #NFDB
962:Piper knew that wasn’t exactly true. Looking at him, her heart did a little tap dance. Jason was dressed simply in jeans and a clean purple T-shirt, like he’d worn at the Grand Canyon. He had new trainers on, and his hair was newly trimmed. His eyes were the same colour as the sky. Aphrodite’s message was clear: This one needs no improvement. ~ Rick Riordan, #NFDB
963:She did not greatly alter in appearance. The plain dark dresses, akin to mourning dresses, which she and her child wore, were as neat and as well attended to as the brighter clothes of happy days. She lost her colour, and the old and intent expression was a constant, not an occasional, thing; otherwise, she remained very pretty and comely. ~ Charles Dickens, #NFDB
964:But what no one tells you is that even when you decide which world you will live in, the world may not always see you as you would wish. Sometimes it demands that you be so outrageous as to transcend your very skin. You can change your name. Your eye colour. Make yourself a myth and live within it, so that you belong to no one but yourself. ~ Roshani Chokshi, #NFDB
965:Fred didn't have a favourite colour. He was just pleased that he could see all of the colours in the colour chart. That was his wish for everyone. Fred wanted people to experience the joy of seeing vivid colours - in nature: the greens and browns of the mountains; in their work: the orange, red and black of the back of the retina; and in life. ~ Gabi Hollows, #NFDB
966:I was forced, through seeing the error of their foundation, to abandon all belief in every religion which had been taught to man. But my religious feelings were immediately replaced by the spirit of universal charity — not for a sect, or a party, or for a country or a colour — but for the human race, and with a real and ardent desire to do good. ~ Robert Owen, #NFDB
967:Water in swimming pools changes its look more than in any other form its colour can be man-made and its dancing rhythms reflect not only the sky but, because of its transparency, the depth of the water as well. If the water surface is almost still and there is a strong sun, then dancing lines with the colours of the spectrum appear everywhere. ~ David Hockney, #NFDB
968:As she stood there, in her long sealskin coat, her hands thrust in a small round muff, her veil drawn down like a transparent mask to the tip of her nose, and the bunch of violets he had brought her stirring with her quickly-taken breath, it seemed incredible that this pure harmony of line and colour should ever suffer the stupid law of change. ~ Edith Wharton, #NFDB
969:Jemima was not pretty, the flatness and shortness of her face made her almost plain; yet most people looked twice at her expressive countenance, at the eyes which flamed or melted at every trifle, at the rich colour which came at every expressed emotion into her usually sallow face, at the faultless teeth which made her smile like a sunbeam. ~ Elizabeth Gaskell, #NFDB
970:The mind which is immortal makes itself
Requital for its good or evil thoughts,
Is its own origin of ill and end,
And its own place and time; its innate sense,
When stripped of this mortality, derives
No colour from the fleeting things without,
But is absorb'd in sufferance or in joy,
Born from the knowledge of its own desert. ~ Lord Byron,#NFDB
971:For ever so long, on a branch of this willow
Sits a bird, the colour of a riddle.
Attuned to him no sound, no colour.
Totally alone, like me, in this land.
[...]
The bird's tale comes straight from the heart:
What fails to arrive is idle fancy.
His are ties with cities lost:
The riddle bird is a stranger in this land. ~ Sohrab Sepehri,#NFDB
972:You will hear thunder and remember me, And think: she wanted storms. The rim of the sky will be the colour of hard crimson, And your heart, as it was then, will be on fire. That day in Moscow, it will all come true, when, for the last time, I take my leave, And hasten to the heights that I have longed for, Leaving my shadow still to be with you. ~ Anna Akhmatova, #NFDB
973:As a singer, I've had many opportunities to travel, and one thing I've learned is that through my music, I can be accepted by people all over the world. I often wonder why so many of us can't accept people who are different here, in our country? It's just not fair to be prejudiced against those whose race, religion or colour aren't the same as ours. ~ Celine Dion, #NFDB
974:The food’s very good,” I offer defensively. “It’s not that”—she gazes past my shoulder—“it’s the culture. It’s very Californian. I wasn’t expecting the rot to have reached London yet.” “We are Bay Aryans from Berkeley: prepare to be reengineered in an attractive range of colour schemes for your safety and comfort!” “Something like that.” A waitron ~ Charles Stross, #NFDB
975:A thousand trees are seen towards heaven rising, With beautiful and sweetly-scented apples; The orange, wearing on its lovely fruit The colour Daphne carried in her hair; Bent low, nay almost fallen to the ground, The citron, heavy with its yellow load; And, last, the graceful lemon with its fruit Of pleasant smell and shaped like virgins' breasts. ~ Luis de Camoes, #NFDB
976:She was a romantic, and as I had never met a female romantic before it was a delight to me to explore her emotions. She wanted to know all about me, and I told her as honestly as I could; but as I was barely twenty, and a romantic myself, I know now that I lied in every word I uttered—lied not in fact but in emphasis, in colour, and in intention. ~ Robertson Davies, #NFDB
977:The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends. ~ Edward Weston, #NFDB
978:Working in Britain, particularly in the public services, they should be prepared to accept the terms and conditions of their employment. To claim special communal rights (or should one say rites?) leads to a dangerous fragmentation within society. This communalism is a canker; whether practised by one colour or another it is to be strongly condemned. ~ Enoch Powell, #NFDB
979:Clare had studied the curves of those lips so many times that he could reproduce them mentally with ease: and now, as they again confronted him, clothed with colour and life, they sent an aura over his flesh, a breeze through his nerves, which wellnigh produced a qualm; and actually produced, by some mysterious physiological process, a prosaic sneeze. ~ Thomas Hardy, #NFDB
980:The colour blue - that is my colour - and the colour blue means you have left the drabness of day-to-day reality to be transported into - not a world of fantasy, it’s not a world of fantasy - but a world of freedom where you can say what you like and what you don’t like. This has been expressed forever by the colour blue, which is really sky blue. ~ Louise Bourgeois, #NFDB
981:Within, stood a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere. He held in his hand an antique silver lamp, in which the flame burned without a chimney or globe of any kind, throwing long quivering shadows as it flickered in the draught of the open door ~ Bram Stoker, #NFDB
982:You painted it pink?' Price asked with a grin.
'That’s lavender, you colour-blind eejit,' I said.
McCallister saw that Price clearly hadn’t got the message yet. 'Hey lads, you know why Price nearly failed the police entrance exam? He thought a polygon was a dead parrot.'
The lads chuckled dutifully and somebody punched Price on the shoulder. ~ Adrian McKinty,#NFDB
983:...& she, armed with both & abandoning the joys of reason that had meant so much to her as well as me, made a suitably advantageous marriage with an ironmonger with a face like an anvil & a soul like a slag, & so I never saw her freckles fade, her auburn hair dull, never had to watch our love turn to that non-colour, white.
-pg 115 ~ Richard Flanagan,#NFDB
984:Not so easy to put flesh and blood on the bones of an intellectual conviction; Martha was remembering with shame the brash and easy way she had said to Joss that she repudiated race prejudice; for the fact was, she could not remember a time when she had not thought of people in terms of groups, nations, or colour of skin first, and as people afterwards. ~ Doris Lessing, #NFDB
985:Nowadays, one of the churches of Tlön maintains platonically that such and such a pain, such and such a greenish-yellow colour, such and such a temperature, such and such a sound, etc., make up the only reality there is. All men, in the climactic instant of coitus, are the same man. All men who repeat one line of Shakespeare are William Shakespeare. ~ Jorge Luis Borges, #NFDB
986:There either is or is not, that’s the way things are. The colour of the day. The way it felt to be a child. The saltwater on your sunburnt legs. Sometimes the water is yellow, sometimes it’s red. But what colour it may be in memory, depends on the day. I’m not going to tell you the story the way it happened. I’m going to tell it the way I remember it. ~ Charles Dickens, #NFDB
987:The water is this marvellous blue. It’s so blue that once you see it you realise you’ve never seen blue before. That other thing you were calling blue is some other colour, it’s not blue. This, this is blue. It’s a blue that comes down from the sky into the water so that when you look in the sea you think sky and when you look at the sky you think sea. ~ Niall Williams, #NFDB
988:Even as I write these words, which should be lucid and filled with glowing colour, I feel the very darkness of my own personality invading my pen. Only perhaps in the ink of this darkness can this writing properly be written? It is not really possible to write like an angel, though some of our near-gods by heaven-inspired trickery sometimes seem to do it. ~ Iris Murdoch, #NFDB
989:You once said to me that I talk like a man in a book. I not only talk, but think and feel like one. I have spent my life in books; literature has deeply dyed my brain its own colour. This literary colouring is a protective one--like the brown of the rabbit or the checks of the quail--making it impossible for me to tell where literature ends and I begin. ~ Nathanael West, #NFDB
990:The Arrow"
I THOUGHT of your beauty, and this arrow,
Made out of a wild thought, is in my marrow.
There's no man may look upon her, no man,
As when newly grown to be a woman,
Tall and noble but with face and bosom
Delicate in colour as apple blossom.
This beauty's kinder, yet for a reason
I could weep that the old is out of season. ~ W B Yeats,#NFDB
991:There were many suggestions as to improvements: the addition of a window here and a door there, the insertion of an extra basin for the children to wash their hands before they handled the books—“An excellent, practical suggestion,” said the principal—and then several views were expressed as to the colour of the walls, the roof, and the shelving. ~ Alexander McCall Smith, #NFDB
992:His diaries had begun to assume something of the knowingness of incipient middle age; at times, indeed, he was in danger of becoming priggish and opinionated. As with many later European voyagers, travel in this part of the world, far from broadening the mind, seemed instead to lead to a blanket distrust of anyone of a different creed, colour or class. ~ William Dalrymple, #NFDB
993:I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity. ~ H P Lovecraft, #NFDB
994:Democritus sometimes does away with what appears to the senses, and says that none of these appears according to truth but only according to opinion: the truth in real things is that there are atoms and void. 'By convention sweet', he says, 'by convention bitter, by convention hot, by convention cold, by convention colour: but in reality atoms and void.' ~ Sextus Empiricus, #NFDB
995:I never could see that delicacy of constitution is pretty, either in plants or women. No doubt there are many lovely flowers to be had by heat and constant coaxing, but then for each of these there are fifty others still lovelier that will gratefully grow in God's wholesome air and are blessed in return with a far greater intensity of scent and colour. ~ Elizabeth von Arnim, #NFDB
996:I remembered... It was the colour of your hair. Farewell...Erza. ~I'm Jellal Fernandez. What about you, Erza?(I'm Erza. Just Erza.) Well, that's kind of sad. Ohh!(Hey...What are you doing?!)It's such a pretty scarlet colour...I know! We'll give you the last name of Scarlet!(Erza...Scarlet) It's the colour of you hair! Nobody will ever forget that!~(Jellal...) ~ Hiro Mashima, #NFDB
997:Love is not a hot-house flower, but a wild plant, born of a wet night, born of an hour of sunshine; sprung from wild seed, blown along the road by a wild wind. A wild plant that, when it blooms by chance within the hedge of our gardens, we call a flower; and when it blooms outside we call a weed; but, flower or weed, whose scent and colour are always, wild! ~ John Galsworthy, #NFDB
998:Surely such a pure, perfect sound could not be coming from the skinny little girl in the dreadful pink dress? But as he watched Rosanna, he no longer saw her sallow skin, or the way she seemed to be all arms and legs. Instead, he saw her huge, expressive brown eyes and noticed a hint of colour appear in her cheeks as her exquisite voice soared to a crescendo. ~ Lucinda Riley, #NFDB
999:There,” he said, pointing. “We’ll camp on the westward slope. No fires, and it would be greatly appreciated, Baron, if your men refrained from excessive noise.” “I’ll do what I can, my lord. But they’re not peasants, y’know. Can’t just flog them like your lot.” “Maybe you should, milord,” Dentos suggested. “Remind ‘em they bleed the same colour as us peasants. ~ Anthony Ryan, #NFDB
1000:But I couldn’t respond. My culture had taught me all the wrong things well. So I lay completely still, and gave no reaction at all. But the soul has no culture. The soul has no nations. The soul has no colour or accent or way of life. The soul is forever. The soul is one. And when the heart has its moment of truth and sorrow, the soul can’t be stilled. ~ Gregory David Roberts, #NFDB
1001:But till all graces be in one woman, one woman shall not come in my grace. Rich she shall be, that's certain; wise, or I'll none; virtuous, or I'll never cheapen her; fair, or I'll never look on her; mild, or come not near me; noble, or not I for an angel; of good discourse, and excellent musician and her hair shall be of what colour it shall please God. ~ William Shakespeare, #NFDB
1002:She preferred the quiet solitary atmosphere, to create in her own world of paint and colour, the thrill of anticipating how her works would turn out as she eyed the blank sheets of paper or canvas before starting her next masterpiece. How satisfying it was to mess around in paint gear, without having to worry about spills, starch or frills, that was the life! ~ E A Bucchianeri, #NFDB
1003:Yes. Just pass me my leg will you? It's on top of the wardrobe where he threw it, and I think my right arm is leaning over by the wall. My head is in the gas oven but it will probably be all right, I'm told that green colour wears off. Unfortunately I threw my heart to the dogs. Never mind. No one will notice how much is missing from the inside, will they? ~ Jeanette Winterson, #NFDB
1004:It is important that everyone understands how sexism affects women and thereby impacts on all human beings. Women are subject to stricter rules of behaviour: how to act, what to say, what to want. What to wear, what to eat, where to shop, how to behave at work, when not to text him back, when to fuck, how to fuck, what colour to put in your hair when he leaves you. ~ Laurie Penny, #NFDB
1005:...the problem of space remained, she thought, taking up her brush again. It glared at her. The whole mass of the picture was poised upon that weight. Beautiful and bright it should be on the surface, feathery and evanescent, one colour melting into another like the colours on a butterfly's wing; but beneath the fabric must be clamped together with bolts of iron. ~ Virginia Woolf, #NFDB
1006:And then I saw him and nothing was ever the same again. The sky was never the same colour, the moon never the same shape: the air never smelt the same, food never tasted the same. Every word I knew changed its meaning, everything that once was stable and firm became as insubstantial as a puff of wind, and every puff of wind became a solid thing I could feel and touch. ~ Stephen Fry, #NFDB
1007:Dad called this the shadow time. The sun sucks colour from the world, he'd said. He'd taught her to see the softer colours of the dusk, the green and orange bark, the purple shadows. At times like this Flinty felt her edges vanish, leaving her part of the mountains, like the wallaby pulling wonga vine down from a thorn bush, or the sleepy possum peering from a tree. ~ Jackie French, #NFDB
1008:I'm a pretty forgetful guy, but everything she says, I remember. I remember what colour her hair ribbon was when we met on the first day of fifth grade. I remember that she loves orchids because they look delicate but aren't, really. From a single postcard she sent me when traveling with her family two summers ago. I remember what my name looks like in her handwriting. ~ Adi Alsaid, #NFDB
1009:Sometimes friends do foolish things. My father told me that true friends are like gold coins. Ships are wrecked by storms and lie for hundreds of years on the ocean floor. Worms destroy the wood. Iron corrodes. Silver turns black but gold doesn't change in sea water. It loses none of its brilliance or colour. It comes up the same. It survives shipwrecks and time. ~ Michael Robotham, #NFDB
1010:You have no sword…’ ‘Indeed, I have not. Do you think I will need one?’ She leaned close to him. ‘Now more than before, I would think.’ ‘Perhaps you are right. We must needs find a quarry.’ ‘The Barghast Range. A flint the colour of blood – I will invest it, of course, to prevent its shattering.’ ‘As you did once before, sister.’ ‘Long ago.’ ‘Aye, so very long ago. ~ Steven Erikson, #NFDB
1011:Audiences - they like colour, you know. I can go out there wearing a red suit, man, and they'll say I'm out of sight ... I think they should be educated; you should always drop something on an audience ... When you get in front of an audience, you should try to give 'em something. After all, they're there looking at you like this. You can't go out and give 'em nothing. ~ Miles Davis, #NFDB
1012:It is my mind, with its store of images, that gives the world colour and sound; and that supremely real and rational certainty which I call "experience" is, in its most simple form, an exceedingly complicated structure of mental images. Thus there is, in a certain sense, nothing that is directly experienced except the mind itself. Everything is mediated through the mind. ~ Carl Jung, #NFDB
1013:How do we recognise another person? At its most basic, by shape, by colour, by outline, by dark and light, by smell. Or by nuances of tone, by the way the face looks in repose, the cadences of the voice, full of small interior knowledge, the way they hold their mouth while listening, or the way their gaze holds yours. By what their eyes say when they are not speaking. ~ Marion Coutts, #NFDB
1014:It’s the wild colour scheme that freaks me,” said Zaphod whose love affair with this ship had lasted almost three minutes into the flight, “Every time you try to operate on of these weird black controls that are labelled in black on a black background, a little black light lights up black to let you know you’ve done it. What is this? Some kind of galactic hyperhearse? ~ Douglas Adams, #NFDB
1015:Riley squinted. He ran his fingers along my neck. When he found the collar he explored the surface and tried to tug it. "No seams. It doesn't fell like metal. The colour is amazing". "Why?" (Trella) "It blends in. It matches your skin. Didn't you know?" (Riley) "No mirrors in my cell." (Trella) He gasped with mock horror. "So cruel! How did you ever survive?" (Riley) ~ Maria V Snyder, #NFDB
1016:Thunder
There will be thunder then. Remember me.
Say ‘ She asked for storms.’ The entire
world will turn the colour of crimson stone,
and your heart, as then, will turn to fire.
That day, in Moscow, a true prophecy,
when for the last time I say goodbye,
soaring to the heavens that I longed to see,
leaving my shadow here in the sky.
~ Anna Akhmatova,#NFDB
1017:When the short days of winter came, dusk fell before we had well eaten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of ever-changing violet and towards it the lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. ~ James Joyce, #NFDB
1018:Had (I) been a member of a more popular race, I should have been inclined to yield to the temptation of depending upon my ancestry and my colour to do that for me which I should do for myself. Years ago I resolved that because I had no ancestry myself I would leave a record of which my children would be proud, and which might encourage them to still higher effort ~ Booker T Washington, #NFDB
1019:But that which most attracts the eye is opposite the Lion d'Or inn, the chemist's shop of Monsieur Homais. In the evening especially its argand lamp is lit up and the red and green jars that embellish his shop-front throw far across the street their two streams of colour; then across them as if in Bengal lights is seen the shadow of the chemist leaning over his desk. ~ Gustave Flaubert, #NFDB
1020:He didn’t know, of course. Not really. And yet that was what he said and I was soothed to hear it. For I knew what he meant. We all have our sorrows, and although the exact delineaments, the weight and the dimensions of grief are different for everyone, the colour of grief is common to us all. ‘I know,’ he said, because he was human, and therefore, in a way, he did. ~ Diane Setterfield, #NFDB
1021:IT IS THE colour of a bleached skull, his flesh; and the long hair which flows below his shoulders is milk-white. From the tapering, beautiful head stare two slanting eyes, crimson and moody, and from the loose sleeves of his yellow gown emerge two slender hands, also the colour of bone, resting on each arm of a seat which has been carved from a single, massive ruby. ~ Michael Moorcock, #NFDB
1022:The sunrise was the colour of bad blood. It leaked out of the east and stained the dark sky red, marked the scraps of the cloud with stolen gold. Underneath it the road twisted up the mountainside towards the fortress of Fontezarmo - a cluster of sharp towers, ash-black again the wounded heavens. The sunrise was red, black and gold.
The colours of their profession. ~ Joe Abercrombie,#NFDB
1023:I THOUGHT of your beauty, and this arrow,
Made out of a wild thought, is in my marrow.
There's no man may look upon her, no man,
As when newly grown to be a woman,
Tall and noble but with face and bosom
Delicate in colour as apple blossom.
This beauty's kinder, yet for a reason
I could weep that the old is out of season.
~ William Butler Yeats, The Arrow
,#NFDB
1024:You will hear thunder and remember me,
And think: she wanted storms. The rim
Of the sky will be the colour of hard crimson,
And your heart, as it was then, will be on fire.
That day in Moscow, it will all come true,
when, for the last time, I take my leave,
And hasten to the heights that I have longed for,
Leaving my shadow still to be with you. ~ Anna Akhmatova,#NFDB
1025:No American films?’
‘I don’t like comic strips.’
‘Film noir?’
‘Black is a very sentimental colour. You can hide any rubbish behind it. Hollywood flicks are fun, if your idea of a good time is a hamburger and a milk shake. America invented the movies so it would never need to grow up. We have angst, depression and middle-aged regret. They have Hollywood. ~ J G Ballard,#NFDB
1026:And the flames are every colour of the rainbow."
"They can't be," observed Daffy.
"Well, they are," she said cheekily. "Have you been there, that you know so much about it?"
"No," said Daffy, very calm, "but I'd wager I know more than you about the chemical processes of combustion."
Mary rolled her eyes. Did he hope to dazzle her with syllables? ~ Emma Donoghue,#NFDB
1027:There was something in the very air of it that exhilarated, that gave one a sense of lightness and good happening and well-being; there was something in the sight of it that made all its colour clean and perfect and subtly luminous. In the instant of coming into it one was exquisitely glad--as only in rare moments and when one is young and joyful one can be glad in this world. ~ H G Wells, #NFDB
1028:And then I saw him and nothing was ever the same again.
The sky was never the same colour, the moon never the same shape: the air never smelt the same, food never tasted the same. Every word I knew changed its meaning, everything that once was stable and firm became as insubstantial as a puff of wind, and every puff of wind became a solid thing I could feel and touch. ~ Stephen Fry,#NFDB
1029:Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like. ~ Rebecca Solnit, #NFDB
1030:You don’t think about all these colours when everything’s going all right; you’d go mad if you did. You just think about the colour on the top. But those colours are there, all the same. All the quarrels, and the bits of unkindness. And every so often something happens to put a chip right through; and then you can’t not think of them.’ She looked up, and grew self-conscious; ~ Sarah Waters, #NFDB
1031:Conversely, the red plant itself burns a brighter red when set off by the green than when it grows among its peers. In the bed I always reserved for poinsettia seedlings, there was little to distinguish one plant from its neighbours. My poinsettia did not turn scarlet until I planted it in new surroundings. Colour is not something one has, colour is bestowed on one by others. ~ Arthur Japin, #NFDB
1032:Hail, many-colour'd messenger, that ne'er
Dost disobey the wife of Jupiter;
Who with thy saffron wings upon my flowers
Diffusest honey-drops, refreshing showers,
And with each end of thy blue bow dost crown
My bosky acres and my unshrubb'd down,
Rich scarf to my proud earth; why hath thy queen
Summon'd me hither, to this short-grass'd green? ~ William Shakespeare,#NFDB
1033:An English Evangelical bishop wrote in 1991 that clear signs of Satanic possession included inappropriate laughter, inexplicable knowledge, a false smile, Scottish ancestry, relatives who have been coal miners, and the habitual choice of black for dress or car colour. None of this makes sense, but then that's how it is with evil. The less sense it makes, the more evil it is. ~ Terry Eagleton, #NFDB
1034:December, 1903
And if I can't speak about my loveif I don't talk about your hair, your lips, your eyes,
still your face that I keep within my heart,
the sound of your voice that I keep within my mind,
the days of September rising in my dreams,
give shape and colour to my words, my sentences,
whatever theme I touch, whatever thought I utter.
~ Constantine P. Cavafy,#NFDB
1035:To me, grey is the welcome and only possible equivalent for indifference, noncommitment, absence of opinion, absence of shape. But grey, like formlessness and the rest, can be real only as an idea, and so all I can do is create a colour nuance that means grey but is not it. The painting is then a mixture of grey as a fiction and grey as a visible, designated area of colour. ~ Gerhard Richter, #NFDB
1036:Why can't I believe? she asked the darkness. Behind her eyelids she saw an animal. It was golden colour, with gentle green eyes and canine teeth, and curly wool instead of fur. It opened its mouth, but it did not speak. Instead, it yawned.It gazed at her. She gazed at it. "You are the effect of a carefully calibrated blend of plant toxins," she told it.Then she fell asleep. ~ Margaret Atwood, #NFDB
1037:Afterwards, in bed with a book, the spell of television feels remote compared to the journey into the page. To be in a book. To slip into the crease where two pages meet, to live in the place where your eyes alight upon the words to ignite a world of smoke and peril, colour and serene delight. That is a journey no one can end with the change of a channel. Enduring magic. ~ Ann Marie MacDonald, #NFDB
1038:He no longer describes the earth as a library globe or a map that has come alive, as a cosmic eye staring into deep space. The earth is land and water, the dwelling place of mortal men, in elevated dictionary terms. He doesn’t see it anymore (storm-spiralled, sea-bright, breathing heat and haze and colour) as an occasion for picturesque language, for easeful play or speculation. ~ Don DeLillo, #NFDB
1039:The immaterial blue colour shown at Iris Clert's in April had in short made me inhuman, had excluded me from the world of tangible reality; I was an extreme element of society who lived in space and who had no means of coming back to earth. Jean Tinguely saw me in space and signaled to me in speed to show me the last machine to take to return to the ephemerality of material life. ~ Yves Klein, #NFDB
1040:Thomas did not pay much attention to his lessons that day. It hardly mattered as Mrs. Wilkinson only seemed interested in how to make an "A" and what colour was magenta and how to add one and one together. Thomas knew all that. Only that morning he'd been reading a book full of big violent illustrations of the great battles of Britain, with quite a lot of magenta in it. ~ Catherynne M Valente, #NFDB
1041:We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
- The Hollow Men ~ T S Eliot,#NFDB
1042:He tells a story, and that's what I like. Does this fella tell a story? He doesn't spend twenty pages describing the colour of the sky?'
'He hasn't so far.'
'Good. Jeffrey Archer never talks about the colour of the sky and I like that in a writer. I'd say Jeffrey Archer has never even looked up at the sky his entire life.'
'Especially now that he's in prison,' I suggested. ~ John Boyne,#NFDB
1043:I need the brilliance of colour to get close to people, to stir up a sense of life experience and heighten their sense of presence," Grosse proclaims. "People", in Grosse and Thomas's formulation, are not those who actually live in north Philadelphia and bear the brunt of its burdens. "People" are those who can afford to view poverty through the lens of aesthetics as they pass it by. ~ Anonymous, #NFDB
1044:And all at once it was as it had been before, on that gusty August day during the war, and she was twenty-three years old again, with holes in her sneakers, and Papa sitting beside her. And Richard walked in; into the gallery and into their lives. And Papa told him, "They will come...to paint the warmth of the sun and the colour of the wind." And that was how it had all begun. ~ Rosamunde Pilcher, #NFDB
1045:Webster’s dislike of words that weren’t pronounced the way they looked led him to decree that words such as centre and theatre should be spelled center and theater; he also dropped the silent u from words such as colour, favour and honour. In fact, Webster was single-handedly responsible for most of the differences between British and American spelling that survive to this day. ~ Caroline Taggart, #NFDB
1046:... in open breach of the said law, under the colour of extinguishing the fire kindled in the apartment of his Majesty's most dear imperial consort, did maliciously, traitorously, and devilishly, by discharge of his urine, put out the said fire kindled in the said apartment, lying and being within the precincts of the said royal palace; against the statute in that case provided... ~ Jonathan Swift, #NFDB
1047:What hands are here? ha! they pluck out mine eyes! Will all great Neptune’s ocean wash this blood clean from my hand? No; this my hand will rather the multitudinous seas incarnadine, making the green one red.” “My hands are of your colour; but I shame to wear a heart so white. A little water clears us of this deed: How easy it is then! Your constancy hath left you unattended. ~ William Shakespeare, #NFDB
1048:Can it really be love if we don't talk that much, don't see each other? Isn't love something that happens between people who spend time together and know each other's faults and take care of each other?
...
In the end, I decide that the mark we've left on each other is the colour and shape of love. That's the unfinished business between us.
Because love, love is never finished. ~ Sara Zarr,#NFDB
1049:For each day, she thought, she needed a whole other day to contemplate what had happened and store it away, get it out of her system so that it did not keep her awake at night or fill her dreams with flashes of what had actually happened and other flashes that had nothing to do with anything familiar, but were full of rushes of colour or crowds of people, everything frenzied and fast. ~ Colm T ib n, #NFDB
1050:Many people lost their lives fighting for these rights - to vote, to be free, to work, to be able to get on the same bus as someone considered their superior. And it was the next generations who embedded these changes, who came to view women as equals to men, who came to understand that skin colour is of no relevance. Young people are the future. Without them, the world stands still. ~ Gemma Malley, #NFDB
1051:Friends come in all different shapes and sizes... The important thing is not what we look like but the role we play in our best friend's life. Friends choose certain friends because that's the kind of company they are looking for at that specific time, not because they're the correct height, age or have the right hair colour. It's not always the case but often there's a reason why... ~ Cecelia Ahern, #NFDB
1052:My first novel was published by the first publisher I sent it to. And so I’ve been learning as I go, and I find it now rather embarrassing that people beginning the Discworld series start with The Colour of Magic and The Light Fantastic, which I don’t think are some of the best books to start with. This is the author saying this, folks. Do not start at the beginning with Discworld. ~ Terry Pratchett, #NFDB
1053:Reader's note: Not Alone was written, edited and produced in Scotland. As such, some spellings will differ from those found in the United States. Examples of British English include using colour rather than color, organise rather than organize, and centre rather then center. An exception to this rule is the use of proper nouns, which retain their American spelling where applicable. ~ Craig A Falconer, #NFDB
1054:Witchcraft cannot come in any colour other than a deep green, a resistance to this despoilment, this sacrilege. [...] Animism cannot disengage from the struggle of life, shamanism cannot disengage from the struggle of life, neither can a living witchcraft. No-one else is going to do this for us. We are the Witchcraft and we must stand for our land, and with those who fight for their own. ~ Peter Grey, #NFDB
1055:The sunlight is catching the leaves at different angles, so that my eye flickers from one patch of colour to the next, the verdant foliage displaying a host of verdant hues. (I thought I would try to get “verdant,” “hues” and “foliage” into this paragraph, as my English teachers always believed that they were signs of creative talent. Though I probably shouldn’t have used “verdant” twice.) ~ Anonymous, #NFDB
1056:And at that moment a wind came out of the northwest, and entered the woods and bared the golden branches, and danced over the downs, and led a company of scarlet and golden leaves, that had dreaded this day but danced now it had come; and away with a riot of dancing and glory of colour, high in the light of the sun that had set from the sight of the fields, went wind and leaves together. ~ Lord Dunsany, #NFDB
1057:She reminds herself that everyone has thoughts they wouldn’t care to share with the world. Many people have quite perverse thoughts about doing things with animals or fruit, or being spanked by nurses. The difference, of course, is that their thoughts are securely locked away behind bland faces, whereas Sophie’s are always in danger of being revealed to all in a sudden flood of colour. ~ Liane Moriarty, #NFDB
1058:Love is a hollow word which seems at home in song lyrics and greeting cards, until you fall in love and discover it’s disconcerting power. Depression means nothing more than the blues, commercially packaged angst, a hole in the ground; until you find it’s black weight settled inside your mother’s chest, disrupting her breathing, leaching her days, and yours, of colour and the nights of rest. ~ Jerry Pinto, #NFDB
1059:Surely the colour of London was an exquisite thing. It was like a pearl that late afternoon, something very gentle and pale, with faint blue shadows. And as for its smell, she doubted, indeed, whether heaven itself could smell better, certainly not so interesting. "And anyhow," she said to herself, lifting her head a moment in appreciation, "it can't possibly smell more alive. ~ Elizabeth von Arnim, #NFDB
1060:Not only does a journey transport us over enormous distances, it also causes us to move a few degrees up or down in the social scale. It displaces us physically and also for better or for worse takes us out of our class context, so that the colour and flavour of certain places cannot be dissociated from the always unexpected social level on which we find ourselves in experiencing them. ~ Claude Levi Strauss, #NFDB
1061:And his life was now, he felt, one monumental unreality, in which everything that did not matter - professional ambitions, the private pursuit of status, the colour of wallpaper, the size of an office or the matter of a dedicated car parking space - was treated with the greatest significance, and everything that did matter - pleasure, joy, friendship, loved - was deemed somehow peripheral. ~ Richard Flanagan, #NFDB
1062:I'm actually a 'Witch' not Wiccan...justa Witch. I started reading Tarot when I was 8 years old. I dabble in astrology, Candle Magick, gems/stone Magick and I mainly use herbs for cooking. But cooking is it's own Magick-when done right. Actually, when I colour Tarot...I do use a form of Colour Magick..colours do influence mood...so I conscienciously choose certain colours for certain scenes. ~ Holly Golightly, #NFDB
1063:There had never been such roses as those that bloomed that summer. They clambered everywhere and dripped as if perspiring the heaviest most intoxicating perfume, which seemed to make the very masonry drunk. The senses fused; sometimes these roses emitted low but intolerably piercing pentatonic melodies which were the sound of their deep crimson colour and yet we heard them inside our nostrils. ~ Angela Carter, #NFDB
1064:Thingumy and Bob sighed contentedly and settled down to contemplate the precious stone. They stared in silent rapture at it.
The ruby changed colour all the time. At first it was quite pale, and then suddenly a pink glow would flow over it like sunrise on a snow capped mountain -- and then again crimson flames shot out of its heart and it seemed like a great black tulip with stamens on fire. ~ Tove Jansson,#NFDB
1065:I have been using the computer as a work aid since the mid-90's. It is extraordinarily well suited to how I think and work and has transformed my practice. Nearly everything I have done in the past 15 years would have been impossible without it. I use the computer for drawing, composing and colour planning everything, from postage stamps to paintings to architectural-scale installations. ~ Michael Craig Martin, #NFDB
1066:In other words, both the descriptive (‘women are gentle’) and the prescriptive (‘women should be gentle’) elements of gender stereotypes create a problem for ambitious women. Without any intention of bias, once we have categorised someone as male or female, activated gender stereotypes can then colour our perception. When the qualifications for the job include stereotypically male qualities, this ~ Cordelia Fine, #NFDB
1067:She was blind and insensible to many things, and dimly knew it; but to all that was light and air, perfume and colour, every drop of blood in her responded. She loved the roughness of the dry mountain grass under her palms, the smell of the thyme into which she crushed her face, the fingering of the wind in her hair and through her cotton blouse, and the creak of the larches as they swayed to it. ~ Edith Wharton, #NFDB
1068:The orthodox view of colour experience assumes that, when we see a colour difference between two surfaces viewed side-by-side, this is because we have different responses to each of the two surfaces viewed singly. Since we can detect colour differences between something like ten million different surfaces, this implies that we are capable of ten million colour responses to surfaces viewed singly. ~ David Papineau, #NFDB
1069:Democritus introduces the intellect (διάνοια) having an argument with the senses (αίσθήσεις) about what is ‘real.’ The former says: ‘Ostensibly there is colour, ostensibly sweetness, ostensibly bitterness, actually only atoms and the void,’ to which the senses retort: ‘Poor intellect, do you hope to defeat us while from us you borrow your evidence? Your victory is your defeat.’ ~ Erwin Schrödinger, Mind and Matter, #NFDB
1070:In other words: what we call history is the specific form in which the cycles of nature are acted out in man-made form. A quote from Goethe comes to mind as particularly illustrative: ‘Colour is a law of nature in relation with the sense of sight.’[2] By analogy we might say with Spengler that culture is a law of nature in relation with human minds (the plural is an important qualification here). ~ Oswald Spengler, #NFDB
1071:Horse-chestnut flowers bobbed like white wax candles above the deserted pavements. An oblique light struck into the street - so that its long and normally "profitless perspective seemed to lead straight into the heart of a younger, more ingenuous city - and fell across the fronts of the houses where he had once lived, warming up the rotten brick and imparting to it a not unpleasant pinkish colour. ~ M John Harrison, #NFDB
1072:I have always attributed a great importance to eyes. How mysteriously expressive those damp orbs can be; the eyeball does not change and yet it is the window of the soul. And colour in eyes is, in its nature and inherence, quite unlike colour in any other substance. Mr Osmand had grey eyes, but his eyes were hard and speckled like Aberdeen granite, while Tommy’s were clear and empty like light smoke. ~ Iris Murdoch, #NFDB
1073:Riley squinted. He ran his fingers along my neck. When he found the collar he explored the surface and tried to tug it. "No seams. It doesn't fell like metal. The colour is amazing".
"Why?" (Trella)
"It blends in. It matches your skin. Didn't you know?" (Riley)
"No mirrors in my cell." (Trella)
He gasped with mock horror. "So cruel! How did you ever survive?" (Riley) ~ Maria V Snyder,#NFDB
1074:And just as music is the space between notes, just as the stars are beautiful because of the space between them, just as the sun strikes raindrops at a certain angle and throws a prism of colour across the sky - so the space where I exist, and want to keep existing, and to be quiet frank I hope I die in, is exactly this middle distance: where despair struck pure otherness and created something sublime. ~ Donna Tartt, #NFDB
1075:Bubba then grabbed a hold of my leg and his eyes got all cloudy and that terrible pink sky seem to drain all the colour in his face.
He was trying to say something, and so I bent over real close to hear what it was. But I never could make it out. So I asked the medic, ' You hear what he say?'
And the medic say, 'Home. He said, home.'
Bubba, he died, and that's all I got to say about that. ~ Winston Groom,#NFDB
1076:In his own country all this would have been highly distasteful to Jean Marie Latour. Here, these demonstrations seemed a part of the high colour that was in landscape and gardens, in the flaming cactus and the gaudily decorated altars,—in the agonized Christs and dolorous Virgins and the very human figures of the saints. He had already learned that with this people religion was necessarily theatrical. ~ Willa Cather, #NFDB
1077:Most Britons still lived and died without encountering anyone whose skin colour was different from their own. Slaves, in short, did not threaten, at least as far as the British at home were concerned. Bestowing freedom upon them seemed therefore purely an act of humanity and will, an achievement that would be to Great Britain's economic detriment, perhaps, but would have few other domestic consequences. ~ Linda Colley, #NFDB
1078:These themes are explored through fantasy figures such as wizards, giants and elves. At the same time, amongst the teachers and pupils at Hogwarts, there are very few people of colour and no clear explanation of why that might be. So a story that has so much to say about racism on an allegorical level at the same time depicts people of colour as marginal without exploring their marginalisation. Malorie ~ Nikesh Shukla, #NFDB
1079:However carefully a judge is protected by the experience and the logic of the law, there must be times -not many, I know, or we should have no judges- when the same frightful question must be answered. Not faced, you see, but answered. Every now and again he must have to say to himself, in effect, "Everyone agrees that this colour is black, and my reason tells me it is so, but on my soul, do I know? ~ Margery Allingham, #NFDB
1080:You Will Hear Thunder
You will hear thunder and remember me,
And think: she wanted storms. The rim
Of the sky will be the colour of hard crimson,
And your heart, as it was then, will be on fire.
That day in Moscow, it will all come true,
when, for the last time, I take my leave,
And hasten to the heights that I have longed for,
Leaving my shadow still to be with you.
~ Anna Akhmatova,#NFDB
1081:He was a horrid-looking fellow. Fat as a pig he was, and his face was the colour of cottage cheese. His collar was unbuttoned and his silk tie was spotted with egg stain. His stomach stuck out like a sagging pillow and his little thin legs fell away under it to end in torn felt slippers. He was all bristly blond jowls, tiny puffy hands and long blond curly hair, like some monstrous baby swelled to man size. ~ Brian Moore, #NFDB
1082:And just as music is the space between notes, just as the stars are beautiful because of the space between them, just as the sun strikes raindrops at a certain angle and throws a prism of colour across the sky - so the space where I exist, and want to keep existing, and to be quite frank I hope I die in, is exactly this middle distance: where despair struck pure otherness and created something sublime. ~ Karl Ove Knausg rd, #NFDB
1083:Cause nobody's the slightest idea who we are, or who we were, not even we ourselves – except, that is, in the glimmer of a moment of fair business between strangers, or the nod of knowing and agreement between friends. Other than these, we go out anonymous into the insect air and all we are is the dust of colour, brief engineering of wings towards a glint of light on a blade of grass or a leaf in a summer dark. ~ Ali Smith, #NFDB
1084:Counting-Out Rhyme
Silver bark of beech, and sallow
Bark of yellow birch and yellow
Twig of willow.
Stripe of green in moosewood maple,
Colour seen in leaf of apple,
Bark of popple.
Wood of popple pale as moonbeam,
Wood of oak for yoke and barn-beam,
Wood of hornbeam.
Silver bark of beech, and hollow
Stem of elder, tall and yellow
Twig of willow.
~ Edna St. Vincent Millay,#NFDB
1085:I remembered only the good and loveable things about him, not the wretchedness he caused me, and the dope, and the resentments and silence and the half-crazy outbursts. I remembered his smell and the colour of his eyes and his head thrown back to laugh; these things were a second away, in time, but the others I dredged up dutifully, knowing that I must, for the sake of truth and sanity, try to keep a balance. ~ Helen Garner, #NFDB
1086:This idea undermining GIRLHOOD, that saying I feel for you to a woman unlike yourself means you somehow share in her experience, is one of the pitfalls that plagues mainstream feminism. It signals to women of colour that their stories are only worth telling if a white person can understand them, and therefore that a white person’s emotions and responses are of greater importance than the stories themselves. ~ Morgan Jerkins, #NFDB
1087:In The Street
His attractive face a bit pale,
his brown eyes looking tired, dazed,
twenty-five years old but could be taken for twenty,
with something of the artist in the way he dresses
-the colour of his tie, shape of his collar
he drifts aimlessly down the street,
as though still hypnotized by the illicit pleasure,
the very illicit pleasure he's just experienced.
~ Constantine P. Cavafy,#NFDB
1088:It always amazes me to look at the little, wrinkled brown seeds and think of the rainbows in 'em," said Captain Jim. "When I ponder on them seeds I don't find it nowise hard to believe that we've got souls that'll live in other worlds. You couldn't hardly believe there was life in them tiny things, some no bigger than grains of dust, let alone colour and scent, if you hadn't seen the miracle, could you? ~ Lucy Maud Montgomery, #NFDB
1089:Kindness. The only possible method when dealing with a living creature. You'll get nowhere with an animal if you use terror, no matter what its level of development may be. That I have maintained, do maintain and always will maintain. People who think you can use terror are quite wrong. No, no, terror is useless, whatever its colour – white, red or even brown! Terror completely paralyses the nervous system. ~ Mikhail Bulgakov, #NFDB
1090:There is an infinity of landscape here, caused by the purity of the atmosphere. It has been said that there is a lack of colour. It is not so obvious as the greenness of England, but it is infinitely more varied and more delicate in tone. The landscape is a pinky mauve, a lilac, and the reflection of the sun of the particles of the atmosphere is a warm amber. So I should say our colour scheme is amber and lilac. ~ Hans Heysen, #NFDB
1091:She was able to draw no conclusions because her husband's patients, except for mutual friends, were part of his private domain; they were people without identity, known not by their faces but by their pains, not by the colour of their eyes or the evasions of their hearts but by the size of their livers, the coating on their tongues, the blood in their urine, the hallucinations of their feverish nights. ~ Gabriel Garc a M rquez, #NFDB
1092:The great hall was shimmering in light, sun streaming from the open windows, and ablaze with colour, the walls decorated with embroidered hangings in rich shades of gold and crimson. New rushes had been strewn about, fragrant with lavender, sweet woodruff, and balm... the air was... perfumed with honeysuckle and violet, their seductive scents luring in from the gardens butterflies as blue as the summer sky. ~ Sharon Kay Penman, #NFDB
1093:I tell you, my friends,’ he said one day. ‘I tell you that I am the only sane man in the regiment. It’s the others that are mad, but they don’t know it. They fight a war and they don’t know what for. Isn’t that crazy? How can one man kill another and not really know the reason why he does it, except that the other man wears a different colour uniform and speaks a different language? And it’s me they call mad! ~ Michael Morpurgo, #NFDB
1094:Our highest assurance of the goodness of Providence seems to me to rest in the flowers. All other things, our powers, our desires, our food, are all really necessary for our existence in the first instance. But this rose is an extra. Its smell and its colour are an embellishment of life, not a condition of it. It is only goodness which gives extras, and so I say again that we have much to hope from flowers. ~ Arthur Conan Doyle, #NFDB
1095:Our highest assurance of the goodness of Providence seems to me to rest in the flowers. All other things, our powers, our desires, our food, are really necessary for our existence in the first instance. But this rose is an extra. Its smell and its colour are an embellishment of life, not a condition of it. It is only goodness which gives extras, and so I say again that we have much to hope from the flowers. ~ Arthur Conan Doyle, #NFDB
1096:...the face before him was like nothing he had ever seen before. It was smooth, with a black strip of cloth tied over its forehead, and yet it was deeply furrowed, like the sea, that can have tall waves but not a wrinkle on the surface. The eyes were like dark chasms and yet they were the eyes of a human being and not empty sockets. The skin was a greenish olive colour and looked as if it were made of bronze... ~ Gustav Meyrink, #NFDB
1097:Despite the heavy, motionless silence of the hawthorns, these gusts of fragrance came to me like the murmuring of an intense vitality, with which the whole altar was quivering like a roadside hedge explored by living antennae, of which I was reminded by seeing some stamens, almost red in colour, which seemed to have kept the springtime virulence, the irritant power of stinging insects now transmuted into flowers. ~ Marcel Proust, #NFDB
1098:School and things that painters have taught me even keep me from painting as I want to. I decided I was a very stupid fool not to be at least paint as I wanted to and say what I wanted to when I painted as that seemed to be the only thing I could do that didn't concern anybody but myself. I found that I could say things with colour and shapes that I couldn't say in any other way things that I had no words for. ~ Georgia O Keeffe, #NFDB
1099:The aura given out by a person or object is as much a part of them as their flesh. The effect that they make in space is as bound up with them as might be their colour or smell ... Therefore the painter must be as concerned with the air surrounding his subject as with the subject itself. It is through observation and perception of atmosphere that he can register the feeling that he wishes his painting to give out. ~ Lucian Freud, #NFDB
1100:The storyteller has always been a valuable member of society. Even in prehistoric times when men hunted wild beasts and lived in caves they sat around the campfire at night and listened to stories. Your profession is one of the oldest in the world and one of the most useful... And we need stories more than ever now. We need stories to entertain us, to help us to forget our troubles, to fill our lives with colour. ~ D E Stevenson, #NFDB
1101:A feeling of dissociation from his senses, an inability to think straight or interpret what he sees and hears. Things begin to look and sound different, slower, artificial, unreal. The first time it happened he thought he was losing his mind, that the whole cognitive framework by which he made sense of the world had disintegrated for good, and everything from then on would just be undifferentiated sound and colour. ~ Sally Rooney, #NFDB
1102:Art and the party were aligned for the next 40 years. Art for art’s sake ceased to exist. Artists had little choice but to produce propaganda. Mao-era posters were often striking with their muscular steelworkers and relentlessly cheerful peasants. They provided a rare spot of colour in otherwise grey lives; many people decorated their walls with such images (unintentionally, the paper also proved useful as insulation). ~ Anonymous, #NFDB
1103:[W]hen the knowledge and love of God is considered to exclude other goals and other creatures, God is actually put on a par with his creatures. The knowledge of God and the knowledge of creatures can exclude one another only if they are of the same kind. One must choose between yellow and blue, as two of the kind colour, but there is no need to choose between yellow and round, since what is round can also be yellow. ~ Alan W Watts, #NFDB
1104:Cause nobody's the slightest idea who we are, or who we were, not even we ourselves
- except, that is, in the glimmer of a moment of fair business between strangers, or the nod of knowing and agreement between friends.
Other than these, we go out anonymous into the insect air and all we are is the dust of colour, brief engineerings of wings towards a glint of light on a blade of grass or a leaf in a summer dark. ~ Ali Smith,#NFDB
1105:The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before. ~ Michael Craig Martin, #NFDB
1106:What we are, in fact, are electronic ape-men. We woke up just now in the electronic dawn and there, looming against the brightening sky, is this huge black rectangle. And we’re reaching out and touching it and saying, “Is it WAP enabled? Can we have sex with it? Can you get it in a different colour? Is it being sold cheap because the Monolith2 is being released next month and has a built-in PDA for the same price? ~ Terry Pratchett, #NFDB
1107:I hated the mountains and the hills, the rivers and the rain. I hated the sunsets of whatever colour, I hated its beauty and its magic and the secret I would never know. I hated its indifference and the cruelty which was part of its loveliness. Above all I hated her. For she belonged to the magic and the loveliness. She had left me thirsty and all my life would be thirst and longing for what I had lost before I found it. ~ Jean Rhys, #NFDB
1108:The politics of whiteness transcends the colour of anyone's skin. It is an occupying force in the mind. It is a political ideology that is concerned with maintaining power through domination and exclusion. Anyone can buy into it, just like anyone can choose to challenge it. [...] Those who perceive every critique of white-dominated politics to be an attack of them as a white person are probably part of the problem. ~ Reni Eddo Lodge, #NFDB
1109:An unchangeable colour rules over the melancholic: his dwelling is a space the colour of mourning. Nothing happens in it. No one intrudes. It is a bare stage where the inert I is assisted by the I suffering from that inertia. The latter wishes to free the former, but all efforts fail, as Theseus would have failed had he been not only himself but also the Minotaur; to kill him then, he would have had to kill himself ~ Alejandra Pizarnik, #NFDB
1110:If, I can someday see M. Claude Monet's garden, I feel sure that I shall see something that is not so much a garden of flowers as of colours and tones, less an old-fashioned flower garden than a colour garden, so to speak, one that achieves an effect not entirely nature's, because it was planted so that only the flowers with matching colours will bloom at the same time, harmonized in an infinite stretch of blue or pink. ~ Marcel Proust, #NFDB
1111:In practice, race was a sliding signifier in Jamaica. The social slippage – the sliding of the signifier – was extensive, constitutive of social life itself. There were wide skin colour variations even within the same family, as was the case in my own. Jamaican society gossiped, monitored intensely and speculated riotously about this perpetual, confusing fluidity of the body. When I was a child it’s what Jamaica was. Such ~ Stuart Hall, #NFDB
1112:nothing which we are to perceive in this world equals the power of your intense fragility:whose texture compels me with the colour of its countries, rendering death and forever with each breathing (i do not know what it is about you that closes and opens;only something in me understands the voice of your eyes is deeper than all roses) nobody,not even the rain, has such small hands -excerpt of #35 from "100 Selected Poems ~ e e cummings, #NFDB
1113:The Earth school is not a concept. It is an an ongoing 3-dimesional, full colour, hi-fidelity, interactive multi-media experience that does not end until your soul goes home (until you die). Every moment in the earth school offers you important opportunities to learn about yourself. Those things have to do with your soul. The Earth school operates with exquisite perfection and efficiency whether you are aware of it or not. ~ Gary Zukav, #NFDB
1114:when the sky is as grey as this - impeccably grey, a denial, really of the very concept of colour - and the stooped millions lift their heads, it's hard to tell the air from the impurities in our human eyes, as if the sinking climbing paisley curlicues of grit were part of the element itself, rain, spores, tears, film, dirt. Perhaps, at such moments, the sky is no more then the sum of the dirt that lives in our human eyes. ~ Martin Amis, #NFDB
1115:The snow lay thin and apologetic over the world. That wide grey sweep was the lawn, with the straggling trees of the orchard still dark beyond; the white squares were the roofs of the garage, the old barn, the rabbit hutches, the chicken coops. Further back there were only the flat fields of Dawson's farm, dimly white-striped. All the broad sky was grey, full of more snow that refused to fall. There was no colour anywhere. ~ Susan Cooper, #NFDB
1116:The intellectual attainments of a man who thinks for himself resemble a fine painting, where the light and shade are correct, the tone sustained, the colour perfectly harmonised; it is true to life. On the other hand, the intellectual attainments of the mere man of learning are like a large palette, full of all sorts of colours, which at most are systematically arranged, but devoid of harmony, connection and meaning. ~ Arthur Schopenhauer, #NFDB
1117:Iconic clothing has been secularized. . . . A guardsman in a dress uniform is ostensibly an icon of aggression; his coat is red as the blood he hopes to shed. Seen on a coat-hanger, with no man inside it, the uniform loses all its blustering significance and, to the innocent eye seduced by decorative colour and tactile braid, it is as abstract in symbolic information as a parasol to an Eskimo. It becomes simply magnificent. ~ Angela Carter, #NFDB
1118:You said, 'I'm going to leave him because my love for you makes any other life a lie.' I've hidden these words in the lining of my coat. I take them out like a jewel thief when no-one's watching. They haven't faded. Nothing about you has faded. You are still the colour of my blood. You are my blood. When I look in the mirror it's not my own face I see. Your body is twice. Once you once me. Can I be sure which is which? ~ Jeanette Winterson, #NFDB
1119:You said, ‘I’m going to leave him because my love for you makes any other life a lie.’ I’ve hidden those words in the lining of my coat. I take them out like a jewel thief when no-one’s watching. They haven’t faded. Nothing about you has faded. You are still the colour of my blood. You are my blood. When I look in the mirror it’s not my own face I see. Your body is twice. Once you once me. Can I be sure which is which? ~ Jeanette Winterson, #NFDB
1120:I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc. ~ Gerhard Richter, #NFDB
1121:This institutional racism, the report explained, is ‘the collective failure of an organisation to provide an appropriate and professional service to people because of their colour, culture, or ethnic origin. It can be seen or detected in processes, attitudes and behaviour which amount to discrimination through unwitting prejudice, ignorance, thoughtlessness and racist stereotyping which disadvantage minority ethnic people. ~ Reni Eddo Lodge, #NFDB
1122:Darkness. Suddenly, a single spotlight illuminates Apollo standing on the front porch of the Big House. The house is a bold red colour, a stark contrast to the short white chiton Apollo wears. He clears his throat and speaks. APOLLO: A poem by Apollo, recited dramatically by … Apollo: O Immortal Chiron, Centaur wise and true, Trainer of our heroes, Just remember who taught you. – The opening scene of Welcome to Camp Half-Blood ~ Rick Riordan, #NFDB
1123:In 1982 I bought the newly released Makina Plaubel 55mm fixed-lens camera. With this shift from 35mm to 6 x 7, I also changed from black and white to color. Later that year, I started my project on New Brighton called The Last Resort. However, the first project I shot in colour was composed of urban scenes from Liverpool. This image was on the second roll of film. It's the first good photo I made in this new chapter of my work. ~ Martin Parr, #NFDB
1124:Ravi was right. Truly I was to be the next goat. I had a wet, trembling, half-drowned, heaving and coughing three-year-old adult Bengal tiger in my lifeboat. Richard Parker rose unsteadily to his feet on the tarpaulin, eyes blazing as they met mine, ears laid tight to his head, all weapons drawn. His head was the size and colour of the lifebuoy, with teeth.
I turned around, stepped over the zebra and threw myself overboard. ~ Yann Martel,#NFDB
1125:She moved in her world in slow motion. The little pills she took kept her safe, her eyes were empty of colour, of light. Every couple of years Joe’s father would take his wife to Greece, make a trek to a valley where the Virgin was said to appear. They would drink the holy water, cross themselves, and still the woman would search through her bag to get to the little pills that kept her sane. Sanity is a chemical reaction. ~ Christos Tsiolkas, #NFDB
1126:The lily I condemned for thy hand, And buds of marjoram had stol'n thy hair: The roses fearfully on thorns did stand, One blushing shame, another white despair; A third, nor red nor white, had stol'n of both And to his robbery had annex'd thy breath; But, for his theft, in pride of all his growth A vengeful canker eat him up to death. More flowers I noted, yet I none could see But sweet or colour it had stol'n from thee. ~ William Shakespeare, #NFDB
1127:It took me a long time, my lifetime so to speak, to realise that the colour of an eye half seen, or the source of some distant sound, are closer to Giudecca in the hell of unknowing than the existence of God, or the origins of protoplasm, or the eistence of self, and even less worthy than these to occupy the wise, It's a bit much, a lifetime, to achieve this consoling conclusion, it doesn't leave you much time to profit by it. ~ Samuel Beckett, #NFDB
1128:Even in pictures of their youth, old people look old.
He watched as the pictures moved to crisp black-and-white and then to the bland colour of Polaroids, watched as children were born and then grew up, as hair fell out and was replaced by wrinkles.
And all the while Starnes and Mary stayed in the pictures together, from their wedding to their fiftieth anniversary.
I will have that, Colin thought. I will have it. I will. ~ John Green,#NFDB
1129:Magic is a combination of art and science. It's an art because of the traditional parts of things, the graceful gestures, the sonorous invocations, the use of colour, sight, sound, all of these things make it very much an art form. Yet it is also a science as well because we expect something to come of what we do. Using and creating these almost dreamlike inner landscapes in which we can live, move, and have our being. ~ Dolores Ashcroft Nowicki, #NFDB
1130:He Looked and smelt like Autumn's very brother, his face being sunburnt to wheat-colour, his eyes blue as corn-flowers, his sleeves and leggings dyed with fruit-stains, his hands clammy with the sweet juice of apples, his hat sprinkled with pips, and everywhere about him the sweet atmosphere of cider which at its first return each season has such an indescribable fascination for those who have been born and bred among the orchards. ~ Thomas Hardy, #NFDB
1131:Colonialism is a terrible bane for a people upon whom it is imposed, but a blessing for a language. English's drive to exploit the new and the alien, its zeal in robbing words from other languages, its incapacity to feel qualms over the matter, its museum-size overabundance of vocabulary, it shoulder-shrug approach to spelling, its don't-worry-be-happy concern for grammar-the result was a language whose colour and wealth Henry loved. ~ Yann Martel, #NFDB
1132:He watched her serve and flirt with the other customers. Periodically, she flashed him a toothy smile, showing off her flawless white teeth, which glistened under the lights directed at the bar. He returned her smile and added a wink for good measure. He knew women like her wanted to feel special. The pretty woman, who had insisted that he call her Brenda, fluttered her eyelashes at him as colour highlighted her slightly plump cheeks. ~ M A Comley, #NFDB
1133:And while Trish stared - stared, as it now seemed, into her own eyes - Guy held her hand and watched the crowd: how it bled colour from the enormous room and drew all energy towards itself, forming one triumphal being; how it trembled, then burst or came or died, releasing individuality; and how the champion was borne along on its subsidence, his back slapped, his hair tousled, mimed by female hands and laughing, like the god of mobs. ~ Martin Amis, #NFDB
1134:Colonialism is a terrible bane for a people upon whom it is imposed, but a blessing for a language. English's drive to exploit the new and the alien, its zeal in robbing words from other languages, its incapacity to feel qualms over the matter, its museum-size overabundance of vocabulary, it shoulder-shrug approach to spelling, its don't-worry-be-happy concern for grammar--the result was a language whose colour and wealth Henry loved. ~ Yann Martel, #NFDB
1135:In the Amazon, you may walk for days without seeing a tree; in Beijing, the air is the colour of a bruise. Three thousand miles of litter floats in the Atlantic Ocean, plastic bags and old nappies, bumping against the side of the ships... I sat before a committee in Brussells and they said, ‘What do you want us to do about it? If we change now, we’ll destroy our own economies,’ and I said, ‘You have destroyed your own world’
Pg66 ~ Claire North,#NFDB
1136:You’re wearing his symbol,” he observed, his glance flicking to the little gold charm hanging at my neckline. “His symbol and his colour.”
“They’re just clothes.”
Mal’s lips twisted in a cynical smile, a smile so different from the one I knew and loved that I almost flinched. “You don’t really believe that.”
“What difference does it make what I wear?”
“The clothes, the jewels, even the way you look. He’s all over you. ~ Leigh Bardugo,#NFDB
1137:As Tolkien points out, it is familiar faces that are “most difficult really to see with fresh attention, perceiving their likeness and unlikeness: that they are faces, and yet unique faces. . . . We say we know them. They have become like the things which once attracted us by their glitter, or their colour, or their shape, and we laid hands on them, and then locked them in our hoard, acquired them, and acquiring ceased to look at them. ~ Holly Ordway, #NFDB
1138:he child sees everything in a state of newness; he is always drunk. Nothing more resembles what we call inspiration than the delight with which a small child absorbs form and colour. Genius is nothing more nor less than childhood recovered at will - a childhood now equipped for self-expression with manhood's capacities and a power of analysis which enables it to order the mass of raw material which it has involuntarily accumulated. ~ Charles Baudelaire, #NFDB
1139:I make sure I have the best: I figure you could spend $800 on an outfit you wear three times, but with your hair it's there all the time. I also think it is really important to look after your colour once it's been done. I try and give my hair a really nourishing mask every so often to combat against all the styling. I also love to have beauty treatments that really benefit, like massages. t's divine to get up and feel all zen and relaxed. ~ Cat Deeley, #NFDB
1140:TELEGRAM. SEWARD, LONDON, TO VAN HELSING, AMSTERDAM "4 September.--Patient still better today." TELEGRAM, SEWARD, LONDON, TO VAN HELSING, AMSTERDAM "5 September.--Patient greatly improved. Good appetite, sleeps naturally, good spirits, colour coming back." TELEGRAM, SEWARD, LONDON, TO VAN HELSING, AMSTERDAM "6 September.--Terrible change for the worse. Come at once. Do not lose an hour. I hold over telegram to Holmwood till have seen you. ~ Bram Stoker, #NFDB
1141:What an unreliable thing is time--when I want it to fly, the hours stick to me like glue. And what a changeable thing, too. Time is the twine to tie our lives into parcels of years and months. Or a rubber band stretched to suit our fancy. Time can be the pretty ribbon in a little girl's hair. Or the lines in your face, stealing your youthful colour and your hair. .... But in the end, time is a noose around the neck, strangling slowly. ~ Rohinton Mistry, #NFDB
1142:Pluck this little flower and take it, delay not! I fear lest it
droop and drop into the dust.
I may not find a place in thy garland, but honour it with a touch of
pain from thy hand and pluck it. I fear lest the day end before I am
aware, and the time of offering go by.
Though its colour be not deep and its smell be faint, use this flower
in thy service and pluck it while there is time.
~ Rabindranath Tagore, Flower
,#NFDB
1143:Shut your eyes, wait, think of nothing. Now, open them ... one sees nothing but a great coloured undulation. What then? An irradiation and glory of colour. This is what a picture should give us ... an abyss in which the eye is lost, a secret germination, a coloured state of grace ... loose conciousness. Descend with the painter into the dim tangled roots of things, and rise again from them in colours, be steeped in the light of them. ~ Paul Cezanne, #NFDB
1144:Springtime is over
Don't head for home
Creep up the ladder
And steal over stone
No time to forget this
World's in your eyes
Sway in the cloud blur
And light up the sky
Cast off the colour
And tune in to black
The moon touches your shoulder
And brings the day back
And touches your window
And touches your window
And touches your window
And touches your window
And touches your ~ Steven John Wilson,#NFDB
1145:The child sees everything in a state of newness; he is always drunk. Nothing more resembles what we call inspiration than the delight with which a small child absorbs form and colour. Genius is nothing more nor less than childhood recovered at will - a childhood now equipped for self-expression with manhood's capacities and a power of analysis which enables it to order the mass of raw material which it has involuntarily accumulated. ~ Charles Baudelaire, #NFDB
1146:You are not who you think you are. You are not who they want you to be. You are not merely your colour, class, gender - and so on - these are quite narrow things. You are not the ideas you are given and gather. You are not what you own or lay claim to. You are not even your life story - for that changes through time, perspective, emphasis and many things. You are what resides before, between and beyond all these things." - R. Ogunlaru ~ Rasheed Ogunlaru, #NFDB
1147:But I see you're not standing in a bleedin' shadow, Perks, nor have you done anything to change your bleedin' shape, you're silhouetted against the bleedin' light and your sabre's shining like a diamond in a chimney-sweep's bleedin' ear'ole! Explain!"
"It's because of the one C, sarge!" said Polly, still staring straight ahead.
"And that is?"
"Colour, sarge! I'm wearing bleedin' red and white in a bleedin' grey forest, sarge! ~ Terry Pratchett,#NFDB
1148:I must confess, your gown does not do justice as your trousers did to your delightful derriere."
Colour flamed in her face. She ought to be outraged, but Isabella was briefly, shockingly inclined to laugh. "A gentleman does not remark on a lady's derriere."
"I seem to recall telling you when last we met that I am not a gentleman, senorita. And now I come to think of it, I recall also that you took umbrage at being called a lady. ~ Marguerite Kaye,#NFDB
1149:When I drive to the lupins and see them all spread out as far as eye can reach in perfect beauty of colour and scent and bathed in the mild August sunshine, I feel I must send for somebody to come and look at them with me, and talk about them to me, and share in the pleasure; and when I run over the list of my friends and try to find one who would enjoy them, I am frightened once more at the solitariness in which we each of us live. ~ Elizabeth von Arnim, #NFDB
1150:Even as a child I had had at intervals a fondness for observing strange forms in nature, not so much examining them as surrendering myself to their magic, their oblique message. Long tree-roots, coloured veins in rock, patches of oil floating on water, flaws in glass—all such things had a certain fascination for me, above all, water and fire, smoke, clouds, dust and expecially the swirling specks of colour which swam before my closed eyes. ~ Hermann Hesse, #NFDB
1151:Red, brown, yellow, green, black. Five colours to say everything that could be said. And what Cy suddenly wanted, more than anything in the world just then, what he wanted was that missing blue, primary and resistant to the trade. Blue that was unstable and misbehaved when left in skin. Blue like the sea that had taken his father. Blue, for his mother's sake, and for the true colour of every bereaved and bloodless heart when it is collapsing. ~ Sarah Hall, #NFDB
1152:bolinhos de bacalhau, the delicious codfish fritters cooked on every street corner. The riot of colour that existed everywhere, from the jungle flowers, to the women’s stunning dresses, to the frescoes and stained glass windows of the tiny, baroque Chapel of St Rita, where they now stood. All of it made Gunther Hartog feel young again. Young and alive. ‘What if Pierpont got wise?’ The worry lines deepened on Jeff Stevens’s face. ‘What if…? ~ Tilly Bagshawe, #NFDB
1153:Fate, they say, fate- the clay that molds the events of your life, and it was the same fate that had thrown the stone of her heart on the building of his expectations. But then wasn't it his fault that he had constructed the building of glass? Hadn't he failed to cement the bricks of his love with trust and colour them with security? There was no insurance for broken hearts, no ointment for wounded souls and there would never be one, he knew. ~ Faraaz Kazi, #NFDB
1154:We all colour devotion according to our own likings and dispositions. One man sets great value on fasting, and believes himself to be leading a very devout life, so long as he fasts rigorously, although the while his heart is full of bitterness;–and while he will not moisten his lips with wine, perhaps not even with water, in his great abstinence, he does not scruple to steep them in his neighbour’s blood, through slander and detraction. ~ Francis de Sales, #NFDB
1155:Salander was dressed for the day in a black T-shirt with a picture on it of E.T. with fangs, and the words I AM ALSO AN ALIEN. She had on a black skirt that was frayed at the hem, a worn-out black, mid-length leather jacket, rivet belt, heavy Doc Marten boots, and horizontally striped, green-and-red knee socks. She had put on make-up in a colour scheme that indicated she might be colourblind. In other words, she was exceptionally decked out. ~ Stieg Larsson, #NFDB
1156:and a little blear-eyed, weazen-faced, ancient man came creeping out. He was of a remote fashion, and dusty, like the rest of the furniture; he was dressed in a decayed suit of black; with breeches garnished at the knees with rusty wisps of ribbon, the very paupers of shoestrings; on the lower portion of his spindle legs were dingy worsted stockings of the same colour. He looked as if he had been put away and forgotten half a century before, ~ Charles Dickens, #NFDB
1157:If words had cost money, Tom couldn't have used them more sparingly. The adjectives were purely descriptive, relating to form and colour, and were used to present the objects under consideration, not the young explorer's emotions. Yet through this austerity one felt the kindling imagination, the ardour and excitement of the boy, like the vibration in a voice when the speaker strives to conceal his emotion by using only the conventional phrases. ~ Willa Cather, #NFDB
1158:The cause of that happiness was gone, of course, dead and gone, but still we put our faith in places. We think that if we just lived somewhere different, everything would be okay. We believe that if we paint the stairway a bright new colour, and clear out the closets, our minds will follow. We'll take just about any ray of hope rather than accept that ninety-five per cent of the world we inhabit exists within the confines of our own skulls. ~ Michael Marshall, #NFDB
1159:the ten-year-old girl cannot, of course, give a logical explanation of the opposition of the two groups, nor does she understand the difference between 'rev-a-loo-shun' and 'peese.' She has only the vague impressions that 'rev-a-loo-shun' is a kind of pointed way of thinking, while 'peese' has a rather more rounded shape. Each 'way of thinking' has its own shape and colour, which wax and wane like the moon. That is about all she understands. ~ Haruki Murakami, #NFDB
1160:And I sit down at the kitchen table and realize that Mom really died. That she’ll never come back. And that I am alone. Cold hands reach out for me, threaten to pull me into a dark place where I might never escape, and I let them. It’s like I’m trapped in a block of ice that nothing can penetrate. Everything around me is just a blur of colour, a flash of movement, garbled sounds. I can’t quite decipher and don’t want to. Time passes like sludge ~ Michelle Krys, #NFDB
1161:If Rosie’s mother had known that eye colour was not a reliable indicator of paternity, and organised a DNA test to confirm her suspicions, there would have been no Father Project, no Great Cocktail Night, no New York Adventure, no Reform Don Project—and no Rosie Project. Had it not been for this unscheduled series of events, her daughter and I would not have fallen in love. And I would still be eating lobster every Tuesday night.
Incredible. ~ Graeme Simsion,#NFDB
1162:...burying the bush in these little rosettes, almost too ravishing in colour, this rustic 'pompadour'. High up on the branches, like so many of those tiny rose-trees, their pots .concealed in jackets of paper lace, whose slender stems rise in a forest from the altar of the greater festivals, a thousand buds were swelling and opening, paler in colour, but each disclosing as it burst, as at the bottom of a cup of pink marble, its blood-red stain... ~ Marcel Proust, #NFDB
1163:If I know a song of Africa,—I thought,—of the Giraffe, and the African new moon lying on her back, of the ploughs in the fields, and the sweaty faces of the coffee-pickers, does Africa know a song of me? Would the air over the plain quiver with a colour that I had had on, or the children invent a game in which my name was, or the full moon throw a shadow over the gravel of the drive that was like me, or would the eagles of Ngong look out for me? I ~ Karen Blixen, #NFDB
1164:We all colour devotion according to our own likings and dispositions. One man sets great value on fasting, and believes himself to be leading a very devout life, so long as he fasts rigorously, although the while his heart is full of bitterness;–and while he will not moisten his lips with wine, perhaps not even with water, in his great abstinence, he does not scruple to steep them in his neighbour’s blood, through slander and detraction. ~ Saint Francis de Sales, #NFDB
1165:She’d call Montse to come and judge how well the picture was progressing. "Look here," she’d say, indicating a faint shape in the corner of the frame. "Look here –" Her fingertips glided over a darkening of colour in the distance. She sketched with an effort that strained every limb. Montse saw that the Señora sometimes grew short of breath though she’d hardly stirred. A consequence of snatching images out of the air – the air took something back. ~ Helen Oyeyemi, #NFDB
1166:Throughout the past 2500 years, whichever country Buddhism has been taught in, there have always been great yogis. Likewise, sooner or later there will be the great yogis of the West. This is because Buddhism has nothing to do with culture, gender, language, or colour. Buddhism is for all beings throughout time and space. And whoever dedicates their life to putting the teachings into practice will become a great yogi. It is as simple as that. ~ Chamtrul Rinpoche, #NFDB
1167:His skin was a pretty colour, it made me jealous. Jacob noticed my scrutiny. What?" he asked, suddenly self-conscious. "Nothing. I just hadn't realised before. Did you know, you're sort of beautiful?" Once the words slipped out, I worried that he might take my implusive observation the wrong way. But Jacob rolled his eyes. "You hit your head pretty hard, didn't you?" "I'm serious." Well, then, thanks. Sort of." I grinned. "You're sort of welcome. ~ Stephenie Meyer, #NFDB
1168:The ideal garden is one in which a collection of trees, shrubs and plants have been procured and allotted to the best space available and are so arranged and tended that they are seen to their advantage, each in relation to the other. Every plant, of whatever shape or size, should be chosen not only for its individual merits but for its power to enhance the charms of neighbouring plants by contrast or combination in foliage or in flower colour. ~ Penelope Hobhouse, #NFDB
1169:...a small piece of silk. It was at once iridescent and delicate, and shone with a colour no Occidental could ever have conceived....I held it in my hands, allowing it to cascade from my fingers. It was shot through with so many strands of colour that every time it moved its appearance changed: moonlight, emeralds and pearls all passed through my hands. This cold chameleon so transformed itself that I could scarcely believe it was the same piece of cloth. ~ Tash Aw, #NFDB
1170:Then, in my most careful handwriting, come all the details it would be a crime to forget. Lady licking Prim's cheek. My father's laugh. Peeta's father with the cookies. The colour of Finnick's eyes. What Cinna could do with a length of silk. Boggs reprogramming the Holo. Rue poised on her toes, arms slightly extended, like a bird about to take flight. On and on. We seal the pages with salt water and promises to live well to make their death count. ~ Suzanne Collins, #NFDB
1171:Cause nobody's the slightest idea who we are, or who we were, not even we ourselves
- except, that is, in the glimmer of a moment of fair business between strangers, or the nod of knowing and agreement between friends.
Other than these, we go out anonymous into the insect air and all we are is the dust of colour, brief engineering of wings towards a glint of light on a blade of grass or a leaf in a summer dark.
Azide Smith, How to be Both ~ Zadie Smith,#NFDB
1172:I thought scientists were going to find out exactly how everything worked, and then make it work better. I fully expected that by the time I was twenty-one, some scientist, maybe my brother, would have taken a colour photograph of God Almighty — and sold it to Popular Mechanics magazine. Scientific truth was going to make us so happy and comfortable.
What actually happened when I was twenty-one was that we dropped scientific truth on Hiroshima. ~ Kurt Vonnegut,#NFDB
1173:It was the finest dress I had ever owned: dull silk, of a colour as much green as it was brown that made my eyes gleam like mahogany, painted asymmetrically with vines of delicate vermillion roses; along the bosom, the cinched waist, and the fully draped sleeves were barred pairs of emerald stripes. A single cascade of tiny buttons dripped from neck to waist, and it occurred to me, seeing the mischievous tilt to my lips, that I had never looked better. ~ Lyndsay Faye, #NFDB
1174:I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one's sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city. ~ Barbara Hepworth, #NFDB
1175:When a creature begins to emerge from it's chrysails there is a point at which it is neither one thing nor the other, not quite grown into a new identity nor rid of the old one.
It's wings are folded and sticky, it's colours hidden. Whether it will emerge in shades of emerald and lapis lazuli or the colour of mud is yet to be revealed.
It is that long, still, moment of waiting that fascinates me utterly. The suspence of waiting for beauty to unfurl. ~ Meg Rosoff,#NFDB
1176:Sing, then. Sing, indeed, with shoulders back, and head up so that song might go to the roof and beyond to the sky. Mass on mass of tone, with a hard edge, and rich with quality, every single note a carpet of colour woven from basso profundo, and basso, and baritone, and alto, and tenor, and soprano, and alto and mezzo, and contralto, singing and singing, until life and all things living are become a song. O, Voice of Man, organ of most lovely might. ~ Richard Llewellyn, #NFDB
1177:When I'm running, there's always this split second when the pain is ripping through me and I can hardly breathe and all I see is colour and blur - and in that split second, right as the pain crests, and becomes too much, there's a whiteness going through me, I see something to my left, a flicker of colour (auburn hair, burning, a crown of leaves)-and I know then, too, that if I only turn my head he'll be there, laughing, watching me, holding out his arms. ~ Lauren Oliver, #NFDB
1178:Her fine high forehead sloped gently up to where her hair, bordering it like an armorial shield, burst into lovelocks and waves and curlicues of ash blonde and gold. Her eyes were bright, big, clear, wet and shining, the colour of her cheeks was real, breaking close to the surface from the strong young pump of her heart. Her body hovered delicately on the last edge of childhood -- she was almost eighteen, nearly complete, but the dew was still on her. ~ F Scott Fitzgerald, #NFDB
1179:Like what she felt when she looked at the Lagoon Nebula.
Or imagined galaxies gathered into dusters and superclusters, bigger and bigger, until size lost any meaning and she felt herself falling.
She was falling now.
She couldn't see anything except his eyes.
And those eyes were strange, prismlike, changing colour like a star seen through heavy atmosphere.
Now blue, now gold, now violet.
Oh, take this away.
Please, I don't want it. ~ L J Smith,#NFDB
1180:Inhabiting this universe is not a cultural prerogative, or a lifestyle decision. And I don’t have to forgive or forget a single act of enslavement, theft, imperialism, or patriarchy, in order to be a physicist – or to approach the subject with whatever intellectual tools I need. Every scientist sees further by standing on a pile of corpses – and frankly, I don’t care what kind of genitals they had, what language they spoke, or what the colour of their skin was. ~ Greg Egan, #NFDB
1181:Name one hero who was happy. You can't.' He was sitting up now, leaning forward. He lifted an eyebrow. 'I'll tell you a secret. I'm going to be the first.' He took my palm and held it to his. 'Swear it.' 'Why me?' 'Because you're the reason. Swear it.' 'I swear it, I said, lost in the high colour of his cheeks, the flame in his eyes. 'I swear it,' he echoed. We sat like that for a moment, hands touching. He grinned, 'I feel like I could eat the world raw. ~ Madeline Miller, #NFDB
1182:Sing, then. Sing, indeed, with shoulders back, and head up so that song might go to the roof and beyond to the sky. Mass on mass of tone, with a hard edge, and rich with quality, every single note a carpet of colour woven from basso profundo, and basso, and baritone, and alto, and tenor, and soprano, and also mezzo, and contralto, singing and singing, until life and all things living are become a song.
O, Voice of Man, organ of most lovely might. ~ Richard Llewellyn,#NFDB
1183:To my mind's eye, my buried memories of Brandham Hall are like effects of chiaroscuro, patches of light and dark: it is only with effort that I see them in terms of colour. There are things I know, though I don't know how I know them, and things that I remember. Certain things are established in my mind as facts, but no picture attaches to them; on the other hand there are pictures unverified by any fact which recur obsessively, like the landscape of a dream. ~ L P Hartley, #NFDB
1184:A little boy of five or six was standing there, in fact, utterly motionless. He was dressed in grey, grey stockings above the knee, grey shorts, and a grey jersey. He was standing absolutely still, staring down the road towards them. His face was a dead, greyish white in colour. Howard caught his breath at the sight of him, and said very softly: ‘Oh, my God!’ He had never seen a child looking like that, in all his seventy years. He crossed quickly over to him, ~ Nevil Shute, #NFDB
1185:nothing which we are to perceive in this world equals
the power of your intense fragility:whose texture
compels me with the colour of its countries,
rendering death and forever with each breathing
(i do not know what it is about you that closes
and opens;only something in me understands
the voice of your eyes is deeper than all roses)
nobody,not even the rain, has such small hands
-excerpt of #35 from "100 Selected Poems ~ E E Cummings,#NFDB
1186:When I fear I have done wrong, when I look to those who are less wise, when I forget transcendence, and kneel in the meanings of colour and shadow, when I tell lies to my soul, I seek out water, I follow it's charm - a river, a steam, a lake with its springs and currents.
See how it offers life as it flawlessly flows and forms to the shape of this world, the contours of the land, the urge of earth, hear how it sings under the sun, of endless evaporation. ~ Teresa of vila,#NFDB
1187:For if we understood or said that colour is not in a coloured body, or that it is separated from it, there would be error in this opinion or assertion. But if we consider colour and its properties, without reference to the apple which is coloured; or if we express in words what we thus understand, there is no error in such an opinion or assertion, because an apple is not essential to colour, and therefore, colour can be understood independently of the apple. ~ Fulton J Sheen, #NFDB
1188:Menindee
Today it is
dark clouds
moving in from the west,
a deep brown-purple, the colour of sky
before a sand-storm on the desert’s edge.
A dog is barking somewhere
as if to frighten them away.
I realise that I should go around
shutting the doors and windows
and bring in the washing from the line,
but now there is a sudden, eerie coldness,
like the dip
before a great wave
catches and hurls you upwards.
~ David Brooks,#NFDB
1189:And Richard was silent, for the truth Jerott had seen touched him, too, for a moment before he thrust it aside. He said, instead, ‘Once, I returned, by mistake, a present you gave me.’
As when he had come in, fresh from the wind, surprise and pleasure roused, for an instant, all the colour in his brother’s face. Francis Crawford said, ‘I have kept it, in case one day you might want it. If you do … It makes worthwhile this part, at least, of the journey. ~ Dorothy Dunnett,#NFDB
1190:The costumes of these two ladies seemed to me like the materialisation, snow-white or patterned with colour, of their inner activity, and, like the gestures which I had seen the Princesse de Guermantes make and which, I had no doubt, corresponded to some latent idea, the plumes which swept down from her forehead and her cousin’s dazzling and spangled bodice seemed to have a special meaning, to be to each of these women an attribute which was hers and hers alone. ~ Marcel Proust, #NFDB
1191:Warm, Considering likes to think it is very protective of me.” QiRia drank from his glass. “It is very protective of me. But certain sorts of protection, even care, can shade into a sort of desire for ownership. Certainly into a feeling that what is being protected is an earned exclusivity of access for the protector, not the privacy of the protected.” He looked across at her. His eyes were the colour of the sea, she remembered. Dark now. “Do you understand? ~ Iain M Banks, #NFDB
1192:..something like that make me feel what Rhonda, what Farrakhan, say - there is a god. But me when I think of it I'm more inclined to go with Shug in The Colour Purple. God ain' white, he ain' no Jew or Muslim, maybe he ain' even black, maybe he ain' even a 'he.' Even now I go downtown and see .. I see those men in vacant lot share one hot dog and they homeless, that's good as Jesus with his fish. I remember when I had my daughter, nurse nice to me too - all that is god. ~ Sapphire, #NFDB
1193:Throughout the 1950s, the government was reluctant to recognise that the country had a problem with racism. But there was some movement. In 1960, backbench Labour MP Archibald Fenner Brockway repeatedly tried to bring forward a Race Discrimination Bill with the aim of outlawing ‘discrimination to the detriment of any person on the grounds of colour, race and religion in the United Kingdom’.28 Every single one of the nine times he tabled the Bill, it was defeated. ~ Reni Eddo Lodge, #NFDB
1194:My gift to you, Yukiko-chan.' He nodded. 'Use it to cut away your fear, and leave nothing in its wake. Cherish it. And cherish this truth I speak to you now, if no other before or after: The greatest tempest Shima has even known waits in the wings for you to call its name. Your anger can topple mountains. Crush empires. Change the very shape of the world.'
He pressed the blade into her hand, watched her with cool eyes the colour of steel.
'Your anger is a gift. ~ Jay Kristoff,#NFDB
1195:You haven't learned life's lesson very well if you haven't noticed that you can give the tone or colour, or decide the reaction you want of people in advance. It's unbelievable simply. If you want them to take an interest in you, take an interest in them first. If you want to make them nervous, become nervous yourself...It's as simple as that. People will treat you as you treat them. It's no secret. Look about you. You can prove it with the next person you meet. ~ Winston Churchill, #NFDB
1196:I can remember every second of that morning, if I shut my eyes I can see the deep blue colour of the sky and the mango leaves, the pink and red hibiscus, the yellow handkerchief she wore around her head, tied in the Martinique fashion with the sharp points in front, but now I see everything still, fixed for ever like the colours in a stained-glass window. Only the clouds move. It was wrapped in a leaf, what she had given me, and I felt it cool and smooth against my skin. ~ Jean Rhys, #NFDB
1197:From the time I entered cabinet, the emphasis was on reforms, but reforms which did not abolish separate development, but reforms which were aimed at changing the very, very dehumanising aspects. Giving greater freedom of movement, giving private property ownership within so-called white South Africa also to blacks. Abolishing the concept of job reservation on the basis of race and colour. Allowing free organisation for trade unions, also black trade unions. ~ Frederik Willem de Klerk, #NFDB
1198:Little by little the head emerged, preserved by the sludge for about 2,500 years. There it was–the biggest ivory head ever found: a soft, pale brownish colour, the hair black, the faintly coloured lips with the enigmatic smile of one of the maidens of the Akropolis. The Lady of the Well–the Mona Lisa, as the Iraqi Director of Antiquities insisted on calling her–she has her place now in the new museum at Baghdad: one of the most exciting things ever to be found. There ~ Agatha Christie, #NFDB
1199:Wherever he was, whatever he was doing, he found himself suddenly accosted by some kind of synaesthetic fixation with the woman: hearing the colour of her hair in the mosque, smelling the touch of her hand on the tube, tasting her smile while innocently walking the streets on his way to work; and this in turn led to a knowledge of every public convenience in London, led to the kind of masturbation that even a fifteen-year-old boy living in Shetlands might find excessive. ~ Zadie Smith, #NFDB
1200:But I prefer the windy days, the days that strip me back, blasted, tossed, who knows where, imagine them, purple-red, silver-pink, natural confetti, thin, fragile, easily crushed and blackened, fading already wherever the air's taken them across the city, the car parks, the streets, the ragged grass verges, dog-ear and adrift on the surfaces of the puddles, flat to the gutter stones, mixing with the litter, their shards of colour circling in the leafy-grimy corners of yards. ~ Ali Smith, #NFDB
1201:Henry had written a novel because there was a hole in him that needed filling, a question that needed answering, a patch of canvas that needed painting—that blend of anxiety, curiosity and joy that is at the origin of art—and he had filled the hole, answered the question, splashed colour on the canvas, all done for himself, because he had to. Then complete strangers told him that his book had filled a hole in them, had answered a question, had brought colour to their lives. ~ Yann Martel, #NFDB
1202:His skin was a pretty colour, it made me jealous.
Jacob noticed my scrutiny.
What?" he asked, suddenly self-conscious.
"Nothing. I just hadn't realised before. Did you know, you're sort of beautiful?"
Once the words slipped out, I worried that he might take my implusive observation the wrong way.
But Jacob rolled his eyes. "You hit your head pretty hard, didn't you?"
"I'm serious."
Well, then, thanks. Sort of."
I grinned. "You're sort of welcome. ~ Stephenie Meyer,#NFDB
1203:She gathers my half of the blankets around her and curls up against the wall. She will sleep for hours more, dreaming endless landscapes and novas of colour both gorgeous and frightening. If I stayed she would wake up and describe them to me. All the mad plot twists and surrealist imagery, so vivid to her while so meaningless to me. There was a time when I treasured listening to her, when I found the commotion in her soul bitter-sweet and lovely, but I can no longer bear it. ~ Isaac Marion, #NFDB
1204:The problem of the planetary orbits had been hopelessly bogged down in its purely geometrical frame of reference, and when Kepler realized that he could not get it unstuck, he tore it out of that frame and removed it into the field of physics. This operation of removing a problem from its traditional context and placing it into a new one, looking at it through glasses of of a different colour as it were, has always seemed to me of the very essence of the creative process. ~ Arthur Koestler, #NFDB
1205:There is a wholeness about a woman, of shape, and sound, and colour, and taste, and smell, a quietness that is her, that you will want to hold tightly to you, all, every little bit, without words, in peace, for jealousy for the things that escape the clumsiness of your arms. So you feel when you love.
...For her womaness is a blessing about her, and you are tender to put your hands upon her and kiss, not with lust, but with the joy of one returning to a lost one. ~ Richard Llewellyn,#NFDB
1206:Colour Studies {at Dieppe}
The grey-green stretch of sandy grass,
Indefinitely desolate;
A sea of lead, a sky of slate;
Already autumn in the air, alas!
One stark monotony of stone,
The long hotel, acutely white,
Against the after-sunset light
Withers grey-green, and takes the grass's tone.
Listless and endless it outlies,
And means, to you and me, no more
Than any pebble on the shore,
Or this indifferent moment as it dies.
~ Arthur Symons,#NFDB
1207:[Malcolm Fraser] went straight from Melbourne Grammar to Oxford. And he would have been a very lonely person, and I think he probably met a lot of black students there who were also probably lonely. I think he formed friendships with them, which established his judgement about the question of colour. That’s my theory. I don’t know whether it’s right or not, but that’s what I always respected about Malcolm. He was absolutely, totally impeccable on the question of race and colour. ~ Bob Hawke, #NFDB
1208:Reyna had always pictured him as solid white with dove-like wings, but Pegasus’s coat was rich brown, mottled with red and gold around the muzzle – which Hedge claimed were the marks where the stallion had emerged from the blood and ichor of his beheaded mother, Medusa. Pegasus’s wings were the colours of an eagle’s – gold, white, brown and rust – which made him look much more handsome and regal than plain white. He was the colour of all horses, representing all his offspring. ~ Rick Riordan, #NFDB
1209:It is the artist's responsibility to be the oracle, to abstract where you are - that is our responsibility - we're not there to look glamorous. We're there to tune into the frequency of the Earth and the connective tissues of those things that we are responding to - language, colour, costume, literature, poetry, cuisine, perfume - these are the things that make up the desire to throw paint on a canvas, these are the things that create the excitement for building a new language! ~ Lisa Gerrard, #NFDB
1210:The first colour charts were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions. ~ Gerhard Richter, #NFDB
1211:His limbs were in proportion, and I had selected his features as beautiful. Beautiful!--Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips. ~ Mary Wollstonecraft Shelley, #NFDB
1212:I wouldn't know what to do with [colour]. Colour to me is too real. It's limiting. It doesn't allow too much of a dream. The more you throw black into a colour, the more dreamy it gets… Black has depth. It's like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you're afraid of. You start seeing what you love, and it becomes like a dream. ~ David Lynch, #NFDB
1213:The colours of insects and many smaller animals contribute to conceal them from the larger ones which prey upon them. Caterpillars which feed on leaves are generally green; and earth-worms the colour of the earth which they inhabit; butter-flies, which frequent flowers, are coloured like them; small birds which frequent hedges have greenish backs like the leaves, and light-coloured bellies like the sky, and are hence less visible to the hawk who passes under them or over them. ~ Erasmus Darwin, #NFDB
1214:The Tree Of Scarlet Berries
The rain gullies the garden paths
And tinkles on the broad sides of grass blades.
A tree, at the end of my arm, is hazy with mist.
Even so, I can see that it has red berries,
A scarlet fruit,
Filmed over with moisture.
It seems as though the rain,
Dripping from it,
Should be tinged with colour.
I desire the berries,
But, in the mist, I only scratch my hand on the thorns.
Probably, too, they are bitter.
~ Amy Lowell,#NFDB
1215:Facion goes in cycles but nothing has changed. When it's ridiculous it's more ridiculous than ever, and when it's wonderful it becomes more wonderful than ever because now more people think: "I dress the body I have, not I have to change the body to wear the fashion." That's what I admire about the growth of the fashion industry. I also think it's wonderful that there is the opportunity to use different textures and fabrics on different colour skins. I am inspired by that. ~ Carmen Dell Orefice, #NFDB
1216:It was the fashion of the times to attribute every remarkable event to the particular will of the Deity; the alterations of nature were connected, by an invisible chain, with the moral and metaphysical opinions of the human mind; and the most sagacious divines could distinguish, according to the colour of their respective prejudices, that the establishment of heresy tended to produce an earthquake, or that a deluge was the inevitable consequence of the progress of sin and error. ~ Edward Gibbon, #NFDB
1217:... on these expanded membranes [butterfly wings] Nature writes, as on a tablet, the story of the modifications of species, so truly do all changes of the organisation register themselves thereon. Moreover, the same colour-patterns of the wings generally show, with great regularity, the degrees of blood-relationship of the species. As the laws of nature must be the same for all beings, the conclusions furnished by this group of insects must be applicable to the whole world. ~ Henry Walter Bates, #NFDB
1218:When he at least reached the door the handle had cease to vibrate. Lowering himself suddenly to his knees he placed his head and the vagaries of his left eye (which was for ever trying to dash up and down the vertical surface of the door), he was able by dint of concentration to observe, within three inches of his keyholed eye, an eye which was not his, being not only of a different colour to his own iron marble, but being, which is more convincing, on the other side of the door. ~ Mervyn Peake, #NFDB
1219:If there's a message to pass to people, I'd say that it's normal to be different from others, it's good to differ from one another, and we'd better look at ourselves first before we start criticising someone who looks, acts, speaks different or has a different skin colour. I'd like to continue, even at a minimal level, what John Lennon had started. If I could do as much as a bit of what he did, if I could contribute to the elimination of hatred among us, that would be a great deal. ~ Johnny Depp, #NFDB
1220:O White Wind, Numbing The World
O WHITE wind, numbing the world
to a mask of suffering hate!
and thy goblin pipes have skirl’d
all night, at my broken gate.
O heart, be hidden and kept
in a half-light colour’d and warm,
and call on thy dreams that have slept
to charm thee from hate and harm.
They are gone, for I might not keep;
my sense is beaten and dinn’d;
there is no peace but a grey sleep
in the pause of the wind.
~ Christopher John Brennan,#NFDB
1221:I can see it, hear it, feel it, taste it - but I can never be on the inside of it with you. I cannot even be sure whether I really know what it is like. Is it 'like' my own? Or incomparable? Just as I can never know if what you see at any given moment is exactly the same as what I see. We look at a colour. We both call it red. But it is only because we have been taught to call it by that name. There is no guarantee - not ever - that we see it in the same way, that your red is my red. ~ Andr Brink, #NFDB
1222:I’m no longer engaging with white people on the topic of race. Not all white people, just the vast majority who refuse to accept the existence of structural racism and its symptoms. I can no longer engage with the gulf of an emotional disconnect that white people display when a person of colour articulates their experience. You can see their eyes shut down and harden. It’s like treacle is poured into their ears, blocking up their ear canals. It’s like they can no longer hear us. ~ Reni Eddo Lodge, #NFDB
1223:"Jace?" She offered him the glass. "I am a man," he told her. "And men do not consume pink beverages. Get thee gone, woman and bring me something brown." "Brown?" Isabelle made a face. "Brown is a manly colour," said Jace and yanked on a stray lock of Isabelle's hair with his free hand. "In fact, look - Alec is wearing it." Alec looked mournfully down at his sweater. "It was black," he said. "But then it faded." "You could dress it up with a sequined headband," Magnus suggested. ~ Cassandra Clare, #NFDB
1224:[...] a morass of despair violence death with a thin layer of glass spread upon the surface where Love, a tiny crab with pincers and rainbow shell, walked delicately ever sideways but getting nowhere, while the sun [...] rose higher in the sky its tassels dropping with flame threatening every moment to melt the precarious highway of glass. And the people: giant pathworks of colour with limbs missing and parts of their mind snipped off to fit them into the outline of the free pattern. ~ Janet Frame, #NFDB
1225:But sometimes I do wonder if I'm love-blind the way some people are colour-blind, or most people are ghost-blind. If love (true or false, thick or thin, requited or un-) really is the only glue ever mortars our sad hearts' bricks together, and me not swift enough to recognize the label any time I happened to pass it by.
Because: living is transience, after all--people aren't really permanent 'til they're dead, no matter what you might've felt for 'em beforehand. Always changing... ~ Gemma Files,#NFDB
1226:Sinclair chuckled. “I did rather wonder,” he admitted. “And I don’t blame you for warning me off, Murdo. He’s awfully fetching, this one.” A hot flash of colour invaded David’s cheeks as he absorbed the captain’s words and his gaze snapped to Murdo, his heart beginning to race. Murdo held up a hand. “Don’t worry,” he said quietly. “Captain Sinclair shares our preferences. And he’s not as reckless as he appears—I’ve known him a long time. You can trust him.” You can trust him. That ~ Joanna Chambers, #NFDB
1227:Behind The Scenes: Empire
The little painted angels flit,
See, down the narrow staircase, where
The pink legs flicker over it!
Blonde, and bewigged, and winged with gold,
The shining creatures of the air
Troop sadly, shivering with cold.
The gusty gaslight shoots a thin
Sharp finger over cheeks and nose
Rouged to the colour of the rose.
All wigs and paint, they hurry in:
Then, bid their radiant moment be
The footlights' immortality!
~ Arthur Symons,#NFDB
1228:They were climbing now, climbing the hill of hardened mud upon which the castle stood, and once they had left the lee of the dunes the flies grew less; the heat, on the other hand, was greater still. 'You are going a very disagreeable colour,' said Stephen. 'Should not you throw off that thick coat, and loosen your neckcloth? Heavy, corpulent subjects are liable to be carried off in a twinkling, if not by a frank, straightforward apoplexy, then at least by a
cerebral congestion. ~ Patrick O Brian,#NFDB
1229:This was no fruit of such worlds and suns as shine on the telescopes and photographic plates of our observatories. This was no breath from the skies whose motions and dimensions our astronomers measure or deem too vast to measure. It was just a colour out of space - a frightful messenger from unformed realms of infinity beyond all Nature as we know it; from realms whose mere existence stuns the brain and numbs us with the black extra-cosmic gulfs it throws open before our frenzied eyes. ~ H P Lovecraft, #NFDB
1230:A man of about fifty-four years of age, had begun, five or six months before, to be somewhat emaciated in his whole body...a troublesome vomiting came on, of a fluid which resembl’d water, tinctur’d with soot.... Death took place.... In the stomach...was an ulcerated cancerous tumour.... Betwixt the stomach and the spleen were two glandular bodies, of the bigness of a bean, and in their colour, and substance, not much unlike that tumour which I have describ’d in the stomach. ~ Giovanni Battista Morgagni, #NFDB
1231:I am an absurd idealist. But I believe that all that must come true. For, unless it comes true, the world will be laid desolate. And I believe that it can come true. I believe that, by the grace of God, men will awake presently and be men again, and colour and laughter and splendid living will return to a grey civilisation. But that will only come true because a few men will believe in it, and fight for it, and fight in its name against everything that sneers and snarls at that ideal. ~ Leslie Charteris, #NFDB
1232:The carillon is, after all, the music of the people. Elsewhere, in the glittering capitals, public festivals are celebrated with fireworks, that magical offering that can thrill the very soul. Here, in the meditative land of Flanders, among the damp mists so antagonistic to the brilliance of fire, the carillon takes their place. It is a display of fireworks that one hears: flares, rockets, showers, a thousand sparks of sound which colour the air for visionary eyes alerted by hearing. ~ Georges Rodenbach, #NFDB
1233:I suppose everybody has a mental picture of the days of the week, some seeing them as a circle, some as an endless line, and others again, for all I know, as triangles and cubes. Mine is a wavy line proceeding to infinity, dipping to Wednesday which is the colour of old silver dark with polishing and rising again to a pale gold Sunday. This day has a feeling in my picture of warmth and light breezes and sunshine and afternoons that stretch to infinity and mornings full of far-off bells. ~ Angela Thirkell, #NFDB
1234:Spring Pastoral
Liza, go steep your long white hands
In the cool waters of that spring
Which bubbles up through shiny sands
The colour of a wild-dove's wing.
Dabble your hands, and steep them well
Until those nails are pearly white
Now rosier than a laurel bell;
Then come to me at candlelight.
Lay your cold hands across my brows,
And I shall sleep, and I shall dream
Of silver-pointed willow boughs
Dipping their fingers in a stream.
~ Elinor Morton Wylie,#NFDB
1235:It is not elitist to look fascism in the face and reject it. It is not anti-democratic to carry on believing in a society where there is space for everyone. Fighting for tolerance, justice and dignity for women, queer people and people of colour is not frivolous or vain. Who decided that it was? Who decided that only those who place fear over faith in their fellow human beings are real, legitimate citizens whose voices matter? That’s not a rhetorical question. I want to know. Give me names. ~ Laurie Penny, #NFDB
1236:Will anyone understand it outside Paris? That is open to doubt. The special features of this scene, full of local colour and observations, can only be appreciated in the area lying between the heights of Montmartre and the hills of Montrouge, in that illustrious valley of flaking plasterwork and gutters black with mud; a valley full of suffering that is real, and of joy that is often false, where life is so hectic that it takes something quite extraordinary to produce feelings that last. ~ Honor de Balzac, #NFDB
1237:I Saw My Life As Whitest Flame
I saw my life as whitest flame
light-leaping in a crystal sky,
and virgin colour where it came
pass'd to its heart, in love to die.
It wrapped the world in tender harm
rose-flower'd with one ecstatic pang:
God walk'd amid the hush'd alarm,
and all the trembling region rang
music, whose silver veils dispart
around the carven silences
Memnonian in the hidden heart —
now blithe, effulgurant majesties.
~ Christopher John Brennan,#NFDB
1238:So long as you write what you wish to write, that is all that matters; and whether it matters for ages or only for hours, nobody can say. But to sacrifice a hair of the head of your vision, a shade of its colour, in deference to some Headmaster with a silver pot in his hand or to some professor with a measuring-rod up his sleeve, is the most abject treachery, and the sacrifice of wealth and chastity which used to be said to be the greatest of human disasters, a mere flea-bite in comparison. ~ Virginia Woolf, #NFDB
1239:Wallace would have none of it. In reviewing The Descent of Man he wrote, ‘Are we to believe that the actions of an ever varying fancy for a slight change of colour could produce and fix the definite colours and markings which actually characterise species?’ Furthermore, he said, it was unacceptable to suggest that birds had an aesthetic sense. That would be crediting a bird with a human characteristic for which there was no evidence. It would be anthropomorphism at its most unjustified. ~ David Attenborough, #NFDB
1240:the rain is coming. little sister, the night broke. the thunder cracked my brain finally. the rain is coming, i promise you. i didn’t mean to but your tears will bring life back. purple flowers grow, the colour blood looks in the veins. they’ll sprout out of my chest. i promise you they’ll crack the ground, grow over the freeways, down the slopes to the sea. i’ll be in their faces. i’ll be in the waves, coming down from the sky. i’ll be inside the one who holds you. and then i won’t be. ~ Francesca Lia Block, #NFDB
1241:Jace?" She offered him the glass.
"I am a man," he told her. "And men do not consume pink beverages. Get the gone, woman and bring me something brown."
"Brown?" Isabelle made a face.
"Brown is a manly colour," said Jace and yanked on a stray lock of Isabelle's hair with his free hand. "In fact, look-Alec is wearing it."
Alec looked mournfully down at his sweater. "It was black," he said. "But then it faded."
"You could dress it up with a sequined headband," Magnus suggested. ~ Cassandra Clare,#NFDB
1242:Not seeing race does little to deconstruct racist structures or materially improve the conditions which people of colour are subject to daily. In order to dismantle unjust, racist structures, we must see race. We must see who benefits from their race, who is disproportionately impacted by negative stereotypes about their race, and to who power and privilege is bestowed upon - earned or not - because of their race, their class, and their gender. Seeing race is essential to changing the system. ~ Reni Eddo Lodge, #NFDB
1243:Not seeing race does little to deconstruct racist structures or materially improve the conditions which people of colour are subject to daily. In order to dismantle unjust, racist structures, we must see race. We must see who benefits from their race, who is disproportionately impacted by negative stereotypes about their race, and to who power and privilege is bestowed upon – earned or not – because of their race, their class, and their gender. Seeing race is essential to changing the system. ~ Reni Eddo Lodge, #NFDB
1244:But the most dangerous Hypocrite in a Common-Wealth, is one who leaves the Gospel for the sake of the Law: A Man compounded of Law and Gospel, is able to cheat a whole Country with his Religion, and then destroy them under Colour of Law: And here the Clergy are in great Danger of being deceiv'd, and the People of being deceiv'd by the Clergy, until the Monster arrives to such Power and Wealth, that he is out of the reach of both, and can oppress the People without their own blind Assistance. ~ Benjamin Franklin, #NFDB
1245:If it's okay to enrich ourselves by denying foreigners the right to earn a living, why shouldn't we enrich ourselves by invading peaceful countries and seizing their assets? Most of us don't think that's a good idea, and not just because it might backfire. We don't think it's a good idea because we believe human beings have human rights, whatever their colour and wherever they live. Stealing assets is wrong, and so is stealing the right to earn a living, no matter where the victim was born. ~ Steven E Landsburg, #NFDB
1246:Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work. ~ Max Beckmann, #NFDB
1247:In college, in the early 1950s, I began to learn a little about how science works, the secrets of its great success, how rigorous the standards of evidence must be if we are really to know something is true, how many false starts and dead ends have plagued human thinking, how our biases can colour our interpretation of evidence, and how often belief systems widely held and supported by the political, religious and academic hierarchies turn out to be not just slightly in error, but grotesquely wrong. ~ Carl Sagan, #NFDB
1248:In the dark places of yourself, thinking machines you never get near enough to see are constantly building things and running their own secretive programmes all of their own. Maybe you get a snippet of what's going on back there, like this fragment of a song drifting its way into the light, or a phrase, or an image, or maybe just a mood, a wash of content of a bleak draining of colour that floods your chest and your stomach more than it ever finds its way into the bight halogen chrome of your mind. ~ Steven Hall, #NFDB
1249:The desert. No seasons of bloom and decay. Just the endless turn of night and day. Out of time: and she is gazing- not over it, taken into it, for it has no measure of space, features that mark distance from here to there. In a film of haze there is no horizon, the pallor of sand, pink-traced, lilac-luminous with its own colour of faint light, has no demarcation from land to air. Sky-haze is indistinguishable from sand-haze. All drifts together, and there is no onlooker; the desert is eternity. ~ Nadine Gordimer, #NFDB
1250:So the little prince tamed the fox. And when the time for him to leave was approaching:
"Oh!", said the fox. "I am going to cry."
"It's your own fault," said the little prince. "I never wished you any harm; but you wanted me to tame you..."
"I know," said the fox.
"And now you're going to cry!" said the little prince.
"I know," said the fox.
"So you have gained nothing from it at all!"
"Yes, I have gained something," said the fox, "because of the colour of the corn. ~ Antoine de Saint Exup ry,#NFDB
1251:In the long ago, in the gentle days, Brother Grumlow carved wood, worked with saw and chisel. When hard times come carpenters are apt to get nailed to crosses. Grumlow took up the knife and learned to carve men. He looks soft, my brother of the blade, slight in build, light in colour, weak chin, sad eyes, all of him drooping like the moustache that hangs off his lip. Yet he has fast hands and no fear of a sharp edge. Come against him with just a dagger for company and he will cut you a new opinion. ~ Mark Lawrence, #NFDB
1252:All the arguments there are against Malcolm [Turnbull] - and there are many - the one thing in which he is impeccable and why I would support him in this is that he has an absolutely impeccable record on the question of colour and race. People often wondered why. What I see as a possible explanation is [that] he came from a very wealthy family - a 'squattocracy' - and he had private education at home and then he went to boarding school at Melbourne Grammar School, one of those lead schools in Australia. ~ Bob Hawke, #NFDB
1253:I.
The odour from the flower is gone
Which like thy kisses breathed on me;
The colour from the flower is flown
Which glowed of thee and only thee!
II.
A shrivelled, lifeless, vacant form,
It lies on my abandoned breast,
And mocks the heart which yet is warm,
With cold and silent rest.
III.
I weep,--my tears revive it not!
I sigh,--it breathes no more on me;
Its mute and uncomplaining lot
Is such as mine should be.
~ Percy Bysshe Shelley, On A Faded Violet
,#NFDB
1254:Whatsoever accidents or qualities our senses make us think there be in the world, they are not there, but are seemings and apparitions only. The things that really are in the world without us, are those motions by which these seemings are caused. And this is the great deception of sense, which also is by sense to be corrected. For as sense telleth me, when I see directly, that the colour seemeth to be in the object; so also sense telleth me, when I see by reflection, that colour is not in the object. ~ Thomas Hobbes, #NFDB
1255:I cannot stand forward, and give praise or blame to any thing which relates to human actions, and human concerns, on a simple view of the subject as it stands stripped of every relation, in all the nakedness and solitude of metaphysical abstraction. Circumstances (which with some gentlemen pass for nothing) give in reality to every political principle its distinguishing colour, and discriminating effect. The circumstances are what render every civil and political scheme beneficial or noxious to mankind. ~ Edmund Burke, #NFDB
1256:Only now, years after having read though the works of Shakespeare, Dickens, Scott, Poe, Balzac did he realise that even the most prolific writer created only one novel; throw away the individual bindings and the whole of each man's writing constituted one book: the true and complete portrait of himself. An artist had one thing to say, and one only; he might flail about, seek new techniques, forms, colour combinations, subjects, but intrinsically he would always paint the same canvas, write the same book. ~ Irving Stone, #NFDB
1257:There should be a law that no ordinary newspaper should be allowed to write about art. The harm they do by their foolish and random writing it would be impossible to overestimate--not to the artist but to the public.... Without them we would judge a man simply by his work; but at present the newspapers are trying hard to induce the public to judge a sculptor, for instance, never by his statues but by the way he treats his wife; a painter by the amount of his income and a poet by the colour of his necktie. ~ Oscar Wilde, #NFDB
1258:All action is for the sake of some end, and rules of action, it seems natural to suppose, must take their whole character and colour from the end to which they are subservient. When we engage in a pursuit, a clear and precise conception of what we are pursuing would seem to be the first thing we need, instead of the last we are to look forward to. A test of right and wrong must be the means, one would think, of ascertaining what is right or wrong, and not a consequence of having already ascertained it. ~ John Stuart Mill, #NFDB
1259:In their censures of luxury the fathers are extremely minute and circumstantial; and among the various articles which excite their pious indignation, we may enumerate false hair, garments of any colour except white, instruments of music, vases of gold or silver, downy pillows, white bread, foreign wines, public salutations, the use of warm baths, and the practice of shaving the beard, which, according to Tertullian, is a lie against our own faces, and am impious attempt to improve the works of the Creator. ~ Edward Gibbon, #NFDB
1260:the rain is coming.
little sister, the night broke. the thunder cracked my brain finally. the rain is coming, i promise you. i didn’t mean to but your tears will bring life back. purple flowers grow, the colour blood looks in the veins. they’ll sprout out of my chest. i promise you they’ll crack the ground, grow over the freeways, down the slopes to the sea. i’ll be in their faces. i’ll be in the waves, coming down from the sky. i’ll be inside the one who holds you.
and then i won’t be. ~ Francesca Lia Block,#NFDB
1261:Yves Klein said it was the essence of colour itself: the colour that stood for all other colours. A man once spent his entire life searching for a particular shade of blue that he remembered encountering in childhood. He began to despair of ever finding it, thinking he must have imagined that precise shade, that it could not possibly exist in nature. Then one day he chanced upon it. It was the colour of a beetle in a museum of natural history. He wept for joy.’
- "Zima Blue" by Alastair Reynolds ~ Alastair Reynolds,#NFDB
1262:Oh who is that young sinner with the handcuffs on his wrists? And what has he been after that they groan and shake their fists? And wherefore is he wearing such a conscience-stricken air? Oh they’re taking him to prison for the colour of his hair. Now ’tis oakum for his fingers and the treadmill for his feet And the quarry-gang on Portland in the cold and in the heat, And between his spells of labour in the time he has to spare He can curse the God that made him for the colour of his hair.39 A.E. Housman (1859 ~ A N Wilson, #NFDB
1263:No man will speak to his master; but to a wanderer and a friend, to him who does not come to teach or to rule, to him who asks for nothing and accepts all things, words are spoken by the camp-fires, in the shared solitude of the sea, in riverside villages, in resting-places surrounded by forests—words are spoken that take no account of race or colour. One heart speaks—another one listens; and the earth, the sea, the sky, the passing wind and the stirring leaf, hear also the futile tale of the burden of life. ~ Joseph Conrad, #NFDB
1264:Pastoureau combines a charming, conversational tone with a haughtiness I found entirely endearing. A director of studies at the Ecole Pratique des Hautes Etudes at the Sorbonne in Paris, he writes from a position of professorial confidence. He has conducted extensive research into the history of colour for a quarter century and his aim is to correct misapprehensions and banish ignorance. His style is not to inquire, explore or interrogate, in the fashion of academic studies today. It is to impart knowledge. ~ Sebastian Smee, #NFDB
1265:The world,' he revealed, 'is a heap of people, a sea of tiny flames.'
Each person shines with his or her own light. No two flames are alike. There are big flames and little flames, flames of every colour. Some peoples flames are so still they don't even flicker in the wind, while others have wild flames that fill the air with sparks. Some foolish flames neither burn nor shed light, but others blaze with life so fiercely that you can't look at them without blinking and if you approach, you shine in fire. ~ Eduardo Galeano,#NFDB
1266:He loved his wife and daughter. It was perhaps a stalwart affection rather than a magnificent obsession, but nonetheless he didn't doubt that if called upon to do so he would sacrifice his own life in a heartbeat for them. And he also knew that there would be no more hankering for something else, something beyond, for the hot slices of colour or the intensity of war or romance. That was all behind him, he had a different kind of duty now, not to himself, not to his country, but to this small knot of a family. ~ Kate Atkinson, #NFDB
1267:The rest of my Thursday can be summarised thus:
- Nat tells me to bite her.
- I don't.
- I am forced to sit next to Toby for the entire two-and-a-half-hour return coach journey.
- He tells me that water is not blue because it reflects the sky, but actually because the molecular structure of the water itself reflects the colour blue and therefore our art teacher is wrong and the authorities should be alerted.
- I pull my jumper over my head.
- I stay under my jumper for the next two hours. ~ Holly Smale,#NFDB
1268:This self now as I leant over the gate looking down over fields rolling in waves of colour beneath me made no answer. He threw up no opposition. He attempted no phrase. His fist did not form. I waited. I listened. Nothing came, nothing. I cried then with a sudden conviction of complete desertion. Now there is nothing. No fin breaks the waste of this immeasurable sea. Life has destroyed me. No echo comes when I speak, no varied words. This is more truly death than the death of friends, than the death of youth. ~ Virginia Woolf, #NFDB
1269:The Third Epigram
On an ATHEIST.
Posthumus boasts he does not Thunder fear,
And for this cause would Innocent appear;
That in his Soul no Terrour he does feel,
At threatn'd Vultures, or Ixion's Wheel,
Which fright the Guilty: But when Fabius told
What Acts 'gainst Murder lately were enrol'd,
'Gainst Incest, Rapine,—straight upon the Tale
His Colour chang'd, and Posthumus grew pale.
His Impious Courage had no other Root,
But that the Villaine, Atheist was to boot.
~ Anne Killigrew,#NFDB
1270:My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking truly through colour. Feeling that because of my illness I would not be able to paint very much longer, I worked like a man obsessed on these little 'Meditations' (a long series of small paintings he made during the last years of his life, with as main motif the schema of a face, ed.). And now I leave these small but, to me, important works to the future and to people who love art. ~ Alexej von Jawlensky, #NFDB
1271:The sky was no longer blue. North-eastward it was inky black, and out of the blackness shone brightly and steadily the pale white stars. Overhead it was a deep Indian red and starless, and south-eastward it grew brighter to a glowing scarlet where, cut by the horizon, lay the huge hull of the sun, red and motionless. The rocks about me were of a harsh reddish colour, and all the trace of life that I could see at first was the intensely green vegetation that covered every projecting point on their south-eastern face. ~ H G Wells, #NFDB
1272:Day was breaking at Plashwater Weir Mill Lock. Stars were yet visible, but there was dull light in the east that was not the light of night. The moon had gone down, and a mist crept along the banks of the river, seen through which the trees were the ghosts of trees, and the water was the ghost of water. This earth looked spectral, and so did the pale stars: while the cold eastern glare, expressionless as to heat or colour, with the eye of the firmament quenched, might have been likened to the stare of the dead. ~ Charles Dickens, #NFDB
1273:I believe I have already suggested that colour is the most obvious bridge between emotion and perception, that is, between subjective experience of the psyche and quality objective in nature. Both light up only between the extremes of light and darkness, and in their reciprocal interplay. Thus, outward the rainbow--or, if you prefer it, the spectrum--is the bridge between dark and light, but inwardly the rainbow is, what the soul itself is, the bridge between body and spirit, between earth and heaven. ~ Owen Barfield, #NFDB
1274:There seemed something rather devotional about her pose, the stillness, so that I thought at last, She is praying!, and made to draw my eyes away in sudden shame. But then she stirred. Her hands opened, she raised them to her cheek, and I caught a flash of colour against the pink of her work-roughened palms. She had a flower there, between her fingers—a violet, with a drooping stem. As I watched, she put the flower to her lips, and breathed upon it, and the purple of the petals gave a quiver and seemed to glow . . . ~ Sarah Waters, #NFDB
1275:He domesticated and developed the native wild flowers. He had one hill-side solidly clad with that low-growing purple verbena which mats over the hills of New Mexico. It was like a great violet velvet mantle thrown down in the sun; all the shades that the dyers and weavers of Italy and France strove for through centuries, the violet that is full of rose colour and is yet not lavender; the blue that becomes almost pink and then retreats again into sea-dark purple—the true Episcopal colour and countless variations of it. ~ Willa Cather, #NFDB
1276:The End Is Near The Beginning
Yes you have said enough for the time being
There will be plenty of lace later on
Plenty of electric wool
And you will forget the eglantine
Growing around the edge of the green lake
And if you forget the colour of my hands
You will remember the wheels of the chair
In which the wax figure resembling you sat
Several men are standing on the pier
Unloading the sea
The device on the trolly says MOTHER'S MEAT
Which means Until the end.
~ David Gascoyne,#NFDB
1277:He domesticated and developed the native wild flowers. He had one hill-side solidly clad with that low-growing purple verbena which mats over the hills of New Mexico. It was like a great violet velvet mantle thrown down in the sun; all the shades that the dyers and weavers of Italy and France strove for through centuries, the violet that is full of rose colour and is yet not lavender; the blue that becomes almost pink and then retreats again into sea-dark purple--the true Episcopal colour and countless variations of it. ~ Willa Cather, #NFDB
1278:Home
Give me a home
that isn't mine,
where I can slip in and out of rooms
without a trace,
never worrying
about the plumbing,
the colour of the curtains,
the cacophony of books by the bedside.
A home that I can wear lightly,
where the rooms aren't clogged
with yesterday's conversations,
where the self doesn't bloat
to fill in the crevices.
A home, like this body,
so alien when I try to belong,
so hospitable
when I decide I'm just visiting.
~ Arundhathi Subramaniam,#NFDB
1279:I turn on my computer to search Craigslist for apartment listings. The wireless window pops up, and I realize with some regret that all I know about my neighbours is their wireless network names: Krypton, Space balls, Couscous, and Scarlet. From this I can tell little else than that they're fans of Superman, Mel Brooks, Middle Eastern cuisine, and the colour red. I look out my window, wondering whose house is whose and what private food and entertainment consumption occurs in each and how I will never get to know. ~ Jonathan Goldstein, #NFDB
1280:[...] Black is the absence of colour and light. White is purity, it is undivided light - light not broken down into colours. Red is the epitome of colour, its zenith and its point of greatest intensity. This ordering of things becomes even more evident if, between white and red, a whole series of intermediate colours, such as lemon-yellow, yellow-ochre, and bright red, is inserted, or again, if one speaks of a 'peacock's tail' of gradually unfolding colours. In this case royal purple is always the seal of each series. ~ Titus Burckhardt, #NFDB
1281:I was examining the perfumed, coloured candles guaranteed to bring good fortune with continued use when a lovely mocha-skinned girl came in from the back room and stood behind the counter. She wore a white smock over her dress and looked about nineteen or twenty. Her wavy, shoulder-length hair was the colour of polished mahogany. A number of thin, silver hoops jingled on her fine-boned wrist. "May I help you?" she asked. Just beneath her carefully modulated diction lingered the melodic calypso lilt of the Caribbean. ~ William Hjortsberg, #NFDB
1282:One is quite astonished to find how many things there are in the landscape, and in every object in it, one never noticed before. And this is a tremendous new pleasure and interest which invests every walk or drive with an added object. So many colours on the hillside, each different in shadow and in sunlight; such brilliant reflections in the pool, each a key lower than what they repeat; such lovely lights gilding or silvering surface or outline, all tinted exquisitely with pale colour, rose, orange, green or violet. ~ Winston Churchill, #NFDB
1283:When we Westerners call people 'natives' we implicitly take the colour out of our perception of them. We see them as wild animals infesting the country in which we happen to come across them, as part of the local flora and fauna and not as men of like passions with ourselves. So long as we think of them as 'natives' we may exterminate them or, as is more likely to-day, domesticate them and honestly (perhaps not altogether mistakenly) believe that we are improving the breed, but we do not begin to understand them. ~ Arnold Joseph Toynbee, #NFDB
1284:When he combs his hair that is the colour of dead leaves, dead leaves fall out of it; they rustle and drift to the ground as though he were a tree and he can stand as still as a tree, when he wants the doves to flutter softly, crooning as they come, down upon his shoulders, those silly, fat, trusting woodies with the pretty wedding rings round their necks. He makes his whistles out of an elder twig and that is what he uses to call the birds out of the air--all the birds come; and the sweetest singers he will keep in cages. ~ Angela Carter, #NFDB
1285:How often in life are you going to find your mate and that mate happens to be your same exact age and happens to have had the same life experiences to match where you are in our life so you guys can meet perfectly and give society what it wants? It just doesn't happen that way. Some people evolve at 24, some people are 60 and are still evolving. So why are we stopping these great connections based on age, or race or colour or whatever, gender, whatever? You meet who you meet and you connect because of your life experience. ~ Sandra Bullock, #NFDB
1286:Thank God for that. You can shut them, say, 'Hold on a moment.' You play God to it. But who has ever torn himself from the claw that encloses you when you drop a seed in a TV parlour? It grows you any shape it wishes! It is an environment as real as the world. It becomes and is the truth. Books can be beaten down with reason. But with all my knowledge and scepticism, I have never been able to argue with a one-hundred-piece symphony orchestra, full colour, three dimensions, and I being in and part of those incredible parlours. ~ Ray Bradbury, #NFDB
1287:Your favorite colour . . . it's green?" "That's right." Then I think of something to add. "And yours is orange." "Orange?" He seems unconvinced. "Not bright orange. But soft. Like the sunset," I say. "At least, that's what you told me once." "Oh." He closes his eyes briefly, maybe trying to conjure up that sunset, then nods his head. "Thank you." But more words tumble out. "You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea. And you always double-knot your shoelaces. ~ Suzanne Collins, #NFDB
1288:Consciousness is imbued with the three qualities (gunas) of luminosity (sattva), vibrancy (rajas) and inertia (tamas). The gunas also colour our actions: white (sattva), grey (rajas) and black (tamas). Through the discipline of yoga, both actions and intelligence go beyond these qualities and the seer comes to experience his own soul with crystal clarity, free from the relative attributes of nature and actions. This state of purity is samadhi. Yoga is thus both the means and the goal. Yoga is samadhi and samadhi is yoga. There ~ B K S Iyengar, #NFDB
1289:Musa Okwonga, the poet, journalist and essayist whose powerful ‘The Ungrateful Country’ closes the book, once said to me that the biggest burden facing people of colour in this country is that society deems us bad immigrants – job-stealers, benefit-scroungers, girlfriend-thieves, refugees – until we cross over in their consciousness, through popular culture, winning races, baking good cakes, being conscientious doctors, to become good immigrants. And we are so tired of that burden." (from "The Good Immigrant" by Nikesh Shukla) ~ Nikesh Shukla, #NFDB
1290:He [the artist] ought to have 'these powerful organs of expression' - colour and chiaroscuro - entirely at his command, that he may use them in every possible form, as well as that he may do with the most perfect freedom; therefore, whether he wishes to make the subject of a joyous, solemn, or meditative character, by flinging over it the cheerful aspect which the sun bestows, by a proper disposition of shade, or by the appearances that beautify its arising or its setting, a true "General Effect" should never be lost sight of. ~ John Constable, #NFDB
1291:A small brazier glowed near the monk's left hand. On a lecturn before him lay pots of paints, brushes, a quill, a pen, a knife, a sizeable handbell, the tooth of some animal--and a piece of parchment.
It was the parchment that commanded the room. Until he saw it Len didn't realize how starved he had been of colour. Villagers dressed in various shades of brown and beige, like their furniture and fields and now, here, was an irruption of the rainbow, as if a charm of goldfinches had landed on the manuscript and been transfixed. ~ Diana Norman,#NFDB
1292:It was the first time I’d seen Alok’s home. I told you he was kind of poor, I mean not World Bank ads type starving poor or anything, but his home had the barest minimum one would need for existence. There was light, but no lampshades, there was a living room, but no couches, there was a TV, but not a colour one. The living room was where lived Alok’s father, entertaining himself with one of the two TV channels, close to unconscious by the time we reached. Alok’s mother was already waiting, using her sari edge to wipe her tears. ~ Chetan Bhagat, #NFDB
1293:Should a man,
to preserve his life, pay everything that gives life colour,
scent
and excitement? Can one accept a life of digestion,
respiration, muscular
and brain activity-and nothing
more? 'Become a walking blueprint? Is this not an
exorbitant price? Is it not a mockery? Should one pay? Seven years in the army and seven years in the camp,twice seven years twice that mythical or biblical term,then to be deprived of the ability to tell what is a man and what is a woman--is not a price extortionate? ~ Aleksandr Solzhenitsyn,#NFDB
1294:The Violet
DOWN in a green and shady bed,
A modest violet grew;
Its stalk was bent, it hung its head
As if to hide from view.
And yet it was a lovely flower,
Its colour bright and fair;
It might have graced a rosy bower,
Instead of hiding there.
Yet thus it was content to bloom,
In modest tints arrayed;
And there diffused a sweet perfume,
Within the silent shade.
Then let me to the valley go
This pretty flower to see;
That I may also learn to grow
In sweet humility.
~ Ann Taylor,#NFDB
1295:When I went to bed, I stared earnestly at my face in the glass. Was I really good-looking? Honestly I couldn't say I thought so! I hadn't got a straight Grecian nose, or a rosebud mouth, or any of the things you ought to have. It is true that a curate once told me that my eyes were like "imprisoned sunshine in a dark, dark wood" - but curates always know so many quotations, and fire them off at random. I'd much prefer to have Irish blue eyes than dark green ones with yellow flecks! Still, green is a good colour for adventuresses. ~ Agatha Christie, #NFDB
1296:Anh tặng em
Cuộc đời anh không sống
Giấc mơ anh chỉ mơ
Một tâm hồn để trống
Những đêm trắng mong chờ
Anh tặng em
Bài thơ anh không viết
Nỗi đau anh đi tìm
Màu mây anh chưa biết
Tha thiết của lặng im
I offer you
The life I have not lived
The dream I can but dream
A soul I've left empty
During sleepless nights
As I go to you I hold as an offering
The poem I have not written
The ache towards which I strain
The colour of the cloud I haven't known
The longings of silence. ~ Kim Th y,#NFDB
1297:She’d always loved beautiful underwear—lacey bras and knickers, usually white or the deepest burgundy. What colour was she wearing today?
His heart slammed faster at the thought and, unable to stop himself, he shifted his arm, bunching up her shirt to reveal that which his hand so desperately wanted to possess.
“Oh, babe,” he groaned, his stare falling on a cherry-red bra perfectly cupping her breast. Her nipple strained at the delicate lace, drawing his attention and making his breath quicken. “You are as beautiful as I remember. ~ Lexxie Couper,#NFDB
1298:When men are rightly occupied, their amusement grows out of their work, as the colour-petals out of a fruitful flower; when they are faithfully helpful and compassionate, all their emotions become steady, deep, perpetual, and vivifying to the soul as the natural pulse to the body. But now, having no true business, we pour our whole masculine energy into the false business of money-making; and having no true emotion, we must have false emotions dressed up for us to play with, not innocently, as children with dolls, but guiltily and darkly. ~ John Ruskin, #NFDB
1299:This world looks to us the natural and simple one, and so it is--absolutely fitted to our need and education. But there is that in us which is not at home in this world, which I believe holds secret relations with every star, or perhaps rather, with that in the heart of God whence issued every star, diverse in kind and character as in colour and place and motion and light. To that in us, this world is so far strange and unnatural and unfitting, and we need a yet homelier home. Yea, no home at last will do, but the home of God's heart. ~ George MacDonald, #NFDB
1300:You cannot have too many aconites. They cost, as I said before, about fifty shillings a thousand. A thousand will make a brave splash of colour, which lasts a month. If you can afford ten thousand, you are mad not to buy them. There are so many exciting places you can put them. . . in the hollow of a felled tree, by the border of a pond, in a circle round a statue, or immediately under your window, so that you can press your nose against the glass, when it is too cold to go out, and stare at them, and remember that spring is on its way. ~ Beverley Nichols, #NFDB
1301:Your favorite colour . . . it's green?"
"That's right." Then I think of something to add. "And yours is orange."
"Orange?" He seems unconvinced.
"Not bright orange. But soft. Like the sunset," I say. "At least, that's what you told me once."
"Oh." He closes his eyes briefly, maybe trying to conjure up that sunset, then nods his head. "Thank you."
But more words tumble out. "You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea. And you always double-knot your shoelaces. ~ Suzanne Collins,#NFDB
1302:The real perfectibility of man may be illustrated, as I have
mentioned before, by the perfectibility of a plant. The object of the
enterprising florist is, as I conceive, to unite size, symmetry, and beauty
of colour. It would surely be presumptuous in the most successful
improver to affirm, that he possessed a carnation in which these
qualities existed in the greatest possible state of perfection. However
beautiful his flower may be, other care, other soil, or other suns, might
produce one still more beautiful. ~ Thomas Robert Malthus,#NFDB
1303:There are animals that borrow their colour from the neighbouring body, and consequently vary their hue as they happen to change their place. In like manner it ought to be the endeavour of every man to derive his reflections from the objects about him; for it is to no purpose that he alters his position, if his attention continues fixed to the same point. The mind should be kept open to the access of every new idea, and so far disengaged from the predominance of particular thoughts, as easily to accommodate itself to occasional entertainment. ~ Samuel Johnson, #NFDB
1304:We asked him what colour he called it, and he said he didn’t know. He didn’t think there was a name for the colour. The man had told him it was an Oriental design. George put it on, and asked us what we thought of it. Harris said that, as an object to hang over a flower-bed in early spring to frighten the birds away, he should respect it; but that, considered as an article of dress for any human being, except a Margate nigger, it made him ill. George got quite huffy; but, as Harris said, if he didn’t want his opinion, why did he ask for it? ~ Jerome K Jerome, #NFDB
1305:By the time they had called at the baker's and climbed to the top of Cap Diamant, the sun, dropping with incredible quickness, had already disappeared. They sat down in the blue twilight to eat their bread and await the turbid afterglow which is peculiar to Quebec in autumn; the slow, rich, prolonged flowing-back of crimson across the sky, after the sun has sunk behind the dark ridges of the west. Because of the haze in the air the colour seems thick, like a heavy liquid, welling up wave after wave, a substance that throbs, rather than a light. ~ Willa Cather, #NFDB
1306:It had been a long time since I’d seen the dawn. At one end of the sky a line of blue appeared, and like blue ink on a piece of paper it spread slowly across the horizon. If you gathered together all the shades of blue in the world and picked the bluest, the epitome of blue, this was the colour you would choose. I rested my elbows on the table and looked at that scene, my mind blank. When the sun showed itself over the horizon, that blue was swallowed up by ordinary sunlight… A new day had begun. But what this day would bring, I had no idea. ~ Haruki Murakami, #NFDB
1307:Not one of them fails to ask me the same loaded question ... 'So, where are you from?' A question as mundane as it is predictable. It feels like an obligatory rite-of-passage, before the relationship can develop any further. My skin - the colour of caramel - must explain itself by offering up its pedigree. 'I'm a human being' My answer rankles with them. Not that I'm trying to be provocative. Any more than I want to appear pedantic or philosophical. But when I was just knee-high to a locust, I had already made up my mind never to define myself again. ~ Ga l Faye, #NFDB
1308:Miss Elizabeth Mapp might have been forty, and she had taken advantage of this opportunity by being just a year or two older. Her face was of high vivid colour and was corrugated by chronic rage and curiosity; but these vivifying emotions had preserved to her an astonishing activity of mind and body, which fully accounted for the comparative adolescence with which she would have been credited anywhere except in the charming little town which she had inhabited so long. Anger and the gravest suspicions about everybody had kept her young and on the boil. ~ E F Benson, #NFDB
1309:Almost as soon as I arrived back at Njoro, it began to rain for the first time in over a year. The sky went black, splitting open with a deluge that didn’t want to stop. Five inches fell in two days, and when the storm had finally cleared, and our long drought had ended, the land went green again. Flowers sprang across the plains in every colour you could think of. The air was thick with jasmine and coffee blossoms, juniper berries, and eucalyptus. Kenya had only been sleeping, the rain said now. All that had died could live again—except Green Hills. ~ Paula McLain, #NFDB
1310:From black-rimmed plates they ate turtle soup and eaten Russian
rye bread, ripe Turkish olives, caviar, salted mullet-roe, smoked
Frankfurt black puddings, game in gravies the colour of liquorice
and boot-blacking truffled sauces, chocolate caramel creams, plum
puddings, nectarines, preserved fruits, mulberries and heart-cherries;
from dark coloured glasses they drank the wines of Limagne and
Rousillon, of Tenedoes, Val de Peñas and Oporto, and, after the coffee
and the walnut cordial they enjoyed kvass, porters and stouts. ~ Joris Karl Huysmans,#NFDB
1311:The fisherman-painter has the best of the bargain as far as the weather goes, for the weather that is too bright for the trout deluges his hills and his sea with floods of radiant colour; the rain that interrupts picture-making puts water into the rivers and the lochs and sends him hopefully forth with rod and creel; while on cold dull days, when there is neither purple on the hills nor fly on the river, he can join a friendly party in a cosy bar and exchange information about Cardinals and March Browns, and practise making intricate knots in gut. ~ Dorothy L Sayers, #NFDB
1312:Do you know why the leaves change colour, Makin?" They did look spectacular. The forest had grown around us as we traveled and the canopy burned with colour, from deepest red to flame orange, an autumn fire spreading in defiance of the rain.
"I don't know," he said, "Why do they change?"
"Before a tree sheds a leaf it pumps it full of all the poison it can't rid itself of otherwise. That red there—that's a man's skin blotching with burst veins after an assassin spikes his last meal with roto-weed. The poison spreading through him before he dies. ~ Mark Lawrence,#NFDB
1313:Now, among the heresies that are spoken in this matter is the habit of calling a grey day a "colourless" day. Grey is a colour, and can be a very powerful and pleasing colour.... A grey clouded sky is indeed a canopy between us and the sun; so is a green tree, if it comes to that. But the grey umbrellas differ as much as the green in their style and shape, in their tint and tilt. One day may be grey like steel, and another grey like dove’s plumage. One may seem grey like the deathly frost, and another grey like the smoke of substantial kitchens. ~ Gilbert K Chesterton, #NFDB
1314:Primavera In The North
She has danced for leagues and leagues,
Over thorns and thistles,
Prancing to a tune of Griegg's
Performed on willow whistles.
Antelopes behold her, dazed,
Velvet-eyed, and furry;
Polar flowers, crackle-glazed,
Snap beneath her hurry.
In a wig of copper wire,
A gown of scalloped gauzes,
She capers like a flame of fire
Over Arctic mosses.
All her tears have turned to birds,
All her thoughts of dolour
Paint the snow with scarlet words
And traceries of colour.
~ Elinor Morton Wylie,#NFDB
1315:Why do you consult [women's] words when it is not their mouths that speak? Consult their eyes, their colour, their breathing, their timid manner, their slight resistance, that is the language nature gave them for your answer. The lips always say 'No,' and rightly so; but the tone is not always the same, and that cannot lie. Has not a woman the same needs as a man, but without the same right to make them known? Her fate would be too cruel if she had no language in which to express her legitimate desires except the words which she dare not utter. ~ Jean Jacques Rousseau, #NFDB
1316:I had such horror then of these paltry perplexities that I always fell into the same error, that of seeking to clear them up. It took me a long time, my lifetime so to speak, to realize that the colour of an eye half seen, or the source of some distant sound, are closer to Giudecca in the hell of unknowing than the existence of God, or the origins of protoplasm, or the existence of self, and even less worthy than these to occupy the wise. It’s a bit much, a lifetime, to achieve this consoling conclusion, it doesn’t leave you much time to profit by it. ~ Samuel Beckett, #NFDB
1317:Litanies of the Rose
Rose with dark eyes,
mirror of your nothingness,
rose with dark eyes,
make us believe in the mystery,
hypocrite flower,
flower of silence.
Rose the colour of pure gold,
oh safe deposit of the ideal,
rose the colour of pure gold,
give us the key of your womb,
hypocrite flower,
flower of silence.
Rose the colour of silver,
censer of our dreams,
rose the colour of silver,
take our heart and turn it into smoke,
hypocrite flower,
flower of silence. ~ R my de Gourmont,#NFDB
1318:The magic of the desert is hard to define. Why does the sight of a landscape of empty sand, rocks, slab and rubble stir the spirits more than a view of lush green fields and woods? Why does the lifeless play of light, colour and distance have such an invigorating, fascinating and elating effect? Perhaps because no limitations are imposed by other forms of life; perhaps because the mind of the beholder is presented with a fata morgana of unlimited freedom. And on such far horizons the outline of a mountain draws the eye like an island in the endless ocean. ~ Henno Martin, #NFDB
1319:With respect to the use of this sparkling coloured material (butterfly wings around 1955, fh) - the constituent parts of which remain indistinguishable - with the aim of producing a very vivid effect of scintillation, I realised that, for me, this responds to needs of the same order as those that formerly led me, in many drawings and paintings, to organize my lines and patches of colour so that the objects represented would meld into everything around them, so that the result would be a sort of continuous, universal soup with an intensive flavour of life. ~ Jean Dubuffet, #NFDB
1320:It looked like a colour, but also... like a bruise or a secretion, like an oozing-and something else, an odour, for example, it melted into the odour of wet earth, warm, moist wood, into a black odour that spread like varnish over this sensitive wood, in a flavour of chewed, sweet fibre. I did not simply see this black: sight is an abstract invention, a simplified idea, one of man's ideas. That black, amorphous, weakly presence, far surpassed sight, smell and taste. But this richness was lost in confusion and finally was no more because it was too much. ~ Jean Paul Sartre, #NFDB
1321:You make your whole existence dependant on another human being you’re asking for a world of trouble. Think of every tragic love story ever written. And I didn’t want to play Juliet to anybody’s Romeo, not if I could help it. Even if the only candidate available was willing to die for me and sitting right beside me holding my hand and looking deeply into my eyes with the not-so-gah-now eyes the colour of melted chocolate. Plus being practically naked under those covers and possession the body of a Hollister dude . . . but I’m not getting into all that. ~ Rick Yancey, #NFDB
1322:With lacquerware there is an extra beauty in that moment between removing the lid and lifting the bowl to the mouth, when one gazes at the still, silent liquid in the dark depths of the bowl, its colour hardly differing from that of the bowl itself. What lies within the darkness one cannot distinguish, but the palm senses the gentle movements of the liquid, vapour rises from within, forming droplets on the rim, and the fragrance carried upon the vapour brings a delicate anticipation ... a moment of mystery, it might almost be called, a moment of trance. ~ Junichiro Tanizaki, #NFDB
1323:With lacquerware there is an extra beauty in that moment between removing the lid and lifting the bowl to the mouth, when one gazes at the still, silent liquid in the dark depths of the bowl, its colour hardly differing from that of the bowl itself. What lies within the darkness one cannot distinguish, but the palm senses the gentle movements of the liquid, vapour rises from within, forming droplets on the rim, and the fragrance carried upon the vapour brings a delicate anticipation ... a moment of mystery, it might almost be called, a moment of trance. ~ Jun ichir Tanizaki, #NFDB
1324:The destruction of sight, wherever the injuries be sustained, follows the same law: all colours are affected in the first place, and lose their saturation. Then the spectrum is simplified, being reduced to four and
soon to two colours; finally a grey monochrome stage is reached, although the pathological colour is never identifiable with any normal one. Thus in central as in peripheral lesions ‘the loss of nervous substance results not only in a deficiency of certain qualities, but in the change to a less differentiated and more primitive structure’. ~ Maurice Merleau Ponty,#NFDB
1325:I sat at my bedroom window after I changed; the cashew tree was so close I could reach out and pluck a leaf if it were not for the silver-colour crisscross of mosquito netting. The bell-shaped yellow fruits hung lazily, drawing buzzing bees that bumped against my window's netting. I heard Papa walk upstairs to his room for his afternoon siesta. I closed my eyes, sat still, waiting to hear him call Jaja, to hear Jaja go into his room. But after long, silent minutes, I opened my eyes and pressed my forehead against the window louvers to look outside.9 ~ Chimamanda Ngozi Adichie, #NFDB
1326:She reminded me of something, and suddenly I knew. I was a tiny child again at Radford, my uncle’s home, and he was walking me through the glass-houses in the gardens. There was one flower, an orchid, that grew alone; it was the colour of pale ivory, with one little vein of crimson running through the petals. The scent filled the house, honeyed, and sickly sweet. It was the loveliest flower I had ever seen. I stretched out my hand to stroke the soft velvet sheen, and swiftly my uncle pulled me by the shoulder. ‘Don’t touch it, child. The stem is poisonous. ~ Daphne du Maurier, #NFDB
1327:What A Glow Everywhere I See
What a glow everywhere I see, Oh mother, what a glow;
I've found the beloved, yes I found him,
In my courtyard;
I have found my pir Nizamuddin Aulia.
I roamed around the entire world,
looking for an ideal beloved;
And finally this face has enchanted my heart.
The whole world has been opened for me,
Never seen a glow like this before.
Whenever I see now, he is with me,
Oh beloved, please dye me in yourself;
Dye me in the colour of the spring, beloved;
What a glow, Oh, what a glow.
~ Amir Khusro,#NFDB
1328:It’s a sort of dull unhappiness that comes from isolation & blankness & monotony. It is quite different to the dullness & melancholia at home; I believe people have it sometimes in Kipling & it is, I think, in the air of the country. I went for a walk the other night by the side of the lagoon at sunset; the beauty of it was supreme with the bright green of the paddy fields, the masses of palms, the sky every shade of red & yellow, & the sea every shade of blue; but for all the brilliancy of colour there was a heavy melancholy over it all. ~ Leonard Woolf, #NFDB
1329:What a child does not know and does not want to know of race and colour and class, he learns soon enough as he grows to see each man flipped inexorably into some predestined groove like a penny or a sovereign in a banker's rack. Kibii, the Nandi boy, was my good friend. Arab Ruta (the same boy grown to manhood), who sits before me, is my good friend, but the handclasp will be shorter, the smile will not be so eager on his lips, and though the path is for a while the same, he will walk behind me now, when once, in the simplicity of our nonage, we walked together. ~ Beryl Markham, #NFDB
1330:He doesn’t have to, Chloe.’ Her mum moved the mug a little further from the table edge, and sighed. ‘Why do you try to see things in black and white when there’s a whole kaleidoscope of colour in between?’ ‘What are you saying?’ ‘That people do things for all sorts of reasons – whether good or bad, right or wrong, misguided or not – and that to have any hope of understanding what’s going on, you need to find those reasons. You don’t have to agree with them, or accept them, but you need to know what they are. There’s no difference between living a life based on lies ~ Sara Foster, #NFDB
1331:In acute diseases the physician must conduct his inquiries in the following way. First he must examine the face of the patient, and see whether it is like the faces of healthy people, and especially whether it is like its usual self. Such likeness will be the best sign, and the greatest unlikeness will be the most dangerous sign. The latter will be as follows. Nose sharp, eyes hollow, temples sunken, ears cold and contracted with their lobes turned outwards, the skin about the face hard and tense and parched, the colour of the face as a whole being yellow or black. ~ Hippocrates, #NFDB
1332:Shug: More than anything God love admiration.
Celie: You saying God is vain?
Shug: No, not vain, just wanting to share a good thing. I think it pisses God off when you walk by the colour purple in a field and don't notice it.
Celie: You saying it just wanna be loved like it say in the bible?
Shug: Yeah, Celie. Everything wanna be loved. Us sing and dance, and holla just wanting to be loved. Look at them trees. Notice how the trees do everything people do to get attention... except walk?
[they laugh]
Shug: Oh Miss Celie, I feels like singing! ~ Alice Walker,#NFDB
1333:At daybreak, my face still turned to the wall, and before I had seen above the big window-curtains what shade of colour the first streaks of light assumed, I could already tell what the weather was like. The first sounds from the street had told me, according to whether they came to my ears deadened and distorted by the moisture of the atmosphere or quivering like arrows in the resonant, empty expanses of a spacious, frosty, pure morning; as soon as I heard the rumble of the first tramcar, I could tell whether it was sodden with rain or setting forth into the blue. ~ Marcel Proust, #NFDB
1334:In their censures of luxury, the fathers are extremely minute and circumstantial;89 and among the various articles which excite their pious indignation, we may enumerate false hair, garments of any colour except white, instruments of music, vases of gold or silver, downy pillows (as Jacob reposed his head on a stone), white bread, foreign wines, public salutations, the use of warm baths, and the practice of shaving the beard, which, according to the expression of Tertullian, is a lie against our own faces, and an impious attempt to improve the works of the Creator. ~ Edward Gibbon, #NFDB
1335:But if God endures it for the sake of the benefit for you which he has foreseen in it, and if you are willing to suffer what he suffers and what passes through him to you, then it takes on the colour of God, and shame becomes honour, bitterness is sweetness and the deepest darkness becomes the clearest light. Then everything takes its flavour from God and becomes divine, for everything conforms itself to God, whatever befalls us, if we intend only him and nothing else is pleasing to us. Thus we shall grasp God in all bitterness as well as in the greatest sweetness. ~ Meister Eckhart, #NFDB
1336:"NEVER shall a young man,
Thrown into despair
By those great honey-coloured
Ramparts at your ear,
Love you for yourself alone
And not your yellow hair.'
"But I can get a hair-dye
And set such colour there,
Brown, or black, or carrot,
That young men in despair
May love me for myself alone
And not my yellow hair.'
"I heard an old religious man
But yesternight declare
That he had found a text to prove
That only God, my dear,
Could love you for yourself alone
And not your yellow hair."
~ William Butler Yeats, For Anne Gregory
,#NFDB
1337:We can form no idea of the millions of pounds that are spent every year in the making of dress in the West. The dress-making business has become a regular science. What colour of dress will suit with the complexion of the girl and the colour of her hair, what special feature of her body should be disguised, and what displayed to the best advantage-these and many other like important points, the dressmakers have seriously to consider. Again, the dress that ladies of very high position wear, others have to wear also, otherwise they lose their caste! This is FASHION. ~ Swami Vivekananda, #NFDB
1338:Words
Words are deeds. The words we hear
May revolutionize or rear
A mighty state. The words we read
May be a spiritual deed
Excelling any fleshly one,
As much as the celestial sun
Transcends a bonfire, made to throw
A light upon some raree-show.
A simple proverb tagged with rhyme
May colour half the course of time;
The pregnant saying of a sage
May influence every coming age;
A song in its effects may be
More glorious than Thermopylae,
And many a lay that schoolboys scan
A nobler feat than Inkerman.
~ Charles Harpur,#NFDB
1339:High up on the branches, like so many of those tiny rose-trees, their pots concealed in jackets of paper lace, whose slender stems rise in a forest from the altar on the greater festivals, a thousand buds were swelling and opening, paler in colour, but each disclosing as it burst, as at the bottom of a cup of pink marble, its blood-red stain, and suggesting even more strongly than the full-blown flowers the special, irresistible quality of the hawthorn-tree, which, wherever it budded, wherever it was about to blossom, could bud and blossom in pink flowers alone. Taking ~ Marcel Proust, #NFDB
1340:Like a battalion of marines at roll call, her neck hairs marshaled to five-alarm status. She stumbled back to her desk, jerked open the botton drawer, retrieved a pair of Nighthawk binoculars, fixed the scopes on him, and fiddled with the focus. Gotcha. Hair the colour of coal. Chocolate brown eyes. A five-o'clock shadow ringing his craggy jawline. Handsome as the day was long...
He sauntered towards her, oozing charisma from every pore. Charlee forgot to breathe. And then he committed the gravest sin of all, knocking her world helter-skelter. The scoundrel smiled. ~ Lori Wilde,#NFDB
1341:My wife says books aren't real."
"Thank God for that. You can shut them, say, 'Hold on a moment.' You play God to it. But who has ever torn himself from the claw that encloses you when you drop a seed in a TV and parlour? It grows you any shape it wishes! It is an environment as real as the world. It becomes truth and is the truth. Books can be beaten down with reason. But with all my knowledge and scepticism, I have never been able to argue with a one-hundred piece symphony orchestra, full colour, three dimension, and I being in and part of those incredible parlours. ~ Ray Bradbury,#NFDB
1342:When my friend Melot set the trap, I think I knew it. I turned to death full face, as I had turned to love with my whole body. I would let death enter me as you had entered me. You had crept along my blood vessels through the wound, and the blood that circulates returns to the heart. You circulated me, you made me blush like a girl in the hoop of your hands. You were in my arteries and my lymph, you were the colour just under my skin, and if I cut myself, it was you I bled. Red Isolde, alive on my fingers, and always the force of blood pushing you back to my heart. ~ Jeanette Winterson, #NFDB
1343:The physiological advantages of the practice of injection are undeniable, if one thinks of the tremendous waste of human time and energy occasioned by eating and the digestive process. Our bodies are half made up of glands and tubes and organs, occupied in turning heterogeneous food into blood. The digestive processes and their reaction upon the nervous system sap our strength and colour our minds. Men go happy or miserable as they have healthy or unhealthy livers, or sound gastric glands. But the Martians were lifted above all these organic fluctuations of mood and emotion. ~ H G Wells, #NFDB
1344:Because they are so emphatically there, and so inconvertibly interior, it is almost inevitable that we take our feelings seriously as reputable guides to the reality that is deep within us--our hearts before God. But feelings are no more spiritual than muscles. They are entirely physical. They are real, and they are important. But they are real and important in the same way that our fingernails and noses are important--we would not want to live without them (although we could if we had to), but their length and shape and colour tell us nothing about our life with God. ~ Eugene H Peterson, #NFDB
1345:There a re more than 500,000 types of plant in the world. And each species possesses its own special planning within itself and features particular to that species. Together with the same perfect basic systems found in all of them, there is also an unparalleled diversity in terms of re p ro d u c t i v e systems, defence mechanisms, colour, and design. The only unchanging thing in all this is the reality that the parts of the plants (leaves, ro o t s , stems) and many other mechanisms, must exist at once and with no defects so that the general system, the body, can function. ~ Harun Yahya, #NFDB
1346:A Half-Way Pause
The turn of noontide has begun.
In the weak breeze the sunshine yields.
There is a bell upon the fields.
On the long hedgerow's tangled run
A low white cottage intervenes:
Against the wall a blind man leans,
And sways his face to have the sun.
Our horses' hoofs stir in the road,
Quiet and sharp. Light hath a song
Whose silence, being heard, seems long.
The point of noon maketh abode,
And will not be at once gone through.
The sky's deep colour saddens you,
And the heat weighs a dreamy load.
~ Dante Gabriel Rossetti,#NFDB
1347:author class:Sri Aurobindo
Immortal Love
If I had wooed thee for thy colour rare,
Cherished the rose in thee
Or wealth of Nature's brilliants in thy hair,
O woman fair,
My love might cease to be.
Or, had I sought thee for thy virtuous youth
And tender yearning speech,
Thy swift compassion and deliberate truth,
O heart of ruth,
Time might pursue, might reach.
But I have loved thee for thyself indeed
And with myself have snared;
Immortal to immortal I made speed.
Change I exceed
And am for Time prepared.
~ Sri Aurobindo, - Immortal Love
,#NFDB
1348:Henry had written a novel because there was a hole in him that needed filling, a question that needed answering, a patch of canvas that needed painting—that blend of anxiety, curiosity and joy that is at the origin of art—and he had filled the hole, answered the question, splashed colour on the canvas, all done for himself, because he had to. Then complete strangers told him that his book had filled a hole in them, had answered a question, had brought colour to their lives. The comfort of strangers, be it a smile, a pat on the shoulder or a word of praise, is truly a comfort. ~ Yann Martel, #NFDB
1349:Autumn Day
The raging colour of this cold Friday
Eats up our patience like a fire,
Consumes our willingness to endure,
Here the crumpled maple, a gold fabric,
The beech by beams empurpled, the holy sycamore,
Berries red-hot, the rose's core-The sun emboldens to burn in porphyry and amber.
Pick up the remnants of our resignation
Where we left them, and bring our loving passion,
Before the mist from the dark sea at our feet
Where mushrooms cling like limpets in the grass,
Quenching our fierceness, leaves us in a worse case.
~ Anne Barbara Ridler,#NFDB
1350:For Anne Gregory
"Never shall a young man,
Thrown into despair
By those great honey-coloured
Ramparts at your ear,
Love you for yourself alone
And not your yellow hair."
"But I can get a hair-dye
And set such colour there,
Brown, or black, or carrot,
That young men in despair
May love me for myself alone
And not my yellow hair."
"I heard an old religious man
But yesternight declare
That he had found a text to prove
That only God, my dear,
Could love you for yourself alone
And not your yellow hair. ~ W B Yeats,#NFDB
1351:Countless candles dribbled with hot wax, and their flames, like little flags, fluttered in the unchartered currents of air. Thousands of lamps, naked, or shuttered behind coloured glass, burned with their glows of purple, amber, grass-green, blue, blood red and even grey. The walls of Gormenghast were like the walls of paradise or like the walls of an inferno. The colours were devilish or angelical according to the colour of the mind that watched them. They swam, those walls, with the hues of hell, with the tints of Zion. The breasts of the plumaged seraphim; the scales of Satan. ~ Mervyn Peake, #NFDB
1352:The Spring River
Heat and cold, dusk and dawn have crowded one upon the other;
Suddenly I find it is two years since I came to Chung-chou.
Through my closed doors I hear nothing but the morning and evening drum;
From my upper windows all I see is the ships that come and go.
In vain the orioles tempt me with their song to stray beneath the flowering trees;
In vain the grasses lure me by their colour to sit beside the pond.
There is one thing and one alone I never tire of watchingThe spring river as it trickles over the stones and babbles past the rocks.
~ Bai Juyi,#NFDB
1353:To have been part of a Pharaonic slave system that had at its apex a divine sun king led him to understand unreality as the greatest force in life. And his life was now, he felt, one monumental unreality, in which everything that did not matter—professional ambitions, the private pursuit of status, the colour of wallpaper, the size of an office or the matter of a dedicated car parking space—was vested with the greatest significance, and everything that did matter—pleasure, joy, friendship, love—was deemed somehow peripheral. It made for dullness mostly and weirdness generally. ~ Richard Flanagan, #NFDB
1354:I often remember in this false, distorted way, and the memories are often cloaked in the colour of the sun. Sometimes I feel nostalgia for things I knew I hated when they were happening, for days spent at the beach or the swimming pool with my sisters.
When I pick my memories apart, I realise my mind has merely played back the objective ingredients, the clichéd apparatus of happiness, the sun, the sound of splashing water, ice-cream on parched lips and cold fizzy drink on a hot tongue, and laugher too. My memory often peddles on the falsehood of past happiness. I should know this. ~ M J Hyland,#NFDB
1355:The colour revived rapidly on the lips and cheeks; in a few moments the sufferer slept calmly, and with the regular breathing of painless sleep. And then the old man rose, rigidly, as a corpse might rise, — looked down, listened, and creeping gently away, stole to the corner of the room, and wept, and thanked Heaven! Now, old Bernardi had been, hitherto, but a cold believer; sorrow had never before led him aloft from earth. Old as he was, he had never before thought as the old should think of death, — that endangered life of the young had wakened up the careless soul of age. ~ Edward Bulwer Lytton, #NFDB
1356:The dawn came - not the flaming sky that promises storm, but a golden dawn of infinite promise. The birds came flying up out of the east in wedge-shaped formation, and the mist lifted in soft wreaths of sun-shot silver. Colour came back to the world. The grass glowed with a green so vivid that it seemed pulsing, like flame, from some hidden fire in the earth, the distant woods took on all the amazing deep crimsons and purples of their winter colouring, the banks were studded with their jewels of lichens and bright moss, and above the wet hedges shone with sun-shot orbs of light. ~ Elizabeth Goudge, #NFDB
1357:The celebrations go on for many hours,' said the woman. Above her, in the sky, a firework exploded, showering multi-coloured flames across the stars. 'You can pay fealty at any time.' Another firework tore open the sky, streams of colour painting the woman's shift blue and green, throwing their shadows downwards. For a moment, the woman's shadow self moved against the shadow Fillingham, pressing to him, and then another explosion above them sent them dancing apart, wavering, their edges rimed with yellow and reds, and then the woman was moving again.
("The Cotswold Olimpicks") ~ Reggie Oliver,#NFDB
1358:The children had had an argument once about whether there was more grass in the world or more sand, and Roger said that of course there must be more sand because of under the sea; in every ocean all over the world there would be sand, if you looked deep down. But there could be grass too, argued Deborah, a waving grass, a grass that nobody had ever seen, and the colour of that ocean grass would be darker than any grass on the surface of the world, in fields or prairies or people's gardens in America. It would be taller than tress and it would move like corn in the wind. ("The Pool ~ Daphne du Maurier, #NFDB
1359:Not evil,’ Fermín objected. ‘Moronic, which isn’t quite the same thing. Evil presupposes a moral decision, intention, and some forethought. A moron or a lout, however, doesn’t stop to think or reason. He acts on instinct, like an animal, convinced that he’s doing good, that he’s always right, and sanctimoniously proud to go around fucking up, if you’ll excuse the French, anyone he perceives to be different from himself, be it because of skin colour, creed, language, nationality or, as in the case of Don Federico, his leisure pursuits. What the world really needs are more thoroughly ~ Carlos Ruiz Zaf n, #NFDB
1360:He was close enough so that I could see his face clearly, even with his helmet's cheek flaps tied tightly under his bearded chin. I looked into the eyes of Hector, prince of Troy. Brown eyes they were, the colour of rich farm soil, calm and deep. No anger, no battle lust. He was a cool and calculating warrior, a thinker among these hordes of wild, screaming brutes. He wore a small round shield buckled to his left arm instead of the massive body-length type most of the other nobles carried. In it was painted a flying heron, a strangely peaceful emblem in the midst of all this mayhem and gore. ~ Ben Bova, #NFDB
1361:There is nothing in which deduction is so necessary as in religion," said he, leaning with his back against the shutters. "It can be built up as an exact science by the reasoner. Our highest assurance of the goodness of Providence seems to me to rest in the flowers. All other things, our powers, our desires, our food, are really necessary for our existence in the first instance. But this rose is an extra. Its smell and its colour are an embellishment of life, not a condition of it. It is only goodness which gives extras, and so I say again that we have much to hope from the flowers. ~ Arthur Conan Doyle, #NFDB
1362:Scene: Darkness. Suddenly, a single spotlight illuminates Apollo standing on the front porch of the Big House. The house is a bold red colour, a stark contrast to the short white chiton Apollo wears. He clears his throat and speaks.
Apollo: A poem by Apollo, recited dramatically by ... Apollo:
O Immortal Chiron,
Centaur wise and true,
Trainer of our heroes,
Just remember who taught you.
- The opening scene of Welcome to Camp Half-Blood
Apollo's chiton was so short, I held my breath throughout this scene, praying he didn't bend over. - P. J. ~ Rick Riordan,#NFDB
1363:not the old trees, not even the old memories. Clustering traditions had fled in the white blaze of electricity; the quaint brick walks, with their rich colour in the sunlight, were beginning to disappear beneath the expressionless mask of concrete. It was all changed since his father's or his grandfather's day; it was all obvious and cheap, he thought; it was all ugly and naked and undistinguished—yet the tide of the new ideas was still rising. Democracy, relentless, disorderly, and strewn with the wreckage of finer things, had overwhelmed the world of established customs in which he lived. ~ Ellen Glasgow, #NFDB
1364:I have not been given the name Soredamors for nothing. I must love and I must be loved, and I wish to prove this by my name, if I can reason it out. It is significant that the first part of my name is of golden hue, for the more blonde one is, the better. Therefore I consider my name the best, since it begins with the colour with which gold is most in harmony. And the end of my name reminds me of Love, for whoever calls me by my right name evokes Love's tint within me. One half of my name gilds the other with the bright yellow hue of gold, for "Soredamors" means "gilded over with Love". ~ Chr tien de Troyes, #NFDB
1365:Morning
DAWN in the east, and chill dew falling-Tears of the new-born day;
Dew on the lawn, and blackbirds calling,
Music and mild mid-May.
The lilac, see, wins back the colour
Lost on the field of Night
See, the spent stars grow dimmer, duller!
Look forth, my life's delight!
Open your window, lean above me,
Rose, my white rose, my song!
Leave your white nest, love, if you love me-Night is so lonely-long.
Day is our own, and day's a-breaking;
Sweet sleepy eyes of grey,
You shall not chide an early waking
When Night grows kind as Day!
~ Edith Nesbit,#NFDB
1366:There is nothing in which deduction is so necessary as in religion," said he, leaning with his back against the shutters. "It can be built up as an exact science by the reasoner. Our highest assurance of the goodness of Providence seems to me to rest in the flowers. All other things, our powers, our desires, our food, are all really necessary for our existence in the first instance. But this rose is an extra. Its smell and its colour are an embellishment of life, not a condition of it. It is only goodness which gives extras, and so I say again that we have much to hope from the flowers. ~ Arthur Conan Doyle, #NFDB
1367:Color is not a trivial subject but one that has compelled, for hundreds of years, a passionate curiosity in the greatest artists, philosophers, and natural scientists. The young Spinoza wrote his first treatise on the rainbow; the young Newton’s most joyous discovery was the composition of white light; Goethe’s great color work, like Newton’s, started with a prism; Schopenhauer, Young, Helmholtz, and Maxwell, in the last century, were all tantalized by the problem of color; and Wittgenstein’s last work was his Remarks on Colour. And yet most of us, most of the time, overlook its great mystery. ~ Oliver Sacks, #NFDB
1368:If ever he had harboured a conscience in his tough narrow breast he had by now dug out and flung away the awkward thing - flung it so far away that were he ever to need it again he could never find it. High-shouldered to a degree little short of malformation, slender and adroit of limb and frame, his eyes close-set and the colour of dried blood, he is climbing the spiral staircase of the soul of Gormenghast, bound for some pinnacle of the itching fancy - some wild, invulnerable eyrie best known to himself; where he can watch the world spread out below him, and shake exultantly his clotted wings ~ Mervyn Peake, #NFDB
1369:And then he began to laugh in a peculiar way of his own which was both violent and soundless. His heavy reclining body, draped in its black gown, heaved to and fro. His knees drew themselves up to his chin. His arms dangled over the sides of the chair and were helpless. His head rolled from side to side. It was as though he were in the last stages of strychnine poisoning. But no sound came, nor did his mouth even open. Gradually the spasm grew weaker, and when the natural sand colour of his face had returned (for his corked-up laughter had turned it dark red) he began his smoking again in earnest. ~ Mervyn Peake, #NFDB
1370:Conceive a jelly-fish such as sails in our summer seas, bell-shaped and of enormous size - far larger, I should judge, than the dome of St. Paul's. It was of a light pink colour veined with a delicate green, but the whole huge fabric so tenuous that it was but a fairy outline against the dark blue sky. It pulsated with a delicate and regular rhythm. From it there depended two long drooping, green tentacles, which swayed slowly backwards and forwards. This gorgeous vision passed gently with noiseless dignity over my head, as light and fragile as a soap-bubble, and drifted upon its stately way. ~ Arthur Conan Doyle, #NFDB
1371:Atmosphere, not action, is the great desideratum of weird fiction. Indeed, all that a wonder story can ever be is a vivid picture of a certain type of human mood. The moment it tries to be anything else it becomes cheap, puerile, and unconvincing. Prime emphasis should be given to subtle suggestion - imperceptible hints and touches of selective associative detail which express shadings of mood and build up a vague illusion of the strange reality of the unreal. Avoid bald catalogues of incredible happenings which can have no substance or meaning apart from a sustaining cloud of colour and symbolism. ~ H P Lovecraft, #NFDB
1372:Scene: Darkness. Suddenly, a single spotlight illuminates Apollo standing on the front porch of the Big House. The house is a bold red colour, a stark contrast to the short white chiton Apollo wears. He clears his throat and speaks.
Apollo:<\b> A poem by Apollo, recited dramatically by ... Apollo:
O Immortal Chiron,
Centaur wise and true,
Trainer of our heroes,
Just remember who taught you.
- The opening scene of Welcome to Camp Half-Blood
Apollo's chiton was so short, I held my breath throughout this scene, praying he didn't bend over. - P. J. ~ Rick Riordan,#NFDB
1373:Only geniuses preserve their infantile voracity for 'becauses'-and the naive hope that there are real answers to every question. 'Why is the moon round? Why does the apple fall from the tree? Why are there five planets instead of twenty , and why do they move as they do? Why does milk go sour? Why could the dairymaid not get the pox? Why is the colour of a sailor's blood in the tropics a brighter red than in Hamburg? Why did the frog's legs twitch?' One of the hallmarks of genius is that he has never lost the habit of asking foolish questions like these- each of which led to a momentous discovery. ~ Arthur Koestler, #NFDB
1374:I was having trouble making sense of all that Rosie was saying, doubtless due to the effects of the alcohol and her perfume. However, she had given me an opportunity to keep the conversation on safe ground. The inheritance of common genetically influenced traits such as eye colour is more complex than is generally understood, and I was confident that I could speak on the topic for long enough to occupy the remainder of our journey. But I realised that this was a defensive action and impolite to Rosie who had risked considerable embarrassment and damage to her relationship with Stefan for my benefit. ~ Graeme Simsion, #NFDB
1375:still recalled the bath of his aristocratic childhood in the late 1860s and early 1870s as less than satisfactory: A call on the hot water supply … did not meet with an effusive or even a warm response. A succession of sepulchral rumblings was succeeded by the appearance of a small geyser of rust coloured water, heavily charged with dead earwigs and bluebottles. This continued for a couple of minutes or so and then entirely ceased. The only perceptible difference between the hot water and the cold lay in its colour and the cargo of defunct life which the former bore on its bosom. Both were stone cold. ~ Ruth Goodman, #NFDB
1376:It is magnificent. At the moment of impact, the king's eyes are open, his body braced for the atteint; he takes the blow perfectly, its force absorbed by a body securely armoured, moving in the right direction, moving at the right speed. His colour does not alter. His voice does not shake.
"Healthy?" he says. "Then I thank God for his favour to us. As I thank you, my lords, for this comfortable intelligence."
He thinks, Henry has been rehearsing. I suppose we all have.
The king walks away towards his own rooms. Says over his shoulder, "Call her Elizabeth. Cancel the jousts. ~ Hilary Mantel,#NFDB
1377:The sky above us seems huge, vast. It’s clear and crisp and visibility is so good that, when I look up, I feel like I'm staring at an inverted, endless ocean. I'm sure the blue is the colour of water above sand and the tiny, wispy clouds look like waves breaking over distant swells. I envy the birds I see overhead, zipping joyfully from left to right and so far above the death and decay that pollute the lower levels. A day like this should be enjoyed completely. I should be able to forget what dwells in the towns around us, I should find it in myself to dismiss what happened at that crossing, I should. ~ Jack Croxall, #NFDB
1378:Although of course I am aware that it changes colour in a jar. But we know why, surely? The heavier melancholic elements in the blood sink, making the top lighter and the bottom darker."
"Not so," I said firmly. "Cover the jar, and the colour does not change. And I can find no explanation of how such separation could occur in the lungs. But when it emerges from the lungs - at least, this is the case in cats - it is very much lighter in colour than when it goes in, indicating that some darkness is withdrawn from it."
"I must cut up a cat and see for myself. A live cat, was it?"
"It was for a while. ~ Iain Pears,#NFDB
1379:‘Paranoid’ went straight to number four in the British singles chart and got us on Top of the Pops – alongside Cliff Richard, of all people. The only problem was the album cover, which had been done before the name change and now didn’t make any sense at all. What did four pink blokes holding shields and waving swords have to do with paranoia? They were pink because that was supposed to be the colour of the war pigs. But without ‘War Pigs’ written on the front, they just looked like gay fencers.
‘They’re not gay fencers, Ozzy,’ Bill told me. ‘They’re paranoid gay fencers.’ ~ Ozzy Osbourne,#NFDB
1380:Look at any randomly selected piece of your world. Encoded deep in the biology of every cell in every blade of grass, in every insect’s wing, in every bacterium cell, is the history of the third planet from the Sun in a Solar System making its way lethargically around a galaxy called the Milky Way. Its shape, form, function, colour, smell, taste, molecular structure, arrangement of atoms, sequence of bases, and possibilities for the future are all absolutely unique. There is nowhere else in the observable Universe where you will see precisely that little clump of emergent, living complexity. It is wonderful. ~ Brian Cox, #NFDB
1381:Outside, overgrown grass lapped dew on Ronan’s boots, and mist curled around the tyres of the charcoal BMW. The sky over Monmouth Manufacturing was the colour of a muddy lake. It was cold, but Ronan’s gasoline heart was firing. He settled into the car, letting it become his skin. The night air was still coiled beneath the seats and lurking in the door pockets; he shivered as he tethered his raven to the seat belt fastener in the passenger seat. Not the fanciest setup, but effective for keeping a corvid from flapping around one’s sports car. Chainsaw bit him, but not as hard as the early morning cold. ~ Maggie Stiefvater, #NFDB
1382:Lestrade and I sat silent for a moment, and then, with a spontaneous impulse, we both broke at clapping, as at the well-wrought crisis of a play. A flush of colour sprang to Holmes’s pale cheeks, and he bowed to us like the master dramatist who receives the homage of his audience. It was at such moments that for an instant he ceased to be a reasoning machine, and betrayed his human love for admiration and applause. The same singularly proud and reserved nature which turned away with disdain from popular notoriety was capable of being moved to its depths by spontaneous wonder and praise from a friend. ~ Arthur Conan Doyle, #NFDB
1383:Listen! Do things look in the ten and twelve of noon look as they do in the dark? Is the hand, the face, the foot, the same face and hand and foot seen by the sun? For now the hand lies in a shadow; its beauties and its deformities are in a smoke - there is a sickle of doubt across the cheek bone thrown by the hat's brim, so there is half a face to be peered back into speculation. A leaf of darkness has fallen under the chin and lies deep upon the arches of the eyes; the eyes themselves have changed their colour. The very mother's head you swore by in the dock is a heavier head, crowned with ponderable hair. ~ Djuna Barnes, #NFDB
1384:There is a famous painting of the young Napoleon crossing the St Bernard Pass on his way to the Italian campaign which rocketed him to fame. Louis David’s canvas shows him on a rearing horse, and everything about the painting is motion; the horse rears, its mouth open and eyes wide, its mane is wind-whipped, the sky is stormy and the General’s cloak is a lavish swirl of gale-driven colour. Yet in the centre of that frenzied paint is Napoleon’s calm face. He looks sullen and unsmiling, but above all, calm. That was what he demanded of the painter, and David delivered a picture of a man at home amidst chaos. ~ Bernard Cornwell, #NFDB
1385:At the magic touch of the beautiful the secret chords of our being are awakened, we vibrate and thrill in response to its call. Mind speaks to mind. We listen to the unspoken, we gaze upon the unseen. The master calls forth notes we know not of. Memories long forgotten all come back to us with a new significance. Hopes stifled by fear, yearnings that we dare not recognise, stand forth in new glory. Our mind is the canvas on which the artists lay their colour; their pigments are our emotions; their chiaroscuro the light of joy, the shadow of sadness. The masterpiece is of ourselves, as we are of the masterpiece. ~ Kakuz Okakura, #NFDB
1386:Suppose none of us ever left — how would we ever create new ways if we're held back in the old?"
Mother balked. "And what do you think happens to us who never leaves home, Sylvie — you think we grows stagnant like bog water? Sir, the things she says."
"I didn't mean it like that —"
"Praise the lord, I hope not, for there's not a minute in a day when the water's not changing its colour or the wind don't touch me differently. You don't have to go off to find newness, if that's what you're saying. Newness grows out of every day — no matter where you're standing, for them with eyes to see it. ~ Donna Morrissey,#NFDB
1387:At the magic touch of the beautiful, the secret chords of our being are awakened, we vibrate and thrill in response to its call. Mind speaks to mind. We listen to the unspoken, we gaze upon the unseen. The master calls forth notes we know not of. Memories long forgotten all come back to us with a new significance. Hopes stifled by fear, yearnings that we dare not recognize, stand forth in new glory. Our mind is the canvas on which the artists lay their colour; their pigments are our emotions; their chiaroscuro the light of joy, the shadow of sadness. The masterpiece is of ourselves, as we are of the masterpiece. ~ Kakuz Okakura, #NFDB
1388:Set a pen to a dream, and the colour drains from it. The ink with which we write seems diluted with something holding too much of reality, and we find that after all we cannot delineate the incredible memory. It is as if our inward selves, released from the bonds of daytime and objectivity, revelled in prisoned emotions which are hastily stifled when we translate them. In dreams and visions lie the greatest creations of man, for on them rests no yoke of line or hue. Forgotten scenes, and lands more obscure than the golden world of childhood, spring into the sleeping mind to reign until awakening puts them to rout. ~ H P Lovecraft, #NFDB
1389:...the fact that Urdu was spoken by taxicab drivers; the presence, only two blocks from my East Village apartment, of a samosa- and channa-serving establishment called the Pak-Punjab Deli; the coincidence of crossing Fifth Avenue during a parade and hearing, from loudspeakers mounted on the South Asian Gay and Lesbian Association float, a song to which I had danced at my cousin’s wedding. In a subway car, my skin would typically fall in the middle of the colour spectrum. On street corners, tourists would ask me for directions. I was, in four and a half years, never an American; I was immediately a New Yorker. ~ Mohsin Hamid, #NFDB
1390:At the lip of a cliff, I look out over Lake Superior, through the bare branches of birches and the snow-covered branches of aspens and pines. A hard wind blows snow up out of a cavern and over my face. I know this place, I know its seasons - I have hiked these mountains in the summer and walked these winding pathways in the explosion of colour that is a northern fall. And now, the temperature drops well below zero and the deadly cold lake rages below, I feel the stirrings of faith that here, in this place, in my heart, spring will come again.
But first the winter must be waited out. And that waiting has worth. ~ Marya Hornbacher,#NFDB
1391:Introductory Verses
Oh, you who read some song that I have sung –
What know you of the soul from whence it sprung?
Dost dream the poet ever speaks aloud
His secret thought unto the listening crowd?
Go take the murmuring sea-shell from the shoreYou have its shape, its colour – and no more.
It tells not one of those vast mysteries
That lie beneath the surface of the seas.
Our songs are shells, cast out by waves of thought;
Here, take them at your pleasure; but think not
You’ve seen the beneath the surface of the waves,
Where lie our shipwrecks, and our coral caves.
~ Ella Wheeler Wilcox,#NFDB
1392:Being unable to retrace our steps in Time, we decided to move forward in Space. Shall we never be able to glide back up the stream of Time, and peep into the old home, and gaze on the old faces? Perhaps when the phonograph and the kinesigraph are perfected, and some future worker has solved the problem of colour photography, our descendants will be able to deceive themselves with something very like it: but it will be but a barren husk, a soulless phantasm and nothing more. “Oh for the touch of a vanished hand, and the sound of a voice that is still!” —Wordsworth Donisthorpe, inventor of the kinesigraph camera ~ Catherynne M Valente, #NFDB
1393:He remembered a story Madrigal had told him once: the human tale of the golem. It was a thing shaped of clay in the form of a man, brought to life by carving the symbol aleph into its brow. Aleph was the first symbol of an ancestral human alphabet, and the first letter of the Hebrew word truth; it was the beginning. Watching Karou rise to her feet, radiant in a fall of lapis hai, in a woven dress the colour of tangerines, with a loop of silver beads at her throat and a look of joy and relief and... love... on her beautiful face, Akiva knew that she was his aleph, his truth and beginning. His soul. ~ Laini Taylor, #NFDB
1394:You should look at certain walls stained with damp, or at stones of uneven colour. If you have to invent some backgrounds you will be able to see in these the likeness of divine landscapes, adorned with mountains, ruins, rocks, woods, great plains, hills and valleys in great variety; and then again you will see there battles and strange figures in violent action, expressions of faces and clothes and an infinity of things which you will be able to reduce to their complete and proper forms. In such walls the same thing happens as in the sound of bells, in whose stroke you may find every named word which you can imagine. ~ E H Gombrich, #NFDB
1395:I personally think humans have got about as far as we can go. We’re wrecking the planet. We’re never short of good reasons to massacre each other. Wrong god. Wrong race. Wrong colour. Wrong sex. I’m actually quite surprised a thoroughly pissed-off History hasn’t waved a flaming sword and we’re all back in caves in the snow, chewing on half-cooked mammoth. And even that’s more than we deserve. No wonder we still can’t get to Mars. I suspect the Universe is making damned sure we don’t get the chance to contaminate other planets with our stupidity. It’s keeping us on this one where the only thing we can damage is each other. ~ Jodi Taylor, #NFDB
1396:Zelda was very beautiful and was tanned a lovely gold colour and her hair was a beautiful dark gold and she was very friendly. Her hawk's eyes were clear and calm. I knew everything was all right and was going to turn out well in the end when she leaned forward and said to me, telling me her great secret, 'Ernest, don't you think Al Jolson is greater than Jesus?'
Nobody thought anything of it at the time. It was only Zelda's secret that she shared with me, as a hawk might share something with a man. But hawks do not share. Scott did not write anything any more that was good until after he knew that she was insane. ~ Ernest Hemingway,#NFDB
1397:All at once you are Lord of yourself, Lord of every hour in the long, vacant day; you may go where you please, call none Sir or Madame, have a lappel free of pins, doff your black morning coat, and wear the colour of your heart, and be a Man. You grudge sleep, you grudge eating, and drinking even, their intrusion on those exquisite moments. There will be no more rising before breakfast in casual old clothing, to go dusting and getting ready in a cheerless, shutter-darkened, wrappered-up shop, no more imperious cries of, “Forward, Hoopdriver,” no more hasty meals, and weary attendance on fitful old women, for ten blessed days. ~ H G Wells, #NFDB
1398:God's World
O world, I cannot hold thee close enough!
Thy winds, thy wide grey skies!
Thy mists that roll and rise!
Thy woods this autumn day, that ache and sag
And all but cry with colour! That gaunt crag
To crush! To lift the lean of that black bluff!
World, World, I cannot get thee close enough!
Long have I known a glory in it all,
But never knew I this;
Here such a passion is
As stretcheth me apart, -- Lord, I do fear
Thou'st made the world too beautiful this year;
My soul is all but out of me, -- let fall
No burning leaf; prithee, let no bird call.
~ Edna St. Vincent Millay,#NFDB
1399:Poison’ should be the word with any one so fatal as Lord Lufton; and he ought to be made up of some particular colour, for fear he should be swallowed in mistake.” “You will be safe, you see,” said Fanny, laughing, “as you have been specially cautioned as to this individual bottle.” “Ah! but what’s the use of that after I have had so many doses? It is no good telling me about it now; when the mischief is done, — after I have been taking it for I don’t know how long. Dear! dear! dear! and I regarded it as a mere commonplace powder, good for the complexion. I wonder whether it’s too late, or whether there’s any antidote? ~ Anthony Trollope, #NFDB
1400:You should look at certain walls stained with damp, or at stones of uneven colour. If you have to invent some backgrounds you will be able to see in these the likeness of divine landscapes, adorned with mountains, ruins, rocks, woods, great plains, hills and valleys in great variety; and then again you will see there battles and strange figures in violent action, expressions of faces and clothes and an infinity of things which you will be able to reduce to their complete and proper forms. In such walls the same thing happens as in the sound of bells, in whose stroke you may find every named word which you can imagine. ~ Leonardo da Vinci, #NFDB
1401:Shall Gods Be Said To Thump The Clouds
Shall gods be said to thump the clouds
When clouds are cursed by thunder,
Be said to weep when weather howls?
Shall rainbows be their tunics' colour?
When it is rain where are the gods?
Shall it be said they sprinkle water
From garden cans, or free the floods?
Shall it be said that, venuswise,
An old god's dugs are pressed and pricked,
The wet night scolds me like a nurse?
It shall be said that gods are stone.
Shall a dropped stone drum on the ground,
Flung gravel chime? Let the stones speak
With tongues that talk all tongues.
~ Dylan Thomas,#NFDB
1402:Mostly, though, he looked at the girl, with her red hair and bare white arms. There was something about the whiteness of those arms that made them seem more naked than the bare arms of other women in church. A lot of red heads had freckles, but she looked as if she had been carved from a block of soap…She was very pretty, about his age, her hair braided into a silky rope the colour of black cherries. She was fingering a delicate gold cross around her throat, and she turned it just so, into the sunlight, and it shone, became a cruciform flame. She lingered on the gesture, making it a kind of confession, then turned the cross away. ~ Joe Hill, #NFDB
1403:She turned toward Roarke's office, then stopped in the doorway. He was at his console; captain of his ship. He'd drawn his hair back so it lay on his neck in a short, gleaming black tail. His eyes were cool, cool blue. The colour they were when his mind was fully occupied. He'd taken off his dinner jacket, his shirt was loose at the collar, the sleeves rolled up. There was something... just something about that look that always and forever grabbed her in the gut. She could look at him for hours, and at the end of it, still marvel that he belonged to her.
"Someone wants to hurt you," she thought. "I'm not going to let them. ~ J D Robb,#NFDB
1404: Form
O worshipper of the formless Infinite,
Reject not form, what dwells in it is He.
Each finite is that deep Infinity
Enshrining His veiled soul of pure delight.
Form in its heart of silence recondite
Hides the significance of His mystery,
Form is the wonder-house of eternity,
A cavern of the deathless Eremite.
There is a beauty in the depths of God,
There is a miracle of the Marvellous
That builds the universe for its abode.
Bursting into shape and colour like a rose,
The One, in His glory multitudinous,
Compels the great world-petals to unclose.
~ Sri Aurobindo, - Form
,#NFDB
1405:Was he curious about her?
That was putting it mildly. He was curious about the noises she might make if he kissed her properly and the colour of her nipples and what she tasted like between her legs and the extent of her tattoo and how she’d sounded as she came. He was curious about where she liked to be touched and whether she’d let him take charge and if she liked giving head. He was curious about the long curve of her spine and the dip of her hip and how she’d looked straddled atop of him, her hair loose, her breasts bouncing as he pushed her over the edge.
Or curled up beside him in bed, naked, her body branded by his. ~ Amy Andrews,#NFDB
1406:Sometimes it's important to dare to dream - small or big - like Mandela, Gandhi, Winfrey, Obama, Malala and Dr King. From Einstein to Hawking - the skies no limit. From Ali to the Williams sisters - through trials and talent find the champions within. Like my mother did to raise great kids. Like the one or many who run with this. Like the unsung heroes in every city and village. Like the kind of heart and selfless healers. Like every act of kindness you ever did and received. Like the human spirit beyond class, colour and creed. Like every soul who has raised our consciousness. From one to all - love IS all we have and need. ~ Rasheed Ogunlaru, #NFDB
1407:Elizabeth and
Darcy merely looked at one another in awkward silence, until the latter reached both arms around
her. She was frozen-"What does he mean to do?" she thought. But his intentions were
respectable, for Darcy merely meant to retrieve his Brown Bess, which Elizabeth had affixed to
her back during her walk. She remembered the lead ammunition in her pocket and offered it to
him. "Your balls, Mr. Darcy?" He reached out and closed her hand around them, and offered,
"They belong to you, Miss Bennet." Upon this, their colour changed, and they were forced to look
away from one another, lest they laugh. ~ Seth Grahame Smith,#NFDB
1408:Winter-Solitude
I saw the city's towers on a luminous pale-gray sky;
Beyond them a hill of the softest mistiest green,
With naught but frost and the coming of night between,
And a long thin cloud above the colour of August rye.
I sat in the midst of a plain on my snowshoes with bended knee
Where the thin wind stung my cheeks,
And the hard snow ran in little ripples and peaks,
Like the fretted floor of a white and petrified sea.
And a strange peace gathered about my soul and shone,
As I sat reflecting there,
In a world so mystically fair,
So deathly silent--I so utterly alone.
~ Archibald Lampman,#NFDB
1409:Back at my parents’, Mum was waiting with a muffin for me. ‘Banana and pecan. I know it’s the wrong colour but would you try it? Are you okay?’ she asked. ‘You look a bit …’
‘Grand,’ I said. ‘It’s just the clouds. When it’s overcast like this, it does my head in.’
A strange expression passed over her face. ‘The sky is blue.’
I took a look out of the window; the sky was blue. ‘When did that happen?’
‘It’s been blue all morning.’
But it didn’t make things any better. I was still uneasy, just in a different way. The empty sky looked hard and cold and merciless. Couldn’t they have put in some clouds to soften it up a bit? ~ Marian Keyes,#NFDB
1410:But most unsettling is how this time I notice my own fairness. I notice that while I might be a person of colour among the diaspora back home, or in any white-majority country, here I am the white person. Kashmiris are notable because there are so few of us left, and because we've taken up a privileged space in India. In Toronto, some Indian cab drivers will ask me where my family is from, and when I tell them, they think they're bonding with me when they talk about how much they hate Muslims. Or, in the case that the driver is Muslim, he'll try to bond with me over the trouble with 'the blacks.' All of us struggle towards whiteness. ~ Scaachi Koul, #NFDB
1411:...listening with absorbed attention more to her voice than to what she was saying, and thinking how like she was, flowering through her voice into beauty in the darkness, to some butterflies he had come across in the Swiss mountains the summer before. When they were folded up they were grey, mothlike creatures that one might easily overlook, but directly they opened their wings they became the loveliest things in the world, all rose-colour or heavenly blue. So had she been to him in the daylight that afternoon,--an ordinary woman, not in any way noticeable; but now listen to her, opening into beauty on the wings of her voice! ~ Elizabeth von Arnim, #NFDB
1412:The effect on Lucy was not bad, for the faint seemed to merge subtly into the narcotic sleep. It was with a feeling of personal pride that I could see a faint tinge of colour steal back into the pallid cheeks and lips. No man knows, till he experiences it, what it is to feel his own lifeblood drawn away into the veins of the woman he loves.
The Professor watched me critically. "That will do," he said. "Already?" I remonstrated. "You took a great deal more from Art." To which he smiled a sad sort of smile as he replied, "He is her lover, her fiance. You have work, much work to do for her and for others, and the present will suffice. ~ Bram Stoker,#NFDB
1413:The various objects for the decoration of a room should be so selected that no colour or design shall be repeated. If you have a living flower, a painting of flowers is not allowable. If you are using a round kettle, the water pitcher should be angular. A cup with a black glaze should not be associated with a tea-caddy of black lacquer. In placing a vase of an incense burner on the tokonoma, care should be taken not to put it in the exact centre, lest it divide the space into equal halves. The pillar of the tokonoma should be of a different kind of wood from the other pillars, in order to break any suggestion of monotony in the room. ~ Kakuz Okakura, #NFDB
1414:The words now had meaning. All poetry had meaning, and sorrow she had never envisaged. Behind, veiled in soft rain as the dragon-prowed barge slid across the grey water to Pera, she saw for the last time close at hand the soft, frescoed height of the Seraglio, heart of the Ottoman world, its domes and chimneys and towers, its tall cypresses and gardens picked out in grisaille and gold.
Today, perhaps, the Gate of the Dead would perform its true office for a small boy whose heritage no one knew; who had lived in squalor and perished in fright. A sacrifice to diminish the soul. A sacrifice to colour all the rest of one’s days. ~ Dorothy Dunnett,#NFDB
1415:Crikey,’ I said.
‘I’m told that this place has all the warmth and charm of a lawyer’s waiting room,’ said Mark.
It did, too. The walls and flooring and kitchen cabinets were all beige, and the furnishings black. The only touch of colour was provided by two big canvases on the far wall, each one sporting a single red squiggle on a white background. I find it hard to be impressed by art that looks like it took longer to hang straight on the wall than it did to produce. However, those whose living rooms are a symphony of plum and orange are in no position to criticise anybody else’s interior design. And perhaps he loved it. ~ Danielle Hawkins,#NFDB
1416:It may sometimes happen that a truth, an insight, which you have slowly and laboriously puzzled out by thinking for yourself could have easily have been found already written in a book: but it is a hundred times more valuable if you have arrived at it by thinking for yourself. For only then will it enter your thought system as an integral part and living member, be perfectly and firmly consistent with it and in accord with all its other consequences and conclusions, bear the hue, colour and stamp of your whole manner of thinking, and have arrived at just the moment it was needed ; thus it will stay firmly and forever lodged in your mind. ~ Arthur Schopenhauer, #NFDB
1417:Do not imagine, sergeant, that such matters are discussed at court. No. Instead, imagine the lofty realm of scholars and philosophers as little different from a garrison of soldiers, cooped up too long and too close in each other’s company. Squalid, venal, pernicious, poisoned with ambitions, a community of betrayal and jealously guarded prejudices. Titles are like splashes of thin paint upon ugly stone – the colour may look pretty, but what lies behind it does not change. Of itself, knowledge holds no virtue – it is armour and sword, and while armour protects it also isolates, and while a sword can swing true, so too can it wound its wielder. ~ Steven Erikson, #NFDB
1418:How do you feel' Georgie?" whispered Mrs Weasley.
George's fingers groped for the side of his head.
"Saint-like," he murmured.
"What's wrong with him?" croaked Fred, looking terrified. "Is his mind affected?"
"Saint-like," repeated George, opening his eyes and looking up at his brother. "you see ... I'm holy. Holey, Fred, geddit?"
Miss Weasley sobbed harder than ever. Colour flooded Fred's pale face.
"Pathetic," he told George. "pathetic! With the whole wide world of ear-related humour before you, you go for holey?"
"Ah well," said George, grinning at his tear-socked mother. "You'll be able to tell us apart now, anyway mum. ~ J K Rowling,#NFDB
1419:Sea-Shells
I gathered shells upon the sand,
Each shell a little perfect thing,
So frail, yet potent to withstand
The mountain-waves' wild buffeting.
Through storms no ship could dare to brave
The little shells float lightly, save
All that they might have lost of fine
Shape and soft colour crystalline.
Yet I amid the world's wild surge
Doubt if my soul can face the strife,
The waves of circumstance that urge
That slight ship on the rocks of life.
O soul, be brave, for He who saves
The frail shell in the giant waves,
Will bring thy puny bark to land
Safe in the hollow of His hand.
~ Edith Nesbit,#NFDB
1420:The faint aroma of gum and calico that hangs about a library is as the fragrance of incense to me. I think the most beautiful sight is the gilt-edged backs of a row of books on a shelf. The alley between two well-stocked shelves in a hall fills me with the same delight as passing through a silent avenue of trees. The colour of a binding-cloth and its smooth texture gives me the same pleasure as touching a flower on its stalk. A good library hall has an atmosphere which elates. I have seen one or two University Libraries that have the same atmosphere as a chapel, with large windows, great trees outside, and glass doors sliding on noiseless hinges. ~ R K Narayan, #NFDB
1421:Oh, you're very clever," said Ellie. She almost gasped the words: her fury made her breathless. She pushed through the school gate in front of Angel. Her head was high and the colour bright in her cheeks. She had the contemptuous look Angel was often to meet in women, who, feeling their calm threatened by the unconventional, from fear of inadequacy fall back on rage; and Ellie's anger came suddenly in a great gust, so that she longed to spin round and hit Angel's pale face. "You would," she cried. "Of course, you would think such things. Who would expect you to believe in Holy Matrimony? Why, it would be very strange if you did. ~ Elizabeth Taylor, #NFDB
1422:When they reached her she stood on the path holding a pair of moths. Her eyes were wide with excitement , her cheeks pink, her red lips parted, and on the hand she held out to them clung a pair of delicate blue-green moths, with white bodies, and touches of lavender and straw colour. All about her lay flower-brocaded grasses, behind a deep green background of the forest, while the sun slowly sifted gold from heaven to burnish her hair. Mrs. Comstock heard a sharp breath behind her.
Oh, what a picture!" Exulted Ammon over sher shoulder. "She is absolutely and altogether lovely! Id give a small fortune for that faithfully set on canvas! ~ Gene Stratton Porter,#NFDB
1423:My mother was, in the tradition of parents, quite a complicated and contradictory human being. Moralistic but a devout lover of pleasure (food, music, the aesthetics of nature). Deeply religious but seemingly as comforted by singing a secular chanson as by prayer. A lover of the natural world who was visibly anxious every time she left the castle. Fragile, but also though and stubborn. I never knew how many of her oddities had sprung from grief and how many from her own inherent nature. "There is not one blade of grass, there is no colour in this world that is not intended to make us rejoice," my mother told me once, shortly after arriving in England. ~ Matt Haig, #NFDB
1424:The afternoon sun was bright above the cloud, lending to the scene a silvery glow that leached the sea of colour and picked out points of white light in the sand. The very raindrops seemed to shimmer in the air; the wind, blowing chill from the ocean, carried with it a pleasant, rusty smell. All this did much to dispel Devlin's torpor, and in very little time at all he was red-cheeked and smiling, his white brimmed hat clamped tight to his head with the palm of his hand. He decided to make the most of his perambulation, and return to Hokitika via the high terrace of Seaview: the site of the future Hokitika Gaol, and Devlin's own future residence. ~ Eleanor Catton, #NFDB
1425:But if you tame me, it will be as if the sun came to shine on my life . I shall know the sound of a step that will be different from all the others. Other steps send me hurrying back underneath the ground. Yours will call me, like music, out of my burrow. And then look: you see the grain-fields down yonder? I do not eat bread. Wheat is of no use to me. The wheat fields have nothing to say to me. And that is sad. But you have hair that is the colour of gold. Think how wonderful that will be when you have tamed me! The grain, which is also golden, will bring me back the thought of you. And I shall love to listen to the wind in the wheat... ~ Antoine de Saint Exup ry, #NFDB
1426:HIDEOUS! Sorry, Mom, but vomit green is NOT my colour. And that dress is impossible to walk in! It’s so tight around my legs that it looks like a giant fish tail. While the other bridesmaids walked gracefully to the “Wedding March” song, I flopped my way down the aisle like a human-sized catfish or something! Those rug burns were pure agony! It was getting late and I was running out of time! The last thing I wanted to do was to traumatise Brandon by showing up at the dance looking like a MUTANT FISH GIRL or something. Right now I’m SO frustrated that I’m seriously considering just NOT going to the dance. Why is my life so hopelessly CRUDDY?! ~ Rachel Ren e Russell, #NFDB
1427:He had no racial feeling—not because he was superior to his brother civilians, but because he had matured in a different atmosphere, where the herd-instinct does not flourish. The remark that did him most harm at the club was a silly aside to the effect that the so-called white races are really pinko-grey. He only said this to be cheery, he did not realize that “white” has no more to do with a colour than “God save the King” with a god, and that it is the height of impropriety to consider what it does connote. The pinko-grey male whom he addressed was subtly scandalized; his sense of insecurity was awoken, and he communicated it to the rest of the herd. ~ E M Forster, #NFDB
1428:Only Until This Cigarette Is Ended
Only until this cigarette is ended,
A little moment at the end of all,
While on the floor the quiet ashes fall,
And in the firelight to a lance extended,
Bizarrely with the jazzing music blended,
The broken shadow dances on the wall,
I will permit my memory to recall
The vision of you, by all my dreams attended.
And then adieu,--farewell!--the dream is done.
Yours is a face of which I can forget
The colour and the features, every one,
The words not ever, and the smiles not yet;
But in your day this moment is the sun
Upon a hill, after the sun has set.
~ Edna St. Vincent Millay,#NFDB
1429:…….one horizon always hides another and it goes on like that into infinity, to the unspeakable beauty of renewal, to intangible rapture. As for me, it is true all the way to the possibility of this book, to the moment when my words glide across the curve of your lips, to the sheets of white paper that put up with my trail, or rather the trail of those who have walked before me, for me. I moved forward in the trace of their footsteps as in a waking dream where the scent of a newly blown poppy is no longer a perfume but a blossoming: where the deep red of a maple leaf in autumn is no longer a colour but a grace; where a country is no longer a place but a lullaby. ~ Kim Th y, #NFDB
1430:The Garden
I
You are clear
O rose, cut in rock,
hard as the descent of hail.
I could scrape the colour
from the petals
like spilt dye from a rock.
If I could break you
I could break a tree.
If I could stir
I could break a tree—
I could break you.
II
O wind, rend open the heat,
cut apart the heat,
rend it to tatters.
Fruit cannot drop
through this thick air—
fruit cannot fall into heat
that presses up and blunts
the points of pears
and rounds the grapes.
Cut the heat—
plough through it,
turning it on either side
of your path. ~ H D,#NFDB
1431:They sat and drank their pints. The tables in which their faces were dimly reflected were dark brown, the darkest brown, the colour of Bournville chocolate. The walls were a lighter brown, the colour of Dairy Milk. The carpet was brown, with little hexagons of a slightly different brown, if you looked closely. The ceiling was meant to be off-white, but was in fact brown, browned by the nicotine smoke of a million unfiltered cigarettes. Most of the cars in the car park were brown, as were most of the clothes worn by the patrons. Nobody in the pub really noticed the predominance of brown, or if they did, thought it worth remarking upon. These were brown times. ~ Jonathan Coe, #NFDB
1432:This book attempts to convey something of the characteristic viewpoint on the world of each language whose story it tells. Evidently, living in a particular language does not define a total philosophy of life: but some metaphors will come to mind more readily than others; and some states of mind, or attitudes to others, are easier to assume in one language than another. It cannot be a matter of indifference which language we speak, or which languages our ancestors spoke. Languages frame, analyse and colour our views of the world. 'I have three hearts,' claimed Ennius, an early master poet in Latin, on the strength of his fluency in Latin, Greek, and Oscan. ~ Nicholas Ostler, #NFDB
1433:At ten, she was moreover noisy and wild, hated confinement and cleanliness and loved nothing so well in the world as rolling down the green slope at the back of the house. At fifteen, appearances were mending; she began to curl her hair and long for balls; her complexion improved, her features were softened by plumpness and colour, her eyes gained more animation, and her figure more consequence. Her love of dirt gave away to inclination for finery, and she grew clean as she grew smart. To look almost pretty, is an acquisition of higher delight to a girl who has been looking plain the first fifteen years of her life, than a beauty from her cradle can ever imagine. ~ Jane Austen, #NFDB
1434:When Jennah starts to sing, I feel the goose pimples rise on my arms. I haven’t heard her sing this piece with the orchestra before. Her voice is strong and pure, resonating through the hall. She sways forward onto her toes and gazes out to the back of the concert hall, her eyes bright. The sleeves of her grey jumper are too long so I am sure I am the only one to notice when she taps her finger against her skirt to help her with a re-entry. I can almost taste her voice in my mouth. It is the colour of dawn. I want to run up and grab her and twirl her around. I want to yell, She’s mine! The sight of her, standing there, singing, makes me want to shout with joy. ~ Tabitha Suzuma, #NFDB
1435:Who Said It Was Simple
There are so many roots to the tree of anger
that sometimes the branches shatter
before they bear.
Sitting in Nedicks
the women rally before they march
discussing the problematic girls
they hire to make them free.
An almost white counterman passes
a waiting brother to serve them first
and the ladies neither notice nor reject
the slighter pleasures of their slavery.
But I who am bound by my mirror
as well as my bed
see causes in colour
as well as sex
and sit here wondering
which me will survive
all these liberations.
~ Audre Lorde
, “Who Said It Wa
~ Audre Lorde,#NFDB
1436:Instead, this cup of coffee is a rich aroma, at once earthy and perfumed; it is the lazy movement of a curlicue of steam rising from its surface. As I lift it to my lips, it is a placidly shifting liquid and a weight in my hand inside its thick-rimmed cup. It is an approaching warmth, then an intense dark flavour on my tongue, starting with a slightly austere jolt and then relaxing into a comforting warmth, which spreads from the cup into my body, bringing the promise of lasting alertness and refreshment. The promise, the anticipated sensations, the smell, the colour and the flavour are all part of the coffee as phenomenon. They all emerge by being experienced. ~ Sarah Bakewell, #NFDB
1437:The Apollinian [classical Greek] Culture recognized as actual only that which was immediately present in time and place-and thus it repudiated the background as pictorial element. The Faustian [modern Western] strove through all sensuous barriers towards infinity-and it projected the center of gravity of the pictorial idea into the distance by means of perspective. The Magian [Byzantine-Arabian] felt all happening as an expression of mysterious powers that filled the world-cavern with their spiritual substance-and it shut off the depicted scene with a gold background, that is, by something that stood beyond and outside all nature-colours. Gold is not a colour. ~ Oswald Spengler, #NFDB
1438:These were colours he'd never ever seen before; ones he couldn't possibly begin to name. Here, to his left, was a wooden clock, and it was painted, well not exactly green, but a colour that green might like to be if it had any imagination at all. And over there, beside the wooden board game whose overriding colour was not red, but something that red might look at enviously, blushing with embarrassment at its own dull appearance. And the wooden letter sets, well, there were those who might have said that they were painted yellow and blue, but they would have said this knowing that such plain words were an outrageous insult to the colouring on the letters themselves. ~ John Boyne, #NFDB
1439:If I were you, Mr Lascelles," said Childermass, softly, "I would speak more guardedly. You are in the north now. In John Uskglass's own country. Our towns and cities and abbeys were built by him. Our laws were made by him. He is in our minds and hearts and
speech. Were it summer you would see a carpet of tiny flowers beneath every hedgerow, of a bluish-white colour. We call them John's Farthings. When the weather is contrary and we have warm weather in winter or it rains in summer the country people say that John
Uskglass is in love again and neglects his business. And when we are sure of something we say it is as safe as a pebble in John Uskglass's pocket. ~ Susanna Clarke,#NFDB
1440:My darling, what a cat they have! Something perfectly stupendous. Siamese, in colour dark beige, or taupe, with chocolate paws and the tail the same. Moreover, his tail is comparatively short, so his croup has something of a little dog, or rather, a kangaroo, and that’s its colour, too. And that special silkiness of short fur, and some very tender white tints on its folds, and wonderful clear-blue eyes, turning transparently green towards evening, and a pensive tenderness of its walk, a sort of heavenly circumspection of movement. An amazing, sacred animal, and so quiet – it’s unclear what he is looking at with those eyes filled to the brim with sapphire water. ~ Vladimir Nabokov, #NFDB
1441:At a few minutes before four, Peeta turns to me again. "Your favorite colour . . . it's green?"
"That's right." Then I think of something to add. "And yours is orange."
"Orange?" He seems unconvinced.
"Not bright orange. But soft. Like the sunset," I say. "At least, that's what you told me once."
"Oh." He closes his eyes briefly, maybe trying to conjure up that sunset, then nods his head. "Thank you."
But more words tumble out. "You're a painter. You're a baker. You like to sleep with the windows open. You never take sugar in your tea. And you always double-knot your shoelaces."
Then I dive into my tent before I do something stupid like cry. ~ Suzanne Collins,#NFDB
1442:fit in here, in my palm, in my shadow, don’t be bigger than my idea of you, don’t be more beautiful than i can accept, don’t be more human than i am willing to allow you to be and be quiet, you’re too loud, even your un-belonging is loud. quiet your dreams, your voice, your hair, quiet your skin, quiet your displacement, quiet your longing, your colour, quiet your walk, your eyes. who said you could look at me like that? who said you could exist without permission? why are you even here? why aren’t you shrinking? i think of you often. you vibrate. you walk into a room and the temperature changes. i lean in and almost recognise you as human. but, no. we can’t have that. ~ Warsan Shire, #NFDB
1443:Sonnet Xxxvii.
The poet's fancy takes from Flora's realm
Her buds and leaves to dress fictitious powers,
With the green olive shades Minerva's helm,
And give to Beauty's queen, the queen of flowers.
But what gay blossoms of luxuriant spring,
With rose, mimosa, amaranth entwined,
Shall fabled Sylphs and fairy people bring,
As a just emblem of the lovely mind?
In vain the mimic pencil tries to blend
The glowing dyes that dress the flowery race,
Scented and colour'd by a hand divine!
Ah! not less vainly would the Muse pretend,
On her weak lyre, to sing the native grace
And native goodness of a soul like thine!
~ Charlotte Smith,#NFDB
1444:The Enfield I’ve realized, is really a temperamental woman disguised as a motorcycle and ours is not a relationship of convenience. Sometimes she can be adamant and uncooperative and very difficult to reason with. She can sense my moods and even my intentions. Once, attracted to a more advanced model, I had considered a trading alliance with her. The modern motorcycle beckoned me enticingly from billboards and newspapers in full seductive colour. I visited the showroom and took a test ride on the sleeker machine. This new one felt different. Lighter and easily excited into full flight with her ‘0 to 100 in x seconds’ flat! To an Enfield, that’s premature ejaculation. ~ Ajit Harisinghani, #NFDB
1445:No paint or dye can give so splendid a colour as gilding. The merit of their beauty is greatly enhanced by their scarcity. With the greater part of rich people, the chief enjoyment of riches consists in the parade of riches, which in their eye is never so complete as when they appear to possess those decisive marks of opulence which nobody can possess but themselves. In their eyes the merit of an object which is in any degree either useful or beautiful is greatly enhanced by its scarcity, or by the great labour which it requires to collect any considerable quantity of it, a labour which nobody can afford to pay but themselves.
Book I, Chapter 11 - Rent of Land, part II ~ Adam Smith,#NFDB
1446:I feel sick when I look at the parody synopsis, at the letters from the film company... The novel is 'about' a colour problem. I said nothing in it that wasn't true. But the emotion it came out of was something frightening, the unhealthy, feverish illicit excitement of wartime, a lying nostalgia, a longing for licence, for freedom, for the jungle, for formlessness. It is so clear to me that I can't read that novel now without feeling ashamed, as if I were in a street naked. Yet no one else seems to see it. Not one of the reviewers saw it. Not one of my cultivated and literary friends saw it. It is an immoral novel because that terrible lying nostalgia lights every sentence. ~ Doris Lessing, #NFDB
1447:The City
Beyond the dusky corn-fields, toward the west,
Dotted with farms, beyond the shallow stream,
Through drifts of elm with quiet peep and gleam,
Curved white and slender as a lady's wrist,
Faint and far off out of the autumn mist,
Even as a pointed jewel softly set
In clouds of colour warmer, deeper yet,
Crimson and gold and rose and amethyst,
Toward dayset, where the journeying sun grown old
Hangs lowly westward darker now than gold,
With the soft sun-touch of the yellowing hours
Made lovelier, I see with dreaming eyes,
Even as a dream out of a dream, arise
The bell-tongued city with its glorious towers.
~ Archibald Lampman,#NFDB
1448:A game at which the liberals have become masters is that of deliberate evasiveness. The question often comes up `what can you do?`. If you ask him to do something like stopping to use segregated facilities or dropping out of varsity to work at menial jobs like all blacks or defying and denouncing all provisions that make him privileged, you always get the answer - `but that's unrealistic!' While this may be true, it only serves to illustrate the fact that mo matter what a white man does, the colour of his skin - his passport to privilege- will always put him miles ahead of the black men. Thus in the ultimate analysis, no white person can escape being part of the oppressor camp. ~ Steve Biko, #NFDB
1449:Once It Was The Colour Of Saying
Once it was the colour of saying
Soaked my table the uglier side of a hill
With a capsized field where a school sat still
And a black and white patch of girls grew playing;
The gentle seaslides of saying I must undo
That all the charmingly drowned arise to cockcrow and kill.
When I whistled with mitching boys through a reservoir park
Where at night we stoned the cold and cuckoo
Lovers in the dirt of their leafy beds,
The shade of their trees was a word of many shades
And a lamp of lightning for the poor in the dark;
Now my saying shall be my undoing,
And every stone I wind off like a reel.
~ Dylan Thomas,#NFDB
1450:One late-autumn day I opened the back door to fetch some water, and there was a young hare sat on my back step. Save for the twitching of its nose, it froze in position as if I had surprised it as it was about to knock. It was already the size of a full-grown rabbit, and its black-tipped ears were longer than any rabbit’s would ever be. I stood there and waited for it to flush. After a while I began to doubt that it would, and squatted down to its level for a closer look, eye to eye. It stared at me apparently unconcerned, chewing silently, with bulging eyes that were such a rich golden colour they were almost orange, with black depths like the keyhole of a door to another world. ~ Neil Ansell, #NFDB
1451:This world is not, in origin, Tolkien’s invention: though it is perhaps his major achievement to have opened it up for the contemporary imagination. In 1937 (though not now) the world and its personnel were best known from a relatively small body of stories taken from an again relatively small corpus of classic European fairy-tale collections, those of the Grimm brothers in Germany, of Asbjornsen and Moe in Norway, Perrault in France, or Joseph Jacobs in England, together with literary imitations like those of H.C. Andersen in Denmark, and literary collections like the ‘colour’ Fairy Books of Andrew Lang; and from the many Victorian ‘myth and legend’ handbooks which drew on them. ~ Tom Shippey, #NFDB
1452: Divine Sight
Each sight is now immortal with Thy bliss:
My soul through the rapt eyes has come to see;
A veil is rent and they no more can miss
The miracle of Thy world-epiphany.
Into an ecstasy of vision caught
Each natural object is of Thee a part,
A rapture-symbol from Thy substance wrought,
A poem shaped in Beauty's living heart,
A master-work of colour and design,
A mighty sweetness borne on grandeur's wings;
A burdened wonder of significant line
Reveals itself in even commonest things.
All forms are Thy dream-dialect of delight,
O Absolute, O vivid Infinite.
624
Pondicherry, c. 1927 - 1947
~ Sri Aurobindo, - Divine Sight
,#NFDB
1453:Pigments such as haemoglobin are coloured because they absorb light of particular colours (bands of light, as in a rainbow) and reflect back light of other colours. The pattern of light absorbed by a compound is known as its absorption spectrum. When binding oxygen, haemoglobin absorbs light in the blue-green and yellow parts of the spectrum, but reflects back red light, and this is the reason why we perceive arterial blood as a vivid red colour. The absorption spectrum changes when oxygen dissociates from haemoglobin in venous blood. Deoxyhaemoglobin absorbs light across the green part of the spectrum, and reflects back red and blue light. This gives venous blood its purple colour. ~ Nick Lane, #NFDB
1454:"What is truth?" said jesting Pilate, and would not stay for an answer. Pilate was in advance of his time. For "truth" itself is an abstract noun, a camel, that is, of a logical construction, which cannot get past the eye even of a grammarian. We approach it cap and categories in hand: we ask ourselves whether Truth is a substance (the Truth, the Body of Knowledge), or a quality (something like the colour red, inhering in truths), or a relation ("correspondence"). But philosophers should take something more nearly their own size to strain at. What needs discussing rather is the use, or certain uses, of the word "true." In vino, possibly, "veritas," but in a sober symposium "verum." ~ J L Austin, #NFDB
1455:It is a tedious cliché (and, unlike many clichés, it isn't even true) that science concerns itself with how questions, but only theology is equipped to answer why questions. What on Earth is a why question? Not every English sentence beginning with the word 'why' is a legitimate question. Why are unicorns hollow? Some questions simply do not deserve an answer. What is the colour of abstraction? What is the smell of hope? The fact that a question can be phrased in a grammatically correct English sentence doesn't make it meaningful, or entitle it to our serious attention. Nor, even if the question is a real one, does the fact that science cannot answer it imply that religion can. ~ Richard Dawkins, #NFDB
1456:After sleeping through a hundred million centuries we have finally opened our eyes on a sumptuous planet, sparkling with colour, bountiful with life. Within decades we must close our eyes again. Isn't it a noble, an enlightened way of spending our brief time in the sun, to work at understanding the universe and how we have come to wake up in it? This is how I answer when I am asked -- as I am surprisingly often -- why I bother to get up in the mornings. To put it the other way round, isn't it sad to go to your grave without ever wondering why you were born? Who, with such a thought, would not spring from bed, eager to resume discovering the world and rejoicing to be a part of it? ~ Richard Dawkins, #NFDB
1457:Sea Lullaby
The old moon is tarnished
With smoke of the flood,
The dead leaves are varnished
With colour like blood.
A treacherous smiler
With teeth white as milk,
A savage beguiler
In sheathings of silk
The sea creeps to pillage,
She leaps on her prey;
A child of the village
Was murdered today.
She came up to meet him
In a smooth golden cloak,
She choked him and beat him
to death, for a joke.
Her bright locks were tangled,
She shouted for joy
With one hand she strangled
A strong little boy.
Now in silence she lingers
Beside him all night
To wash her long fingers
In silvery light.
~ Elinor Morton Wylie,#NFDB
1458:And my dream is to recapture the art of loving and of being seduced; the habit of the stroll and of reading in cafes; the practice, endorsed by Dante and Baudelaire, of building, repairing, and living in cities; the exhilaration of a speech (at their purest depths, the languages of Europe have never been anything other than this) that no sooner encounters the desert than it discovers the delight of filling it with song; the taste for a beautiful "now" that, when it offers itself for the taking, is an almost perfect treasure, as the grasshopper might have replied to the ant in the fable; in sum, the art and the inclination that were the voice, the flavour, and the colour of Europe. ~ Bernard Henri L vy, #NFDB
1459:Readers walked away, their faces lit up because they'd met him, while his was lit up because he'd met them. Henry had written a novel because there was a hole in him that needed filling, a question that needed answering, a patch of canvas that needed painting -- that blend of anxiety, curiosity and joy that is at the origin of art -- and he had filled the hole, answered the question, splashed colour on the canvas, all done for himself, because he had to. Then complete strangers told him that his book had filled a hole in them, had answered a question, had brought colour to their lives. The comfort of strangers, be it a smile, a pat on the shoulder or a word of praise, is truly a comfort. ~ Yann Martel, #NFDB
1460:Gentlemen,” he cried, “let me introduce you to the famous black pearl of the Borgias.” Lestrade and I sat silent for a moment, and then, with a spontaneous impulse, we both broke at clapping, as at the well-wrought crisis of a play. A flush of colour sprang to Holmes’s pale cheeks, and he bowed to us like the master dramatist who receives the homage of his audience. It was at such moments that for an instant he ceased to be a reasoning machine, and betrayed his human love for admiration and applause. The same singularly proud and reserved nature which turned away with disdain from popular notoriety was capable of being moved to its depths by spontaneous wonder and praise from a friend. ~ Arthur Conan Doyle, #NFDB
1461:I needed to be brought into the loop about who's hot and who's not, when I moved here. You know how it is," he added. "Social status and all that."
And then I was deflated, because I understood what he meant.
"Yes, I'm sure they were happy to fill you in that I'm part of the 'who's not' category. In fact, I'd imagine I'm probably on the top of that list."
He lifted an eyebrow in question, and I noticed the colour of his eyes again for the second time today. "You're kidding, right? I don't think any guy has you on his 'who's not' list."
"Then please, enlighten me as to which lucky category I've fallen into. It's always nice to be sorted like inanimate objects. ~ Lacey Weatherford,#NFDB
1462:And among the most bizarre aspects of the ‘total war’ drive in the second half of 1944 was the fact that at precisely the time he was combing out the last reserves of manpower, Goebbels – according to film director Veit Harlan – was allowing him, at Hitler’s express command, to deploy 187,000 soldiers, withdrawn from active service, as extras for the epic colour film of national heroism, Kolberg, depicting the defence of the small Baltic town against Napoleon as a model for the achievements of total war. According to Harlan, Hitler as well as Goebbels was ‘convinced that such a film was more useful than a military victory’. Even in the terminal crisis of the regime, propaganda had to come first. ~ Ian Kershaw, #NFDB
1463:If a snail’s shell gets injured, a repair can be made quickly. New shell material is secreted by the mantle, and where there was once a crack, a scar appears, looking much like a skin scar. Even a missing shell section can be replaced. Oliver Goldsmith described this in 1774: Sometimes these animals are crushed seemingly to pieces, and, to all appearance, utterly destroyed; yet still they set themselves to work, and, in a few days, mend all their numerous breaches … to the re-establishment of the ruined habitation. But all the junctures are very easily seen, for they have a fresher colour than the rest; and the whole shell, in some measure, resembles an old coat patched with new pieces. ~ Elisabeth Tova Bailey, #NFDB
1464:Tas In March
White on dark water, so stark
I leave my binoculars behind
and watch with bare red eyes
two swans, taut with sexuality,
stretching their necks
alternately side by side.
They are early: colour is
still to come to bone-dry rushes
and trees bank black strangling
their green. It is a hard wedding:
sharp brambles and ivy-covered
stumps hunch and hug;
sleet pokes the surface from
a blank neutrality, to come back
spitting with all its mouths.
Roused, the spread wings
beat their own storm towards
the north, wind against wind.
Somewhere in all this a small
heat is held, like the hope
of a cold man drowning.
~ Edwin Brock,#NFDB
1465:You know that quilt you are making at school? Each child makes a square, correct?"
"Yes," I said.
"And none of you knows what the other squares will look like. Perhaps that is the way God works. We are each like one of the squares. We choose how our own square will look, we choose the colour, the design, all of that. But when we are put in with the other squares we might be in the middle, at the edge, make the whole look one way or another. ... And it's when we interact with all the other squares that the unexpected can happen. And it can change the way our square is viewed. ... It's a mixture of our choices and God's choices. And it all makes a pattern, but only God can see the big pattern. ~ Carol Matas,#NFDB
1466:There will be thunder then.
Remember me.
Say "She asked for storms." The entire
world will turn the colour of crimson stone,
and your heart, as then, will turn to fire.
That day, in Moscow, a true prophecy,
when for the last time I say goodbye,
soaring to the heavens that I longed to see,
leaving mI haven't locked the door,
Nor lit the candles,
You don't know, don't care,
That tired I haven't the strength
To decide to go to bed.
Seeing the fields fade in
The sunset murk of pine-needles,
And to know all is lost,
That life is a cursed hell:
I've got drunk
On your voice in the doorway.
I was sure you'd come back. ~ Anna Akhmatova,#NFDB
1467:East And West
The Day has never understood the Gloaming or the Night;
Though sired by one Creative Power, and nursed at Nature's breast;
The White Man ever fails to read the Dark Man's heart aright;
Though from the self-same Source they came, upon the self-same quest;
So deep and wide, the Great Divide,
Between the East and West.
But like a shadow on a screen, mine eyes behold, above
The yawning gulf, a dim forecast, of structures strong and broad;
Where caste, and colour prejudice, by countless feet down trod,
With old traditions crushed by Time, pave smooth the bridge of Love;
And all the creed that men shall heed
Is consciousness of God.
~ Ella Wheeler Wilcox,#NFDB
1468:If a snail’s shell gets injured, a repair can be made quickly. New shell material is secreted by the mantle, and where there was once a crack, a scar appears, looking much like a skin scar. Even a missing shell section can be replaced. Oliver Goldsmith described this in 1774: Sometimes these animals are crushed seemingly to pieces, and, to all appearance, utterly destroyed; yet still they set themselves to work, and, in a few days, mend all their numerous breaches . . . to the re-establishment of the ruined habitation. But all the junctures are very easily seen, for they have a fresher colour than the rest; and the whole shell, in some measure, resembles an old coat patched with new pieces. ~ Elisabeth Tova Bailey, #NFDB
1469:More than once I have tried to picture myself in the position of a boy or man with an honoured and distinguished ancestry which I could trace back through a period of hundreds of years, and who had not only inherited a name, but fortune and a proud family homestead; and yet I have sometimes had the feeling that if I had inherited these, and had been a member of a more popular race, I should have been inclined to yield to the temptation of depending upon my ancestry and my colour to do that for me which I should do for myself. Years ago I resolved that because I had no ancestry myself I would leave a record of which my children would be proud, and which might encourage them to still higher effort. ~ Solomon Northup, #NFDB
1470: The Greater Plan
I am held no more by life's alluring cry,
Her joy and grief, her charm, her laughter's lute.
Hushed are the magic moments of the flute,
And form and colour and brief ecstasy.
I would hear, in my spirit's wideness solitary,
The Voice that speaks when mortal lips are mute:
I seek the wonder of things absolute
Born from the silence of Eternity.
There is a need within the soul of man
The splendours of the surface never sate;
For life and mind and their glory and debate
Are the slow prelude of a vaster theme,
A sketch confused of a supernal plan,
A preface to the epic of the Supreme.
Sonnets
607
~ Sri Aurobindo, - The Greater Plan
,#NFDB
1471:They had brought him in during the war, the professional civil servant from an orthodox department, a man to handle paper and integrate the brilliance of his staff with the cumbersome machine of bureaucracy. It comforted the Great to deal with a man they knew, a man who could reduce any colour to grey, who knew his masters and could walk among them. And he did it so well. They liked his diffidence when he apologized for the company he kept, his insincerity when he defended the vagaries of his subordinates, his flexibility when formulating new commitments. Nor did he let go the advantages of a cloak and dagger man malgré lui, wearing the cloak for his masters and preserving the dagger for his servants. ~ John le Carr, #NFDB
1472:The body is a multilingual being. It speaks through its colour and its temperature, the flush of recognition, the glow of love, the ash of pain, the heat of arousal, the coldness of non-conviction. It speaks through its constant tiny dance, sometimes swaying, sometimes a-jitter, sometimes trembling. It speaks through the leaping of the heart, the falling of the spirit, the pit at the centre, and rising hope. The body remembers, the bones remember, the joints remember, even the little finger remembers. Memory is lodged in pictures and feelings in the cells themselves. Like a sponge filled with water, anywhere the flesh is pressed, wrung, even touched lightly, a memory may flow out in a stream. ~ Clarissa Pinkola Est s, #NFDB
1473:Generals trump Majors," Ursan said.
"True, but do princes trump generals?"
"I attacked him."
"Ryne's not the type to hold a grudge."
Ursan considered. "Isn't he a king? Both his parents died"
"Technically, yes. But he hasn't assumed the title."
"Neither has Prince Kerrick," Ursan said. " Don't you find that odd?"
"Not with Kerrick. He loved his father very much. I think it's still too painful for him to assume the title. Plus he hasn't been home in years."
Ursan remained quiet until we reached his tent. "Prince Kerrick's a forest mage. Which means his eyes change colour with the seasons. Right?"
"Yes."
He stared at me for a moment. "Lucky guy." Ursan ducked into his tent. ~ Maria V Snyder,#NFDB
1474:The likeness of man above the throne is divided, the upper part being the colour of chashmal, the lower part like the appearance of fire. As regards the word chashmal, it has been explained to be the compound of two words chas and mal, including two different notions, viz., chash signifying "swiftness," and mal denoting "pause." The two different notions are here joined in one word in order to indicate figuratively the two different parts,—the upper part and the lower. We have already given a second explanation, namely, that chashmal includes the two notions of speach and silence; in accordance with the saying of our Sages, "At times they are silent,at times they speak." ~ Maimonides, Guide for the Perplexed (c. 1190), #NFDB
1475:Glass
O Man! what Inspiration was thy Guide,
Who taught thee Light and Air thus to divide;
To let in all the useful Beams of Day,
Yet force, as subtil Winds, without thy Shash to stay;
T'extract from Embers by a strange Device,
Then polish fair these Flakes of solid Ice;
Which, silver'd o'er, redouble all in place,
And give thee back thy well or ill-complexion'd Face.
To Vessels blown exceed the gloomy Bowl,
Which did the Wine's full excellence controul,
These shew the Body, whilst you taste the Soul.
Its colour sparkles Motion, lets thee see,
Tho' yet th' Excess the Preacher warns to flee,
Lest Men at length as clearly spy through Thee.
~ Anne Kingsmill Finch,#NFDB
1476:The eyes were horrible. Looking at them I got the feeling that they were not genuine eyes at all but mechanical dummies animated by electricity or the like, with a tiny pinhole in the centre of the "pupil" through which the real eye gazed out secretively and with great coldness. Such a conception, possibly with no foundation at all in fact, disturbed me agonisingly and gave rise in my mind to interminable speculations as to the colour and quality of the real eye and as to whether, indeed, it was real at all or merely another dummy with its pinhole on the same plane as the first one so that the real eye, possibly behind thousands of these absurd disguises, gazed out through a barrel of serried peep-holes. ~ Flann O Brien, #NFDB
1477:But no literature grows in isolation, and looking at the history of Indian writing in English is like looking at a silent movie made up of static postcards of Delhi, or Mumbai, or any other thronged Indian city: the life, the colour, the hubbub of hundreds of eager new writers and high-minded editors, peacocking poets and fiery-eyed pamphleteers, all of that has been bled out of collective memory. In the same year that Dean Mahomet wrote his Travels, the Madras Hircarrah (1794) started up, joining Hicky’s Bengal Gazette (1780) and the India Gazette (1781); the first in a flood of periodicals and journals that would breathlessly, urgently take the news of India running along from one province to another. The ~ Nilanjana Roy, #NFDB
1478:Up at Meru I saw a young Native girl with a bracelet on, a leather strap two inches wide, and embroidered all over with very small turquoise-coloured beads which varied a little in colour and played in green, light blue, and ultramarine. It was an extraordinarily live thing; it seemed to draw breath on her arm, so that I wanted it for myself, and made Farah buy it from her. No sooner had it come upon my own arm than it gave up the ghost. It was nothing now, a small, cheap, purchased article of finery. It had been the play of colours, the duet between the turquoise and the 'nègre' - that quick, sweet, brownish black, like peat and black pottery, of the Native's skin - that had created the life of the bracelet. ~ Karen Blixen, #NFDB
1479:And that nice little balcony is yours? How cool it looks up there!”
He paused a moment. “Come up and see,” he suggested. “I can give you a cup of tea in no time—and you won’t meet any bores.”
Her colour deepened—she still had the art of blushing at the right time—but she took the suggestion as lightly as it was made.
“Why not? It’s too tempting—I’ll take the risk,” she declared.
“Oh, I’m not dangerous,” he said in the same key.
In truth, he had never liked her as well as at that moment. He knew she had accepted without afterthought: he could never be a factor in her calculations, and there was a surprise, a refreshment almost, in the spontaneity of her consent. ~ Edith Wharton,#NFDB
1480:First was a lone cyclist, in a red jersey, toiling intent and confident out of the westering sun, passing to the melody of a high chattering cheer. Then three together in a harlequinade of faded colour, legs caked yellow with dust and sweat, faces expressionless, eyes heavy and endlessly tired.
Tommy faced Dick, saying: 'I think Nicole wants a divorce - I suppose you'll make no obstacles?'
A troupe of fifty more swarmed after the first bicycle racers, strung out over two hundred yards; a few were smiling and self-conscious, a few obviously exhausted, most of them indifferent and weary. A retinue of small boys passed, a few defiant stragglers, a light truck carried the victims of accident and defeat. ~ F Scott Fitzgerald,#NFDB
1481:Good for Christmas-time is the ruddy colour of the cloak in which--the tree making a forest of itself for her to trip through, with her basket--Little Red Riding-Hood comes to me one Christmas Eve to give me information of the cruelty and treachery of that dissembling Wolf who ate her grandmother, without making any impression on his appetite, and then ate her, after making that ferocious joke about his teeth. She was my first love. I felt that if I could have married Little Red Riding-Hood, I should have known perfect bliss. But, it was not to be; and there was nothing for it but to look out the Wolf in the Noah's Ark there, and put him late in the procession on the table, as a monster who was to be degraded. ~ Charles Dickens, #NFDB
1482:Oh, I hate him,' she said, and I noticed a flush of colour come into her cheeks and the manner in which the fingers of her left hand dug into her palm, as if she wanted something to take away the pain. 'I absolutely detest him. Afterwards, I didn't feel very much at all for a week or two. I suppose I was in shock. But then the fury rose and it hasn't subsided since. Sometimes I find it difficult to control. I think it was around the time that everyone stopped asking me whether I was all right, when lives went back to how they had been before. Had he been in Dublin I might well have gone over there, broken down his door and stabbed him as he slept. Fortunately for him, he was in Madagascar with his lepers.' (p. 268) ~ John Boyne, #NFDB
1483:Well, it’s only to you I’m talking. I did him just as well as I knew how, making allowance for the slickness of oils. Then the art-manager of that abandoned paper said that his subscribers wouldn’t like it. It was brutal and coarse and violent,—man being naturally gentle when he’s fighting for his life. They wanted something more restful, with a little more colour. I could have said a good deal, but you might as well talk to a sheep as an art-manager. I took my “Last Shot” back. Behold the result! I put him into a lovely red coat without a speck on it. That is Art. I polished his boots,—observe the high light on the toe. That is Art. I cleaned his rifle,—rifles are always clean on service,—because that is Art. ~ Rudyard Kipling, #NFDB
1484:Until writing was invented, man lived in an acoustic space: boundless, directionless, horizonless, in the dark of the mind, in the world of emotion, by primordial intuition, by terror. Speech is a social chart of this bog.
The goose quill put an end to talk. It abolished mystery; it gave architecture and towns; it brought roads and armies, bureaucracy. It was the basic metaphor with which the cycle of civilization began, the step from the dark into the light of the mind. The hand that filled the parchment page built a city.
Whence did the wond'rous mystic art arise,
Of painting SPEECH, and speaking to the eyes?
That we by tracing magic lines are taught,
How to embody, and to colour THOUGHT? ~ Marshall McLuhan,#NFDB
1485:Harry moved closer to George and muttered out of the corner of his mouth, ‘What are Skiving Snackboxes?’ ‘Range of sweets to make you ill,’ George whispered, keeping a wary eye on Mrs Weasley’s back. ‘Not seriously ill, mind, just ill enough to get you out of a class when you feel like it. Fred and I have been developing them this summer. They’re double-ended, colour-coded chews. If you eat the orange half of the Puking Pastilles, you throw up. Moment you’ve been rushed out of the lesson for the hospital wing, you swallow the purple half –’ ‘“– which restores you to full fitness, enabling you to pursue the leisure activity of your own choice during an hour that would otherwise have been devoted to unprofitable boredom. ~ J K Rowling, #NFDB
1486:In portraiture I look for people that I recognise - 'Look, it's Uncle Tony' - or for the faces of film stars. The Madame Tussaud's school of art appreciation. In realist works I look for detail; 'Look at the eyelashes!' I say, in idiotic admiration at the fineness of the brush. 'Look at the reflection in his eye!' In abstract art I look for colour - 'I love the blue' as if the works of Rothko and Mondrian were little more than immense paint charts. I understand the superficial thrill of seeing the object in the flesh, so to speak; the sightseeing approach that lumps together the Grand Canyon, the Taj Mahal and the Sistine Chapel as items to tick off. I understand rarity and uniqueness, the 'how much?' school of criticism. ~ David Nicholls, #NFDB
1487:Please believe me when I tell you that I picked up each soul that day as if it were newly born. I even kissed a few weary, poisoned cheeks. I listened to their last, gasping cries. Their French words. I watched their love-visions and freed them from their fear. I took them all away, and if ever there was a time I needed distraction, this was it. In complete desolation, I looked at the world above. I watched the sky as it turned from silver to grey to the colour of rain. Even the clouds tried to look the other way. Sometimes, I imagined how everything appeared above those clouds, knowing without question that the sun was blond, and the endless atmosphere was a giant blue eye. They were French, they were Jews, and they were you. ~ Markus Zusak, #NFDB
1488:The discussion was escalating into an argument when the Demeter head counselor offered one last suggestion. "What about this?" He held out a small red object.
"Miniature explosive!" the Ares boy bellowed. "Duck!"
"It's not an explosive or a duck," the Demeter boy said. "It's a berry native to this land. Grows all over the place here."
The Aphrodite girl wrinkled her nose. "Excuse me, but ew! There are seeds all over the outside! So unattractive. And red? That colour is so overdone, fruit-wise."
"Yes, but it's tasty," the Demeter counselor said. "I call it a strawberry.
"Why?" the Athena girl wanted to know.
"Because blueberry, raspberry, blackberry, and cranberry were taken. ~ Rick Riordan,#NFDB
1489:So if you can look at all things without allowing pleasure to creep in - at a face, a bird, the colour of a sari, the beauty of a sheet of water shimmering in the sun, or anything that gives delight - if you can look at it without wanting the experience to be repeated, then there will be no pain, no fear, and therefore tremendous joy. It is the struggle to repeat and perpetuate pleasure which turns it into pain. Watch it in yourself. The very demand for the repetition of pleasure brings about pain, because it is not the same, as it was yesterday. You struggle to achieve the same delight, not only to your aesthetic sense but the same inward quality of the mind, and you are hurt and disappointed because it is denied to you. ~ Jiddu Krishnamurti, #NFDB
1490:Sherlock Holmes—his limits. Knowledge of Literature.—Nil. Philosophy.—Nil. Astronomy.—Nil. Politics.—Feeble. Botany.—Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening. Geology.—Practical, but limited. Tells at a glance different soils from each other. After walks has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them. Chemistry.—Profound. Anatomy.—Accurate, but unsystematic. Sensational Literature.—Immense. He appears to know every detail of every horror perpetrated in the century. Plays the violin well. Is an expert singlestick player, boxer, and swordsman. Has a good practical knowledge of British law. ~ Arthur Conan Doyle, #NFDB
1491:There is something strikingly different about the quality of photographs of that time. It has nothing to do with age or colour, or the feel of paper. . . . In modern family photographs the camera pretends to circulate like a friend, clicking its shutters at those moments when its subjects have disarranged themselves to present to it those postures which they would like to think of as informal. But in pictures of that time, the camera is still a public and alien eye, faced with which people feel bound either to challenge the intrusion by striking postures of defiant hilarity, or else to compose their faces, and straighten their shoulders, not always formally, but usually with just that hint of stiffness which suggests a public face. ~ Amitav Ghosh, #NFDB
1492:Oh, yes, Alice did know that she forgot things, but not how badly, or how often. When her mind started to dazzle and to puzzle, frantically trying to lay hold of something stable, then she always at once allowed herself -- as she did now -- to slide back into her childhood, where she dwelt pleasurably on some scene or other that she had smoothed and polished and painted over and over again with fresh colour until it was like walking into a story that began, 'Once upon a time there was a little girl called Alice, with her mother, Dorothy. One morning Alice was in the kitchen with Dorothy, who was making her favourite pudding, apple with cinnamon and brown sugar and sour cream, and little Alice said, 'Mummy, I am a good girl, aren't I? ~ Doris Lessing, #NFDB
1493:The Sweets Of Evening
The sweets of evening charm the mind,
Sick of the sultry day;
The body then no more confin'd,
But exercise with freedom join'd,
When Phoebus sheathes his ray.
While all-serene the summer moon
Sends glances thro' the trees,
And Philomel begins her tune,.
And Asteria too shall help her soon
With voice of skillful ease.
A nosegay, every thing that grows,
And music, every sound
To lull the sun to his repose;
The skies are colour'd like the rose
With lively streaks around.
Of all the changes rung by time
None half so sweet appear,
As those when thoughts themselves sublime,
And with superior natures chime
In fancy's highest sphere.
~ Christopher Smart,#NFDB
1494:Dick laughed. ‘Well, it’s only to you I’m talking. I did him just as well as I knew how, making allowance for the slickness of oils. Then the art-manager of that abandoned paper said that his subscribers wouldn’t like it. It was brutal and coarse and violent, — man being naturally gentle when he’s fighting for his life. They wanted something more restful, with a little more colour. I could have said a good deal, but you might as well talk to a sheep as an art-manager. I took my “Last Shot” back. Behold the result! I put him into a lovely red coat without a speck on it. That is Art. I polished his boots, — observe the high light on the toe. That is Art. I cleaned his rifle, — rifles are always clean on service, — because that is Art. ~ Rudyard Kipling, #NFDB
1495:The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose? ~ James Joyce, #NFDB
1496:Mr. Lorry came silently forward, leaving the daughter by the door. When he had stood, for a minute or two, by the side of Defarge, the shoemaker looked up. He showed no surprise at seeing another figure, but the unsteady fingers of one of his hands strayed to his lips as he looked at it (his lips and his nails were of the same pale lead-colour), and then the hand dropped to his work, and he once more bent over the shoe. The look and the action had occupied but an instant. "You have a visitor, you see," said Monsieur Defarge. "What did you say?" "Here is a visitor." The shoemaker looked up as before, but without removing a hand from his work. "Come!" said Defarge. "Here is monsieur, who knows a well-made shoe when he sees one. Show him ~ Charles Dickens, #NFDB
1497:The faintness of the voice was pitiable and dreadful. It was not the faintness of physical weakness, though confinement and hard fare no doubt had their part in it. Its deplorable peculiarity was, that it was the faintness of solitude and disuse. It was like the last feeble echo of a sound made long long ago. So entirely had it lost the life and resonance of the human voice, that if affected the senses like a once beautiful colour faded away into a poor weak stain. So sunken and suppressed it was, that it was like a voice underground. So expressive it was, of a hopeless and lost creature, that a famished traveller, wearied out by lonely wandering in a wilderness, would remember home and friends in such a tone before lying down to die. ~ Charles Dickens, #NFDB
1498:There is something strikingly different about the quality of photographs of that time. It has nothing to do with age or colour, or the feel of paper. . . . In modern family photographs the camera pretends to circulate like a friend, clicking its shutters at those moments when its subjects have disarranged themselves to present to it those postures which they would like to think of as informal. But in pictures of that time, the camera is still a public and alien eye, faced with which people feel bound either to challenge the intrusion by striking postures of defiant hilarity, or else to compose their faces, and straighten their shoulders, not always formally, but usually with just that hint of stiffness which suggests a public face. ~ Shauna Singh Baldwin, #NFDB
1499:In the writings of a recluse one always hears something of the echo of the wilderness, something of the murmuring tones and timid vigilance of solitude; in his strongest words, even in his cry itself, there sounds a new and more dangerous kind of silence, of concealment. He who has sat day and night, from year's end to year's end, alone with his soul in familiar discord and discourse, he who has become a cave-bear, or a treasure-seeker, or a treasure-guardian and dragon in his cave—it may be a labyrinth, but can also be a gold-mine—his ideas themselves eventually acquire a twilight-colour of their own, and an odour, as much of the depth as of the mould, something uncommunicative and repulsive, which blows chilly upon every passer-by. ~ Friedrich Nietzsche, #NFDB
1500:I was six years old, watching my pregnant mother wash the dishes. Cutlery clinked, filling the air with sparkling bursts of colour.
'Do it again!' I begged her, bouncing in my seat.
My mother glanced back at me. 'Do what?'
'Make the stars.'
'Stars?'
It never occurred to me that she couldn't' see what I was seeing. 'The gold ones', I said.
'I don't know what you're talking about.' she replied, and with a child's impatience, I hopped down from my stool to show her.
'Like this,' I said, taking two spoons and clanging them together. Each clink produced another starburst expanding luminous through the air between us.
'You mean,' said my mother slowly, 'the sound makes you think of the stars?'
'No, it makes the stars.. ~ R J Anderson,#NFDB
239 Integral Yoga
161 Poetry
83 Occultism
63 Fiction
43 Philosophy
38 Yoga
30 Psychology
23 Mysticism
23 Christianity
10 Mythology
8 Hinduism
4 Philsophy
4 Integral Theory
2 Theosophy
2 Education
1 Thelema
1 Science
1 Baha i Faith
205 Sri Aurobindo
76 The Mother
58 Nolini Kanta Gupta
44 H P Lovecraft
34 William Wordsworth
33 Carl Jung
26 Aleister Crowley
25 Sri Ramakrishna
21 Satprem
21 James George Frazer
20 Percy Bysshe Shelley
16 Robert Browning
15 Saint Augustine of Hippo
13 Rabindranath Tagore
13 Franz Bardon
12 A B Purani
11 William Butler Yeats
10 Ovid
9 Plato
9 Lucretius
9 John Keats
8 Swami Vivekananda
8 Li Bai
7 Nirodbaran
7 Aldous Huxley
6 Swami Krishnananda
5 Vyasa
5 Pierre Teilhard de Chardin
4 Ralph Waldo Emerson
3 Sri Ramana Maharshi
3 Saint John of Climacus
3 Patanjali
3 Jorge Luis Borges
3 Johann Wolfgang von Goethe
3 George Van Vrekhem
3 Friedrich Nietzsche
3 Aristotle
2 Jordan Peterson
2 H. P. Lovecraft
2 Hafiz
2 Baha u llah
2 Anonymous
2 Alice Bailey
45 Record of Yoga
44 Lovecraft - Poems
34 Wordsworth - Poems
24 The Synthesis Of Yoga
24 The Gospel of Sri Ramakrishna
23 Savitri
21 The Golden Bough
20 Shelley - Poems
19 Magick Without Tears
18 Mysterium Coniunctionis
16 Collected Works of Nolini Kanta Gupta - Vol 07
16 Browning - Poems
16 Agenda Vol 08
13 The Life Divine
12 Tagore - Poems
12 Evening Talks With Sri Aurobindo
12 Essays In Philosophy And Yoga
12 Collected Poems
11 Yeats - Poems
10 Metamorphoses
10 Collected Works of Nolini Kanta Gupta - Vol 02
10 Collected Works of Nolini Kanta Gupta - Vol 01
9 The Practice of Magical Evocation
9 Of The Nature Of Things
9 Liber ABA
9 Keats - Poems
9 City of God
8 The Divine Comedy
8 Talks
8 Li Bai - Poems
8 Letters On Yoga IV
7 Twelve Years With Sri Aurobindo
7 The Perennial Philosophy
7 Questions And Answers 1956
7 Questions And Answers 1955
7 Questions And Answers 1950-1951
7 A Garden of Pomegranates - An Outline of the Qabalah
6 Vedic and Philological Studies
6 The Study and Practice of Yoga
6 The Secret Doctrine
6 The Human Cycle
6 The Confessions of Saint Augustine
6 Questions And Answers 1957-1958
6 Questions And Answers 1953
6 Collected Works of Nolini Kanta Gupta - Vol 05
6 Collected Works of Nolini Kanta Gupta - Vol 03
5 Words Of Long Ago
5 Vishnu Purana
5 The Problems of Philosophy
5 The Practice of Psycho therapy
5 The Archetypes and the Collective Unconscious
5 Essays Divine And Human
5 Collected Works of Nolini Kanta Gupta - Vol 04
5 Aion
4 The Phenomenon of Man
4 Questions And Answers 1954
4 Prayers And Meditations
4 On Thoughts And Aphorisms
4 Letters On Yoga I
4 Letters On Poetry And Art
4 Initiation Into Hermetics
4 Emerson - Poems
4 5.1.01 - Ilion
3 Twilight of the Idols
3 The Secret Of The Veda
3 The Ladder of Divine Ascent
3 The Bible
3 Some Answers From The Mother
3 Raja-Yoga
3 Questions And Answers 1929-1931
3 Preparing for the Miraculous
3 Poetics
3 Patanjali Yoga Sutras
3 On Education
3 Letters On Yoga II
3 Goethe - Poems
3 Essays On The Gita
2 Words Of The Mother III
2 The Mother With Letters On The Mother
2 Symposium
2 Sri Aurobindo or the Adventure of Consciousness
2 Maps of Meaning
2 Letters On Yoga III
2 Kena and Other Upanishads
2 Isha Upanishad
2 Hymns to the Mystic Fire
2 Collected Works of Nolini Kanta Gupta - Vol 08
2 Bhakti-Yoga
2 A Treatise on Cosmic Fire
00.01 - The Mother on Savitri, #Sweet Mother - Harmonies of Light, #unset, #Zen
All this is His own experience, and what is most surprising is that it is my own experience also. It is my sadhana which He has worked out. Each object, each event, each realisation, all the descriptions, even the Colours are exactly what I saw and the words, phrases are also exactly what I heard. And all this before having read the book. I read Savitri many times afterwards, but earlier, when He was writing He used to read it to me. Every morning I used to hear Him read Savitri. During the night He would write and in the morning read it to me. And I observed something curious, that day after day the experiences He read out to me in the morning were those I had had the previous night, word by word. Yes, all the descriptions, the Colours, the pictures I had seen, the words I had heard, all, all, I heard it all, put by Him into poetry, into miraculous poetry. Yes, they were exactly my experiences of the previous night which He read out to me the following morning. And it was not just one day by chance, but for days and days together. And every time I used to compare what He said with my previous experiences and they were always the same. I repeat, it was not that I had told Him my experiences and that He had noted them down afterwards, no, He knew already what I had seen. It is my experiences He has presented at length and they were His experiences also. It is, moreover, the picture of Our joint adventure into the unknown or rather into the Supermind.
These are experiences lived by Him, realities, supracosmic truths. He experienced all these as one experiences joy or sorrow, physically. He walked in the darkness of inconscience, even in the neighborhood of death, endured the sufferings of perdition, and emerged from the mud, the world-misery to brea the the sovereign plenitude and enter the supreme Ananda. He crossed all these realms, went through the consequences, suffered and endured physically what one cannot imagine. Nobody till today has suffered like Him. He accepted suffering to transform suffering into the joy of union with the Supreme. It is something unique and incomparable in the history of the world. It is something that has never happened before, He is the first to have traced the path in the Unknown, so that we may be able to walk with certitude towards the Supermind. He has made the work easy for us. Savitri is His whole Yoga of transformation, and this Yoga appears now for the first time in the earth-consciousness.
00.03 - Upanishadic Symbolism, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
Apart from the question whether the biological phenomenon described is really a symbol and a cloak for another order of reality, and even taking it at its face value, what is to be noted here is the idea of a cosmic cycle, and a cosmic cycle that proceeds through the principle of sacrifice. If it is asked what there is wonderful or particularly spiritual in this rather naf description of a very commonplace happening that gives it an honoured place in the Upanishads, the answer is that it is wonderful to see how the Upanishadic Rishi takes from an event its local, temporal and personal Colour and incorporates it in a global movement, a cosmic cycle, as a limb of the Universal Brahman. The Upanishads contain passages which a puritanical mentality may perhaps describe as 'pornographic'; these have in fact been put by some on the Index expurgatorius. But the ancients saw these matters with other eyes and through another consciousness.
We have, in modern times, a movement towards a more conscious and courageous, knowledge of things that were taboo to puritan ages. Not to shut one's eyes to the lower, darker and hidden strands of our nature, but to bring them out into the light of day and to face them is the best way of dealing with such elements, which otherwise, if they are repressed, exert an unhealthy influence on the mind and nature. The Upanishadic view runs on the same lines, but, with the unveiling and the natural and not merely naturalisticdelineation of these under-worlds (concerning sex and food), it endows them with a perspective sub specie aeternitatis. The sexual function, for example, is easily equated to the double movement of ascent and descent that is secreted in nature, or to the combined action of Purusha and Prakriti in the cosmic Play, or again to the hidden fount of Delight that holds and moves the universe. In this view there is nothing merely secular and profane, but all is woven into the cosmic spiritual whole; and man is taught to consider and to mould all his movementsof soul and mind and bodyin the light and rhythm of that integral Reality.11
00.04 - The Beautiful in the Upanishads, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
The form of a thing can be beautiful; but the formless too has its beauty. Indeed, the beauty of the formless, that is to say, the very sum and substance, the ultimate essence, the soul of beauty that is what suffuses, with in-gathered Colour and enthusiasm, the realisation and poetic creation of the Upanishadic seer. All the forms that are scattered abroad in their myriad manifest beauty hold within themselves a secret Beauty and are reflected or projected out of it. This veiled Name of Beauty can be compared to nothing on the phenomenal hemisphere of Nature; it has no adequate image or representation below:
na tasya pratimsti
--
The rich and sensuous beauty luxuriating in high Colour and ample decoration that one meets often in the creation of the earlier Vedic seers returned again, in a more chiselled and polished and stylised manner, in the classical poets. The Upanishads in this respect have a certain kinship with the early poets of the intervening ageVyasa and Valmiki. Upam KlidsasyaKalidasa revels in figures and images; they are profusely heaped on one another and usually possess a complex and composite texture. Valmiki's images are simple and elemental, brief and instinct with a vast resonance, spare and full of power. The same brevity and simplicity, vibrant with an extraordinary power of evocation, are also characteristic of the Upanishadic mantra With Valmiki's
kamiva dupram
0.00 - INTRODUCTION, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
Ramkumar could hardly understand the import of his young brother's reply. He described in bright Colours the happy and easy life of scholars in Calcutta society. But Gadadhar intuitively felt that the scholars, to use one of his own vivid illustrations, were like so many vultures, soaring high on the wings of their uninspired intellect, with their eyes fixed on the charnel-pit of greed and lust. So he stood firm and Ramkumar had to give way.
--- KALI TEMPLE AT DAKSHINESWAR
--
Mathur had faith in the sincerity of Sri Ramakrishna's spiritual zeal, but began now to doubt his sanity. He had watched him jumping about like a monkey. One day, when Rani Rasmani was listening to Sri Ramakrishna's singing in the temple, the young priest abruptly turned and slapped her. Apparently listening to his song, she had actually been thinking of a law-suit. She accepted the punishment as though the Divine Mother Herself had imposed it; but Mathur was distressed. He begged Sri Ramakrishna to keep his feelings under control and to heed the conventions of society. God Himself, he argued, follows laws. God never permitted, for instance, flowers of two Colours to grow on the same stalk. The following day Sri Ramakrishna presented Mathur Babu with two hibiscus flowers growing on the same stalk, one red and one white.
Mathur and Rani Rasmani began to ascribe the mental ailment of Sri Ramakrishna in part, at least, to his observance of rigid continence. Thinking that a natural life would relax the tension of his nerves, they engineered a plan with two women of ill fame. But as soon as the women entered his room, Sri Ramakrishna beheld in them the manifestation of the Divine Mother of the Universe and went into samadhi uttering Her name.
--
Thus, after nirvikalpa samadhi, Sri Ramakrishna realized maya in an altogether new role. The binding aspect of Kali vanished from before his vision. She no longer obscured his understanding. The world became the glorious manifestation of the Divine Mother. Maya became Brahman. The Transcendental Itself broke through the Immanent. Sri Ramakrishna discovered that maya operates in the relative world in two ways, and he termed these "avidyamaya" and "vidyamaya". Avidyamaya represents the dark forces of creation: sensuous desires, evil passions, greed, lust, cruelty, and so on. It sustains the world system on the lower planes. It is responsible for the round of man's birth and death. It must be fought and vanquished. But vidyamaya is the higher force of creation: the spiritual virtues, the enlightening qualities, kindness, purity, love, devotion. Vidyamaya elevates man to the higher planes of consciousness. With the help of vidyamaya the devotee rids himself of avidyamaya; he then becomes mayatita, free of maya. The two aspects of maya are the two forces of creation, the two powers of Kali; and She stands beyond them both. She is like the effulgent sun, bringing into existence and shining through and standing behind the clouds of different Colours and shapes, conjuring up wonderful forms in the blue autumn heaven.
The Divine Mother asked Sri Ramakrishna not to be lost in the featureless Absolute but to remain, in bhavamukha, on the threshold of relative consciousness, the border line between the Absolute and the Relative. He was to keep himself at the "sixth centre" of Tantra, from which he could see not only the glory of the seventh, but also the divine manifestations of the Kundalini in the lower centres. He gently oscillated back and forth across the dividing line. Ecstatic devotion to the Divine Mother alternated with serene absorption in the Ocean of Absolute Unity. He thus bridged the gulf between the Personal and the Impersonal, the immanent and the transcendent aspects of Reality. This is a unique experience in the recorded spiritual history of the world.
--
Keshab was the leader of the Brahmo Samaj, one of the two great movements that, during the latter part of the nineteenth century, played an important part in shaping the course of the renascence of India. The founder of the Brahmo movement had been the great Raja Rammohan Roy (1774-1833). Though born in an orthodox brahmin family, Rammohan Roy had shown great sympathy for Islam and Christianity. He had gone to Tibet in search of the Buddhist mysteries. He had extracted from Christianity its ethical system, but had rejected the divinity of Christ as he had denied the Hindu Incarnations. The religion of Islam influenced him, to a great extent, in the formulation of his monotheistic doctrines. But he always went back to the Vedas for his spiritual inspiration. The Brahmo Samaj, which he founded in 1828, was dedicated to the "worship and adoration of the Eternal, the Unsearchable, the Immutable Being, who is the Author and Preserver of the Universe". The Samaj was open to all without distinction of Colour, creed, caste, nation, or religion.
The real organizer of the Samaj was Devendranath Tagore (1817-1905), the father of the poet Rabindranath. His physical and spiritual beauty, aristocratic aloofness, penetrating intellect, and poetic sensibility made him the foremost leader of the educated Bengalis. These addressed him by the respectful epithet of Maharshi, the "Great Seer". The Maharshi was a Sanskrit scholar and, unlike Raja Rammohan Roy, drew his inspiration entirely from the Upanishads. He was an implacable enemy of image worship ship and also fought to stop the infiltration of Christian ideas into the Samaj. He gave the movement its faith and ritual. Under his influence the Brahmo Samaj professed One Self-existent Supreme Being who had created the universe out of nothing, the God of Truth, Infinite Wisdom, Goodness, and Power, the Eternal and Omnipotent, the One without a Second. Man should love Him and do His will, believe in Him and worship Him, and thus merit salvation in the world to come.
0.00 - The Book of Lies Text, #The Book of Lies, #Aleister Crowley, #Philosophy
red Colour of Geburah.
The chapter is a new and more elaborate version of
--
A red rose absorbs all Colours but red; red is therefore
the one Colour that it is not.
This Law, Reason, Time, Space, all Limitation blinds
--
since blue is the Colour of devotion, and the triangle,
kinetically considered, is the symbol of directed force.
0.04 - Letters to a Sadhak, #Some Answers From The Mother, #The Mother, #Integral Yoga
are painted in red and blue Colour, no work is given and
so on. I am not submitting all this to have permission
0.05 - Letters to a Child, #Some Answers From The Mother, #The Mother, #Integral Yoga
and the choice of Colours is excellent.
Affectionately.
01.01 - The Symbol Dawn, #Savitri, #Sri Aurobindo, #Integral Yoga
In Colour's hieroglyphs of mystic sense,
It wrote the lines of a significant myth
01.02 - Sri Aurobindo - Ahana and Other Poems, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
We do not say that poets have never sung of God and Soul and things transcendent. Poets have always done that. But what I say is this that presentation of spiritual truths, as they are in their own home, in other words, treated philosophically and yet in a supreme poetic manner, has always been a rarity. We have, indeed, in India the Gita and the Upanishads, great philosophical poems, if there were any. But for one thing they are on dizzy heights out of the reach of common man and for another they are idolised more as philosophy than as poetry. Doubtless, our Vaishnava poets sang of God and Love Divine; and Rabindranath, in one sense, a typical modern Vaishnava, did the same. And their songs are masterpieces. But are they not all human, too human, as the mad prophet would say? In them it is the human significance, the human manner that touches and moves us the spiritual significance remains esoteric, is suggested, is a matter of deduction. Sri Aurobindo has dealt with spiritual experiences in a different way. He has not clothed them in human symbols and allegories, in images and figures of the mere earthly and secular life: he presents them in their nakedness, just as they are seen and realised. He has not sought to tone down the rigour of truth with contrivances that easily charm and captivate the common human mind and heart. Nor has he indulged like so many poet philosophers in vague generalisations and Colourless or too Colourful truisms that do not embody a clear thought or rounded idea, a radiant judgment. Sri Aurobindo has given us in his poetry thoughts that are clear-cut, ideas beautifully chiselledhe is always luminously forceful.
Take these Vedantic lines that in their limpidity and harmonious flow beat anything found in the fine French poet Lamartine:
01.02 - The Issue, #Savitri, #Sri Aurobindo, #Integral Yoga
A dense magnificent Coloured self-wrapped life
Draped in the leaves' vivid emerald monotone
--
And preen joy in her warmth and Colour's rule.
3.37
01.03 - Mystic Poetry, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
Man's consciousness is further to rise from the mental to over-mental regions. Accordingly, his life and activities and along with that his artistic creations too will take on a new tone and rhythm, a new mould and constitution even. For this transition, the higher mentalwhich is normally the field of philosophical and idealistic activitiesserves as the Paraclete, the Intercessor; it takes up the lower functionings of the consciousness, which are intense in their own way, but narrow and turbid, and gives, by purifying and enlarging, a wider frame, a more luminous pattern, a more subtly articulated , form for the higher, vaster and deeper realities, truths and harmonies to express and manifest. In the old-world spiritual and mystic poets, this intervening medium was overlooked for evident reasons, for human reason or even intelligence is a double-edged instrument, it can make as well as mar, it has a light that most often and naturally shuts off other higher lights beyond it. So it was bypassed, some kind of direct and immediate contact was sought to be established between the normal and the transcendental. The result was, as I have pointed out, a pure spiritual poetry, on the one hand, as in the Upanishads, or, on the other, religious poetry of various grades and denominations that spoke of the spiritual but in the terms and in the manner of the mundane, at least very much Coloured and dominated by the latter. Vyasa was the great legendary figure in India who, as is shown in his Mahabharata, seems to have been one of the pioneers, if not the pioneer, to forge and build the missing link of Thought Power. The exemplar of the manner is the Gita. Valmiki's represented a more ancient and primary inspiration, of a vast vital sensibility, something of the kind that was at the basis of Homer's genius. In Greece it was Socrates who initiated the movement of speculative philosophy and the emphasis of intellectual power slowly began to find expression in the later poets, Sophocles and Euripides. But all these were very simple beginnings. The moderns go in for something more radical and totalitarian. The rationalising element instead of being an additional or subordinate or contri buting factor, must itself give its norm and form, its own substance and manner to the creative activity. Such is the present-day demand.
The earliest preoccupation of man was religious; even when he concerned himself with the world and worldly things, he referred all that to the other world, thought of gods and goddesses, of after-death and other where. That also will be his last and ultimate preoccupation though in a somewhat different way, when he has passed through a process of purification and growth, a "sea-change". For although religion is an aspiration towards the truth and reality beyond or behind the world, it is married too much to man's actual worldly nature and carries always with it the shadow of profanity.
--
Poetry, actually however, has been, by and large, a profane and mundane affair: for it expresses the normal man's perceptions and feelings and experiences, human loves and hates and desires and ambitions. True. And yet there has also always been an attempt, a tendency to deal with them in such a way as can bring calm and puritykatharsisnot trouble and confusion. That has been the purpose of all Art from the ancient days. Besides, there has been a growth and development in the historic process of this katharsis. As by the sublimation of his bodily and vital instincts and impulses., man is gradually growing into the mental, moral and finally spiritual consciousness, even so the artistic expression of his creative activity has followed a similar line of transformation. The first and original transformation happened with religious poetry. The religious, one may say, is the profane inside out; that is to say, the religious man has almost the same tone and temper, the same urges and passions, only turned Godward. Religious poetry too marks a new turn and development of human speech, in taking the name of God human tongue acquires a new plasticity and flavour that transform or give a new modulation even to things profane and mundane it speaks of. Religious means at bottom the Colouring of mental and moral idealism. A parallel process of katharsis is found in another class of poetic creation, viz., the allegory. Allegory or parable is the stage when the higher and inner realities are expressed wholly in the modes and manner, in the form and character of the normal and external, when moral, religious or spiritual truths are expressed in the terms and figures of the profane life. The higher or the inner ideal is like a loose clothing upon the ordinary consciousness, it does not fit closely or fuse. In the religious, however, the first step is taken for a mingling and fusion. The mystic is the beginning of a real fusion and a considerable ascension of the lower into the higher. The philosopher poet follows another line for the same katharsisinstead of uplifting emotions and sensibility, he proceeds by thought-power, by the ideas and principles that lie behind all movements and give a pattern to all things existing. The mystic can be of either type, the religious mystic or the philosopher mystic, although often the two are welded together and cannot be very well separated. Let us illustrate a little:
The spacious firmament on high,
01.04 - The Poetry in the Making, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
I said that the supreme artist is superconscious: his consciousness withdraws from the normal mental consciousness and becomes awake and alive in another order of consciousness. To that superior consciousness the artist's mentalityhis ideas and dispositions, his judgments and valuations and acquisitions, in other words, his normal psychological make-upserves as a channel, an instrument, a medium for transcription. Now, there are two stages, or rather two lines of activity in the processus, for they may be overlapping and practically simultaneous. First, there is the withdrawal and the in-gathering of consciousness and then its reappearance into expression. The consciousness retires into a secret or subtle worldWords-worth's "recollected in tranquillity"and comes back with the riches gathered or transmuted there. But the purity of the gold thus garnered and stalled in the artistry of words and sounds or lines and Colours depends altogether upon the purity of the channel through which it has to pass. The mental vehicle receives and records and it can do so to perfection if it is perfectly in tune with what it has to receive and record; otherwise the transcription becomes mixed and blurred, a faint or confused echo, a poor show. The supreme creators are precisely those in whom the receptacle, the instrumental faculties offer the least resistance and record with absolute fidelity the experiences of the over or inner consciousness. In Shakespeare, in Homer, in Valmiki the inflatus of the secret consciousness, the inspiration, as it is usually termed, bears down, sweeps away all obscurity or contrariety in the recording mentality, suffuses it with its own glow and puissance, indeed resolves it into its own substance, as it were. And the difference between the two, the secret norm and the recording form, determines the scale of the artist's creative value. It happens often that the obstruction of a too critically observant and self-conscious brain-mind successfully blocks up the flow of something supremely beautiful that wanted to come down and waited for an opportunity.
Artists themselves, almost invariably, speak of their inspiration: they look upon themselves more or less as mere instruments of something or some Power that is beyond them, beyond their normal consciousness attached to the brain-mind, that controls them and which they cannot control. This perception has been given shape in myths and legends. Goddess Saraswati or the Muses are, however, for them not a mere metaphor but concrete realities. To what extent a poet may feel himself to be a mere passive, almost inanimate, instrumentnothing more than a mirror or a sensitive photographic plateis illustrated in the famous case of Coleridge. His Kubla Khan, as is well known, he heard in sleep and it was a long poem very distinctly recited to him, but when he woke up and wanted to write it down he could remember only the opening lines, the rest having gone completely out of his memory; in other words, the poem was ready-composed somewhere else, but the transmitting or recording instrument was faulty and failed him. Indeed, it is a common experience to hear in sleep verses or musical tunes and what seem then to be very beautiful things, but which leave no trace on the brain and are not recalled in memory.
01.05 - Rabindranath Tagore: A Great Poet, a Great Man, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
Socrates is said to have brought down Philosophy from Heaven to live among men upon earth. A similar exploit can be ascribed to Tagore. The Spirit, the bare transcendental Reality contemplated by the orthodox Vedantins, has been brought nearer to our planet, close to human consciousness in Tagore's vision, being clothed in earth and flesh and blood, made vivid with the Colours and contours of the physical existence. The Spirit, yes and by all means, but not necessarily asceticism and monasticism. So Tagore boldly declared in those famous lines of his:
Mine is not the deliverance achieved through mere renunciation. Mine rather the freedom that tastes itself in a thousand associations.1
01.07 - Blaise Pascal (1623-1662), #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
"The zeal for the Lord hath eaten me up." Such has indeed been the case with Pascal, almost literally. The fire that burned in him was too ardent and vehement for the vehicle, the material instrument, which was very soon used up and reduced to ashes. At twenty-four he was already a broken man, being struck with paralysis and neuras thenia; he died at the comparatively early age of 39, emulating, as it were, the life career of his Lord the Christ who died at 33. The Fire martyrised the body, but kindled and brought forth experiences and realisations that save and truths that abide. It was the Divine Fire whose vision and experience he had on the famous night of 23 November 1654 which brought about his final and definitive conversion. It was the same fire that had blazed up in his brain, while yet a boy, and made him a precocious genius, a marvel of intellectual power in the exact sciences. At 12 this prodigy discovered by himself the 32nd proposition of Euclid, Book I. At sixteen he wrote a treatise on conic sections. At nineteen he invented a calculating machine which, without the help of any mathematical rule or process, gave absolutely accurate results. At twenty-three he published his experiments with vacuum. At twenty-five he conducted the well-known experiment from the tower of St. Jacques, proving the existence of atmospheric pressure. His studies in infinitesimal calculus were remarkably creative and original. And it might be said he was a pioneer in quite a new branch of mathematics, viz., the mathematical theory of probability. We shall see presently how his preoccupation with the mathematics of chance and probability Coloured and reinforced his metaphysics and theology.
But the pressure upon his dynamic and heated brain the fiery zeal in his mindwas already proving too much and he was advised medically to take complete rest. Thereupon followed what was known as Pascal's mundane lifea period of distraction and dissipation; but this did not last long nor was it of a serious nature. The inner fire could brook no delay, it was eager and impatient to englobe other fields and domains. Indeed, it turned to its own field the heart. Pascal became initiated into the mystery of Faith and Grace. Still he had to pass through a terrible period of dejection and despair: the life of the world had given him no rest or relaxation, it served only to fill his cup of misery to the brim. But the hour of final relief was not long postponed: the Grace came to him, even as it came to Moses or St. Paul as a sudden flare of fire which burnt up the Dark Night and opened out the portals of Morning Glory.
--
And the reason is his metaphysics. It is the Jansenist conception of God and human nature that inspired and Coloured all his experience and consciousness. According to it, as according to the Calvinist conception, man is a corrupt being, corroded to the core, original sin has branded his very soul. Only Grace saves him and releases him. The order of sin and the order of Grace are distinct and disparate worlds and yet they complement each other and need each other. Greatness and misery are intertwined, united, unified with each other in him. Here is an echo of the Manichean position which also involves an abyss. But even then God's grace is not a free agent, as Jesuits declare; there is a predestination that guides and controls it. This was one of the main subjects he treated in his famous open letters (Les Provinciales) that brought him renown almost overnight. Eternal hell is a possible prospect that faces the Jansenist. That was why a Night always over-shadowed the Day in Pascal's soul.
Man then, according to Pascal, is by nature a sinful thing. He can lay no claim to noble virtue as his own: all in him is vile, he is a lump of dirt and filth. Even the greatest has his full share of this taint. The greatest, the saintliest, and the meanest, the most sinful, all meet, all are equal on this common platform; all have the same feet of clay. Man is as miserable a creature as a beast, as much a part and product of Nature as a plant. Only there is this difference that an animal or a tree is unconscious, while man knows that he is miserable. This knowledge or perception makes him more miserable, but that is his real and only greatness there is no other. His thought, his self-consciousness, and his sorrow and repentance and contrition for what he is that is the only good partMary's part that has been given to him. Here are Pascal's own words on the subject:
--
Pascal's faith had not the calm, tranquil, serene, luminous and happy self-possession of an Indian Rishi. It was ardent and impatient, fiery and vehement. It had to be so perhaps, since it was to stand against his steely brain (and a gloomy vital or life force) as a counterpoise, even as an antidote. This tension and schism brought about, at least contri buted to his neuras thenia and physical infirmity. But whatever the effect upon his inner consciousness and spiritual achievement, his power of expression, his literary style acquired by that a special quality which is his great gift to the French language. If one speaks of Pascal, one has to speak of his language also; for he was one of the great masters who created the French prose. His prose was a wonderful blend of clarity, precision, serried logic and warmth, Colour, life, movement, plasticity.
A translation cannot give any idea of the Pascalian style; but an inner echo of the same can perhaps be caught from the thought movement of these characteristic sayings of his with which we conclude:
01.09 - The Parting of the Way, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
So the humanity of man consists in his consciousness of the self or ego. Is there no other higher mode of consciousness? Or is self-consciousness the acme, the utmost limit to which consciousness can raise itself? If it is so, then we are bound to conclude that humanity will remain eternally human in its fundamental nature; the only progress, if progress at all we choose to call it, will consist perhaps in accentuating this consciousness of the self and in expressing it through a greater variety of stresses, through a richer combination of its Colour and light and shade and rhythm. But also, this may not be sothere may be the possibility of a further step, a transcending of the consciousness of the self. It seems unnatural and improbable that having risen from un-consciousness to self-consciousness through a series of continuous marches, Nature should suddenly stop and consider what she had achieved to be her final end. Has Nature become bankrupt of her creative genius, exhausted of her upward drive? Has she to remain content with only a clever manipulation, a mere shuffling and re-arranging of the materials already produced?
As a matter of fact it is not so. The glimpses of a higher form of consciousness we can see even now present in self-consciousness. We have spoken of the different stages of evolution as if they were separate and distinct and incommensurate entities. They may be described as such for the purpose of a logical understanding, but in reality they form a single progressive continuum in which one level gradually fuses into another. And as the higher level takes up the law of the lower and evolves out of it a characteristic function, even so the law of the higher level with its characteristic function is already involved and envisaged in the law of the lower level and its characteristic function. It cannot be asserted positively that because man's special virtue is self-consciousness, animals cannot have that quality on any account. We do see, if we care to observe closely and dispassionately, that animals of the higher order, as they approach the level of humanity, show more and more evident signs of something which is very much akin to, if not identical with the human characteristic of self-consciousness.
01.14 - Nicholas Roerich, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
All teachers journeyed to the mountains. The higher knowledge, the most inspired songs, the most superb sounds and Colours are created in the mountains. On the highest mountains there is the Supreme: the highest mountains stand as witnesses of Great Reality.
Indeed, Roerich considers the Himalayas as the very abode, the tabernacle itself thesanctum sanctorumof the Spirit, the Light Divine. Many of Roerich's paintings have mountain ranges, especially snow-bound mountain ranges, as their theme. There is a strange kinship between this yearning artistic soul, which seems solitary in spite of its ardent humanism, and the silent heights, rising white tier upon tier reflecting prism like the fiery glowing Colours, the vast horizons, the wide vistas vanishing beyond.
Roerich is one of the prophets and seers who have ever been acclaiming and preparing the Golden Age, the dream that humanity has been dreaming continuously since its very childhood, that is to say, when there will be peace and harmony on earth, when racial, cultural or ideological egoism will no longer divide man and mana thing that seems today a chimera and a hallucinationwhen there will be one culture, one civilisation, one spiritual life welding all humanity into a single unit of life luminous and beautiful. Roerich believes that such a consummation can arrive only or chiefly through the growth of the sense of beauty, of the aesthetic temperament, of creative labour leading to a wider and higher consciousness. Beauty, Harmony, Light, Knowledge, Culture, Love, Delight are cardinal terms in his vision of the deeper and higher life of the future.
0.11 - Letters to a Sadhak, #Some Answers From The Mother, #The Mother, #Integral Yoga
on different Colours in the light of the psychic flame.
The very notion of good and bad is completely changed.
0 1963-12-31, #Agenda Vol 04, #The Mother, #Integral Yoga
And showed a Colour that they could not keep,
Mirrors to a fantasm of reality.
0 1967-01-14, #Agenda Vol 08, #The Mother, #Integral Yoga
What is this flower? (Mother takes the hibiscus) It has a strange Colour.
Yes, Ive never seen it.
0 1967-01-21, #Agenda Vol 08, #The Mother, #Integral Yoga
That way of being is still quite indefinable; but in this search there is a constant perception (which translates itself in vision) of a multi Coloured light, of all the Coloursall the Colours not in layers but as though (stippling gesture) a combination of dots, of all the Colours. Two years ago (a little more than two years, I dont remember), when I met the Tantrics, when I came into contact with them, I started seeing that light, and I thought it was the tantric light, the tantric way of seeing the material world. But now, I see it constantly, associated with everything, and it seems to be what we might call a perception of true Matter. All possible Colours are combined without being mixed together (same stippling gesture), and combined in luminous dots. Everything is as though made up of this. And it seems to be the true mode of being I am not yet sure, but in any case its a far more conscious mode of being.
I see it all the time: with eyes open, eyes closed, all the time. And one has a strange perception (for the body), a strange perception of subtlety, permeability (if I may call it that), of suppleness of form, and not exactly an elimination but a considerable lessening of the rigidity of forms (the rigidity is eliminated, but not the forms: a suppleness in the forms). And for the body itself, the first few times it felt that in some part or the other, it had the impression of being a bit lost, with the sense of something eluding it. But if one remains very quiet and waits quietly, its simply replaced by a sort of plasticity and fluidity that seems to be a new mode of the cells.
0 1967-02-04, #Agenda Vol 08, #The Mother, #Integral Yoga
Why? Theres a purple V in front of you. A purple Vnot purple: dark mauve, the Colour of the vital. A V for victory.
Has something happened?
0 1967-02-25, #Agenda Vol 08, #The Mother, #Integral Yoga
(Mother gives the disciple a rose the Colour of fire.)
Do you think Nature will ever invent something better than this? I dont think so.
--
How will it be? Because nothing I have seen from the point of view of form, has the richness, variety, unexpectedness, beauty of Colour and form that this rose has. I have seen things, I have seen supramental realizationsfrom the point of view of consciousness, they are infinitely superior, without a doubt, but from the point of view of form
They are yet to be born. Those forms are going to be born.
--
Yes, like a flower. The consciousness can change all the Colours according to the moment.
Oh, that would be lovely. If one could become a lovely rose!
0 1967-03-15, #Agenda Vol 08, #The Mother, #Integral Yoga
The roses have opened now (Mother holds out a rose to the disciple), and isnt this one a magnificent Colour! Beautiful, isnt it?
This morning I had an amusing experience with roses. There was a closed budbig, hardbig and hard, red. I took it, looked at it, then my fingers ran over the flower like that, and (gesture showing the flower opening up), one petal after another and another and yet anotherbefore my eyes. And it was completely hard and closed. I took it and said, Its a pity. I was about to put it back in water so it would open up, and I looked It was so pretty, you know, opening up, happy, as if saying to me, Oh, how happy I am!
0 1967-04-12, #Agenda Vol 08, #The Mother, #Integral Yoga
As you know, I am very busy. I didnt have time to read these papers, but I know too that Y. is rather impatient(!), and these last three or four days I had been saying to myself, I must ABSOLUTELY see that, otherwise it wont do. I MUST see that And it kept coming back. Then one morning (in the morning, at the time when I have all my experiences), while I was sitting, I suddenly felt something so heavy in my head, heavy in my chest, and odd. I had never felt that before. And all the sensations had become almost violent. So I closed my eyes, and you know, an avalanche, a cavalcade of forms, sounds, Colours, even odours, which imposed themselves with a reality and intensity I had never known that before, never.
I watched, then I said to myself, But thats a good way to go mad! And I started doing what had to be done for it to stop. But it wouldnt stop! It wanted to go on. So I thought, Its obviously here for a reason. Since its imposing itself in this way, it means theres a reason for me to have this experience. I watched, studied, observed. And I saw it was a magnified faculty of sensationinordinately magnified, you understandBECAUSE the equilibrium between all the faculties of the being had been disrupted.
--
Here is Dr. Albert Hofmann's description: "Vertigo. Intermittent sensation of heaviness in the head and the body, as if it were filled with metal. Everything seemed to topple over. When I closed my eyes, I was overcome by an uninterrupted succession of fantastic images of extraordinary intensity. All sound perceptions (the sound of a car, for instance) were transformed into optical effects, each one creating a corresponding Coloured hallucination, constantly changing form and Colour. At times I felt I was outside my body."
***
0 1967-05-03, #Agenda Vol 08, #The Mother, #Integral Yoga
And its good it came back; its a form quite within everyones grasp, which they can understandyou arent asked extraordinary things: you are asked goodwill. When I found this again, I smiled and found it amusing, I said, Well, I could have written the same thing about cheerfulness! I could have said, Be cheerful and you will see cheerfulness everywhere.One can say many things (Mother rotates her hand slowly as if to present various facets), it always makes me think of a kaleidoscope with Colour arrangements to express something else which shrinks, becomes diminished, generalized and finally within everyones grasp. But there is something: like a FORMIDABLE conflict taking place over the earth at this moment, with this wonderful divine Grace always helping, always striving for the best and exerting a pressure, Come now, be cheerful, come now, have goodwill, come now, have, yes, have that inner Harmony of contentment, of hope, of faith. Do not accept the vibrations of decomposition the vibrations that diminish, degrade and lead towards destruction.
Its everywhere, everywhere like that (gesture of pressure on the earth).
0 1967-05-27, #Agenda Vol 08, #The Mother, #Integral Yoga
I saw a series of roses, this big (about 25 cm), coming one after the othermagnificent! All kinds of Colours, which certainly had a significance: they would come and present themselves, as if giving a little bow, and then go away, and then another arrivedroses this big. Because I had complained just before!2 It was just in front of you (gesture on the heart level), magnificent roses of a perfect shape, and all kinds of Colours.
Basically, it (meditation) is my lazy moment. When I stay like that, it immediately becomes very pleasant, and theres always something pretty to be seen. Its my lazy moment.
0 1967-06-14, #Agenda Vol 08, #The Mother, #Integral Yoga
There was the case of Sri Aurobindo. He is dead, the doctors decidedhe was absolutely alive. Absolutely living. And even after five days, when they put him into it was because of (how should I put it?) the pressure of the outside world, and because it was impossible to preserve him. We had to consent. But I cannot say he was dead! He wasnt at all dead, it was perfectly obvious. The body was already beginning to (very little, but a little at the end of the fifth day), that is, the skin was losing its Colour, but (Mother makes a glorious gesture).
For the first three days, I remained standing there, near his bed, and in an absolutelywell, to me, it was absolutely visibleall the organized consciousness that was in his body DELIBERATELY came out of it and into mine. And not only did I see it but I felt the FRICTION of its entry.
0 1967-07-05, #Agenda Vol 08, #The Mother, #Integral Yoga
Yes, the Colour of like this box, if you like. Not really cream, it was a pink a mixture of pink and cream.2
Ah!
--
Its the Colour of the supramental in the physical. That is how I have seen it.
So I would have a supramental covering? I would put on a supramental covering? That would be amusing!
0 1967-07-22, #Agenda Vol 08, #The Mother, #Integral Yoga
I have seen something. In its totality, it is luminous, but not radiant; its extremely peaceful, and as if golden, but not dazzling (I dont know how to explain), like a creamy and golden light. Very, very peaceful. But in it there were patches (as they say in English) of three VERY bright Colours that were grouped together, as it were, and as though organized. There was a dazzling red, ruby red; a bluish white, almost like a pearl-grey, very luminous too; and (Mother tries to remember) Its gone, I dont remember if it was. Yes, it was green, but an emerald green that was also luminousluminous and transparent. They were like defined groups, but their positions were changing (Mother makes a rotating gesture, like the lights in a kaleidoscope). They were almost like entities. And it was in your atmosphere. Like formations moving about and organizing themselves (same gesture), made up of those three Colours.
The grey is the grey of spiritual light, spiritual aspiration; the red is the ruby red of the physical; and that emerald green 3
0 1967-09-06, #Agenda Vol 08, #The Mother, #Integral Yoga
A head as big as this He was smiling, and showing us both something that was the symbolic image of these Talks. It was very interesting! His head was big like this (about fifty centimetres), wholly luminous with that supramental light which is its golden, but with red in itnot red: pink, but its inexpressible. Its almost like a flame, but not dazzling; and it gives the sense of a forcea really all-powerful force. He was there like this (gesture between Mother and Satprem), between the two of us, with his hand outstretched (it was all the same Colour), and in his hand was a cube. And that cube was all those Talks. So he showed the cube, which was of a transparent light (how can I put it?) a steady transparent lightnot still, but steady. And there were kinds of veins in it: blue veins, silvery veins It was a cube, you see, a perfect cube, but it was all moving about: blue, silvery, red veins, and sometimes too, a small dark line. And he was showing it as if to say, Here is how it is. The whole thing was a cube of Colourless, transparent lightpurely transparent and purely luminous; and there were kinds of currents passing through it: sometimes in one corner (but it was shifting about, not still), and it was now dark blue (not dark, but bluereally blue), now silvery, now white, and in places, from time to time, here or there (gesture to various points), there was in a corner or at an edge (laughing), a small black line!
He held it out in his hand and laughed!
0 1967-10-19, #Agenda Vol 08, #The Mother, #Integral Yoga
This is a time of extremes, even extremes in the downright material. Did I tell you both the other day that I had received the first flower of a plant which visibly was supramental powera flower like this (gesture), a hibiscus? And yesterday there was the first flower of another plant, also a hibiscus, this big, snow-white, with such a Colour at the centre! An indefinable Colour, it cant be described. Its golden pink, but so beautiful that you wonder how such Colours can be physical. A flower this big (gesture, about fifteen centimetres), the first flower was yesterday. And that was VISIBLY (it expressed itself, you know) the Victory of Love, the Power of Love. Its as if all this physical Nature were, oh, like this (gesture of intense aspiration), tryingshe tries, and there is a Response. They are blessed not to have a mind.
It was beautiful. It doesnt keep, otherwise I would have kept it to show it to you. How beautiful it was! Like this (same gesture of ardent aspiration): a thirst, a thirst for the Divine, a thirst for the Divine. All those mental ratiocinations and mental complications, it all goes round and round in circles. Yes, it does bring about whats now happening: a sordid conflict, really sordid, between Falsehood and Truth.
0 1967-10-21, #Agenda Vol 08, #The Mother, #Integral Yoga
There is a sort of passive knowledge (not that the body doesnt know how it is, it knows how it isits sloppiness), but when it knows and makes the effort, it is always, every time, expressed as lights, yes, like vibratory waves, and those of progress are the ones which have all the Colours, that stippling of all the Colours: a light made of a stippling of all the Colours. Those are the lights that choose the immediate little effort to reject the sloppiness. But they are not important events: its something going on each minute, for everything, all the time, all the time, all the time for everything.
It must be a phase. I dont know how long that phase will last, but it must be a phase because its obviously a transitional state. And then, when there is that inner aspiration, oh! I have seen the cells, Ive seen them saying like this, Oh, will there be a possibility to be You effortlessly? Then there comes such a marvellous Response! For a few seconds its (blissful gesture), then the old routine starts up again.
0 1967-11-15, #Agenda Vol 08, #The Mother, #Integral Yoga
There were two tall candles, like this, and three small ones, all lit. What could it mean? All five were burning. What can it mean? I dont know. Two were tall like this, burning, and it was all in a Colour neither red nor yellow, it was orangey, but transparent, and they were like candles burning between us.
Two tall ones and three small ones. I dont know what it signifies.
0 1967-12-16, #Agenda Vol 08, #The Mother, #Integral Yoga
And like that, it seems silly, but he was very beautiful, and of a beautiful Colour. And very dignified.
Oh! (Mother notices she was speaking in English) It was Sri Aurobindo who said all that to you. Its funny, isnt it, it comes like that.
--
The horse, according to Sri Aurobindo, is life-power or the force of progress; he also says it is "the force of tapasya that gallops to ... realization"all depends on the Colour.
***
0 1971-12-22, #Agenda Vol 12, #The Mother, #Integral Yoga
The red lotus is the flower of Sri Aurobindo, but specially for his centenary we shall choose the blue lotus, which is the Colour of his physical aura, to symbolise the centenary of the manifestation of the Supreme upon earth.
***
0 1972-01-19, #Agenda Vol 13, #The Mother, #Integral Yoga
The twelve all of different Colour in three groups:
top group red, passing to orange towards yellow.
--
It may interest the reader to know that according to Sri Aurobindo, these Colours generally have the following significances, though the exact meaning may vary "with the field, the combinations, the character and shades of the Colour, the play of forces": red = physical; orange = supramental in the physical; yellow = thinking mind; green = life; blue = higher mind; violet = divine compassion or grace; gold = divine Truth; white = the light of the Mother, or the Divine Consciousness. (See also Agenda IV, May 18, 1963.)
March 30, 1935. (Question:) Sri Aurobindo is bound to be wholly supramental and is being supramentalised in parts. If that is true and it iswell, he can't die till he is supramental and once he is so he is immortal. (Answer:) "It looks very much like a non-sequitur. The first part and the last are all right but the link is fragile. How do you know I won't take a fancy to die in between as a joke?" (Question:) Some people say that yourself and the Mother would have been supramentalised long ago if only we had not kept you down. Is it really true? (Answer:) "I can't say there is no truth in it."
02.01 - The World-Stair, #Savitri, #Sri Aurobindo, #Integral Yoga
And steeped in their Colour-lustres dimmed by her drowse;
An atavism of higher births is hers,
02.01 - The World War, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
The outrages committed by Spain in America, the oppression of the Christians by Imperial Rome, the brutal treatment of Christians by Christians themselves (the inquisition, that is to say) or the misdeeds of Imperialists generally were wrong and, in many cases, even inhuman and unpardonable. But when we compare with what Nazi Germany has done in Poland or wants to do throughout the world, we find that there is a difference between the two not only in degree, but in kind.One is an instance of the weakness of man, of his flesh being frail; the other illustrates the might of the Asura, his very spirit is unwilling. One is undivine; the other antidivine, positively hostile. They who cannot discern this difference are Colour-blind: there are eyes to which all deeper shades of Colour are black and all lighter shades white.
The Asura triumphs everywhere for a while because his power is well-built, perfectly organised. Human power is constituted differently and acts differently; it is full of faults and flaws to start with and for a long time. There is no gap anywhere in the power of the Asura, no tear or stitchit is streamlined, solid, of one piece; it is perfection itself in its own kind once for all. Man's being is made up of conflicts and contradictions; he moves step by step, slowly and laboriously, through gradual purification; he grows through endeavour and struggle. Man triumphs over the Asura only in so far as he moulds himself in the ways of the divine power. But in the world, the Divine and his powers remain behind, because the field of actuality in front is still the domain of the Asura. The outer field, the gross vehiclebody and life and mindall this is constituted by Ignorance and Falsehood; so the Asura can always establish there his influence and hold sway and has actually done so. Man becomes easily an instrument of the Asura, though often unwittingly; the earth is naturally in the firm grasp of the Asura. For the gods to conquer the earth, to establish their rule in the earth consciousness requires labour and endeavour and time.
02.03 - The Glory and the Fall of Life, #Savitri, #Sri Aurobindo, #Integral Yoga
And the rich Coloured riot of her mind,
Initiate of divine and mighty dreams,
02.05 - Robert Graves, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
Here in this connection one is naturally reminded of Sri Aurobindo's The Other Earths. The poem reveals other earths like this earth of ours as reflections or projections or prototypes: like the concretely visible earth here, they too are equally beautiful, with million Colours and shades. We are blind and cannot see them. But when we learn to see with the eye of our eye there appear clear before us
Calm faces of the Gods on background vast
02.05 - The Godheads of the Little Life, #Savitri, #Sri Aurobindo, #Integral Yoga
And Coloured shadows limned on mortal ground
The passing figures of immortal things;
02.06 - The Kingdoms and Godheads of the Greater Life, #Savitri, #Sri Aurobindo, #Integral Yoga
Her changing Coloured road-lights of idea
And her signals of uncertain swift event,
02.07 - George Seftris, #Collected Works of Nolini Kanta Gupta - Vol 02, #Nolini Kanta Gupta, #Integral Yoga
Happily Coloured, like the bees
And like the butterflies.
--
Over there at the edge of the hills that now took on Colour.13
Yet was he a Christian in mood or feeling or faith in the wake of his friend and comrade, kindred in spirit and in manner, the English poet T. S. Eliot? There was a difference between the two and Seferis himself gave expression to it. The English poet after all was an escapist: he escaped, that is to say, in, his consciousness, into the monastery, the religious or spiritual sedativeopium? Seferis speaks approvingly of a poet of his country, alike in spirit, who declared that he was no reformer in this sad world,14 he let things happen, he was satisfied with being a witness, seeing nature unroll her inexhaustible beauty. Eliot's was more or less a moral revulsion whereas the Greek poet was moved rather by an aesthetic repulsion from the uglinesses of life. It was almost a physical reaction.
02.07 - The Descent into Night, #Savitri, #Sri Aurobindo, #Integral Yoga
And showed a Colour that they could not keep,
Mirrors to a phantasm of reality.
02.08 - The World of Falsehood, the Mother of Evil and the Sons of Darkness, #Savitri, #Sri Aurobindo, #Integral Yoga
Only by suffering life grew Colourful;
It needed the spice of pain, the salt of tears.
02.12 - The Heavens of the Ideal, #Savitri, #Sri Aurobindo, #Integral Yoga
World after Coloured and ecstatic world
Climbs towards some far unseen epiphany.
02.14 - The World-Soul, #Savitri, #Sri Aurobindo, #Integral Yoga
A fragrance wandered in a Coloured haze
As if the scent and hue of all sweet flowers
02.15 - The Kingdoms of the Greater Knowledge, #Savitri, #Sri Aurobindo, #Integral Yoga
He dwelt in his self's Colourless purity.
It was a plane of undetermined spirit
03.01 - The Evolution of Consciousness, #The Integral Yoga, #Sri Aurobindo, #Integral Yoga
Consciousness is usually identified with mind, but mental consciousness is only the human range which no more exhausts all the possible ranges of consciousness than human sight exhausts all the gradations of Colour or human hearing all the gradations of sound - for there is much above or below that is to man invisible and inaudible. So there are ranges of consciousness above and below the human range, with which the normal human has no contact and they seem to it unconscious,
- supramental or overmental and submental ranges.
03.01 - The Pursuit of the Unknowable, #Savitri, #Sri Aurobindo, #Integral Yoga
The universe removed its Coloured veil,
And at the unimaginable end
03.03 - The House of the Spirit and the New Creation, #Savitri, #Sri Aurobindo, #Integral Yoga
Blazoned like hues upon a Colourless air
On the white purity of the Witness Soul.
03.04 - The Body Human, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
The perfection of the anatomical and morphological structure in man consists precisely in its wonderful elasticity the 'infinite faculty' or multiple functioning referred to by Shakespeare. This is the very characteristic character of man both with regard to his physical and psychological make-up. The other species are, everyone of them, more or less, a specialised formation; we have there a closed system, a fixed and definite physical mould and pattern of life. A cat or a crow of a million years ago, like 'the immemorial elm' was not very different from its descendant of today; not so with man. I mean, the human frame, in its general build, might have remained the: same from the beginning of time, but the uses to which it has been put, the works that have been demanded of it are multifarious, indeed of infinite variety. Although it is sometimes stated that the human body too has undergone a change (and is still undergoing) from what was once heavy and muscular, tall and stalwart, with a thicker skeletal system, towards something lighter and more delicate. Also an animal, like the plant, because of its rigidity of pattern, remains unchanged, keeping to its own geographical habitat. Change of climate meant for the animal a considerable change, a sea-change, a change of species, practically. But man can easilymuch more easily than an animal or a plantacclimatise himself to all sorts of variable climates. There seems to be a greater resilience in his physical system, even as a physical object. Perhaps it contains a greater variety of component elements and centres of energy which support its versatile action. The human frame, one may say, is like the solar spectrum that contains all the Colour vibrations and all the lines characteristic of the different elements. The solar sphere is the high symbol for man.
The story runs (Aitareya Upanishad) that once the gods wished to come down and inhabit an earthly frame. Several animal forms (the cow, the horse) were presented to them one after another, but they were not satisfied, none was considered adequate for their habitation. At last the human frame (with its conscious personality) was offered to them and immediately they declared that that was indeed the perfect form they neededsuktam bateti and they entered into it.
03.08 - The Standpoint of Indian Art, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
Indian art, too, possesses a perspective and an anatomy; it, too, has a focus of observation which governs and guides the composition, in the ensemble and in detail. Only, it is not the physical eye, but an inner vision, not the angle given by the retina, but the angle of a deeper perception or consciousness. To understand the difference, let us ask ourselves a simple question: when we call back to memory a landscape, how does the picture form itself in the mind? Certainly, it is not an exact photograph of the scenery observed. We cannot, even if we try, re-form in memory the objects in the shape, Colour and relative positions they had when they appeared to the physical eye. In the picture represented to the mind's eye, some objects loom large, others are thrown into the background and others again do not figure at all; the whole scenery is reshuffled and rearranged in deference to the stress of the mind's interest. Even the structure and build of each object undergoes a change; it does not faithfully re-copy Nature, but gives the mind's version of it, aggrandizing certain parts, suppressing others, reshaping and re Colouring the whole aspect, metamorphosing the very contour into something that may not be "natural" or anatomical figure at all. Only we are not introspective enough to observe this phenomenon of the mind's alchemy; we think we are representing with perfect exactitude in the imagination whatever is presented to the senses, whereas in fact we do nothing of the kind; our idea that we do it is a pure illusion.
All art is based upon this peculiar virtue of the mind that naturally and spontaneously transforms or distorts the objective world presented to its purview. The question, then, is only of the degree to which the metamorphosis has been carried. At the one end, there is the art of photography, in which the degree of metamorphosis is at its minimum; at the other, there seems to be no limit, for the mind's capacity to dissolve and recreate the world of sense-perception is infinite and many modern schools of European art have gone even beyond the limit that the "unnatural" Indian art did not consider it necessary to transgress. Now, the classical artist selects a position as close as he can to the photographer, tries to give the mind's view of Nature and creation, as far as possible, in the style and norm of the sense-perceptions. He takes his stand upon these and from there reaches out towards whatever imaginative reconstructions are justified within the bounds laid out by them. The general ground-plan is, almost rigorously, the form given by the physical eye. The art of the East, and even, to a large extent, the art of mediaeval Europe, followed a different line. Here the scheme of the sense-perceptions was rejected, the artist sought to build on other foundations. His procedure was, first, to get a focus within the mind, to discover a psychological standpoint, and from there and in accordance with the subtler laws and conventions of an inner vision create a world that is unique and stands by itself. The aim was always to build from within, at the most, from within outwards, but not from without, not even from without inwards. This inner world has its own laws and they differ from the laws of optics which govern the physical sight; but there is no reason why it should be called unnatural. It is unnatural only in the sense that it does not copy physical Nature; it is quite natural in the 1 sense that it is a faithful reproduction of another, a psychological Nature.
--
It is this characteristic that struck the European mind in its first contact with the Indian artistic world and called forth the criticism that Indian culture lacks in humanism. It is true, a very sublimated humanism finds remarkable expression in Ajanta, and perhaps it is here that the Western eye began to learn and appreciate the Indian style of beauty; even in Ajanta, however, in the pieces where the art reaches its very height, mere humanism seems to be at its minimum. And if we go beyond these productions that reflect the mellowness and humaneness of the Buddhist Compassion, if we go into the sanctuary of the Brahmanic art, we find that the experiences embodied there and the method of expression become more and more "anonymous"; they have not, that is to say, the local Colour of humanity, which alone makes the European mind feel entirely at home. Europe's revulsion of feeling against Indian art came chiefly from her first meeting with the multiple-headed, multiple-armed, expressionless, strangely poised Hindu gods and goddesses, so different in every way from ordinary human types.
Indian art had to be non-human, because its aim was to be supra-human, unnatural, because its very atmosphere was the supra-natural.
03.10 - Hamlet: A Crisis of the Evolving Soul, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
The crisis then is the revelation to the aspiring dream-lifted soul that the original and aboriginal humanity that seemed to have been traversed and transcended and left far behind is not wholly obliterated; indeed it is still there in its stark reality. The light and air and space and Colour of the high dreaml and are reared upon dark and dingy abysses, "this brave oerhanging firmament, this majestical roof fretted with golden fire" is none other than" a foul and pestilent congregation of vapours 2 . All the wisdom and culture and virtue and apparent beauty in human nature cannot prevent a man from becoming an arrant knave and a woman from being a whore, even if she were one's own mother.
This disillusionment is the crisis at which the soul has arrivedthis tearing down of the painted arras that hid the naked horror of man's beastly nature and the ugly vanity and stagy show that the world is. The revelation was so sudden and stunning to the innocent and aspiring soul that it lost for the moment all its bearings, its natural strength and capacity and will, and fell from its high status into the slough of dark and despondent impotency.
03.11 - Modernist Poetry, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
What Bottrall means is this in plain language: we reject the old-world myths and metaphors, figures and legends, wornout ornamentsmoon and star and flower and Colour and musicwe must have a new set of symbols commensurate with our present-day mentality and environmentstone and steel and teas and talkies; yes, we must go in for new and modern terms, we have certainly to find out a menu appropriate to our own sthetic taste, but, Bottrall warns, and very wisely, that we must first be sure of digesting whatever we choose to eat. In other words, a new poetic mythology is justified only when it is made part and parcel, flesh and blood and bone and marrow, of the poetic consciousness. Bottralls epigram "A man is what he eats" can be accepted without demur; only it must also be pointed out that things depend upon how one eats (eating well and digesting thoroughly) as much as what one eatsbread or manna or air and fire and light.
The modernist may chew well, but, I, am afraid, he feeds upon the husk, the chaff, the offal. Not that these things too cannot be incorporated in the poetic scheme; the spirit of poetry is catholic enough and does not disdain them, but can transfigure them into things of eternal beauty. Still how to characterise an inspiration that is wholly or even largely pre-occupied with such objects? Is it not sure evidence that the inspiration is a low and slow flame and does not possess the transfiguring white heat? Bottrall's own lines do not seem to have that quality, it is merely a lessona rhetorical lesson, at bestin poetics.
04.01 - The Birth and Childhood of the Flame, #Savitri, #Sri Aurobindo, #Integral Yoga
Day after day sped by like Coloured spokes,
And through a glamour of shifting hues of air
--
A revel of Colour and of ecstasy,
A hymn of rays, a litany of cries:
04.02 - A Chapter of Human Evolution, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
The Olympians as opposed to the Chthonian gods. The Olympians were white in Colour, the Chthonians black or blood-red: the Olympian temples faced the East, while the Chthonian faced the West and so on.
***
04.02 - Human Progress, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
Jung speaks of two kinds or grades of thinking: (1) the directed thinking and (2) the wishful thinking; one conscious and objective, the other automatic and subjective. The first is the modern or scientific thinking, the second the old-world mythopoeic thinking. These two lines of mental movement mark off two definite stages in the cultural history of man. Down to the Middle Ages man's mental life was moved and Coloured by his libidodesire soul; it is with the Renascence that he began to free his mind from, the libido and transfer and transform the libido into non-egoistic and realistic thinking. In simpler psychological terms we can say that man's mentality was Coloured and modulated by his biological make-up out of which it had emerged; the age of modernism and scientism began with the development of a rigorous rationalism which means a severance and transcendence of the biological antecedent.
In other words, it can be said that the older humanity was intuitive and instinctive, while modern humanity is rationalistic. Now it has been questioned whether this change or reorientation is a sign of progress, whether it has not been at the most a mixed blessing. Many idealists and reformers frankly view the metamorphosis with anxiety. Gerald Heard vehemently declares that the rationalism of the modern age is a narrowing down of the consciousness to a superficial movement, a foreshortening, and a top-heavy specialisation which means stagnation, decay and death. He would rather release the tension in the strangulation of consciousness, even if it means a slight coming down to the anterior level of instinct and intuition, but of more plasticity and less specialisation: it is, he says, only in conditions of suppleness and variability, of life organised yet sufficiently free that the forces of evolution can act fruitfully. It has also been pointed out that homo sapiens is not a direct descendant of homo neanderthalis who was already a far too specialised being, but of a stock anterior to it which was still uncertain, wavering, groping towards a definite emergence.
04.04 - The Quest, #Savitri, #Sri Aurobindo, #Integral Yoga
Environed with their Coloured snare her wheels.
The strong importunate feet of Time fell soft
05.02 - Satyavan, #Savitri, #Sri Aurobindo, #Integral Yoga
Or under imagination's Coloured lids
Held up in a large mirror-air of dream,
05.03 - Satyavan and Savitri, #Savitri, #Sri Aurobindo, #Integral Yoga
The passionate Coloured lettering of the boughs
And fill the hours with their melodious cry.
--
All things the eye had caught in Coloured lines
Were seen anew through the interpreting mind
--
They mixed their yearning's Coloured signs and made
The bloom of their purity and passion one.
05.05 - In Quest of Reality, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
One remarkable thing in the material world that has always attracted and captivated man's attention, since almost the very dawn of his consciousness, is the existence of a pattern, of an artistic layout in the composition and movement of material things. When the Vedic Rishi sings out: "These countless stars that appear glistening night after night, where do they vanish during the day?" he is awed by the inviolable rhythm of the Universe, which other sages in other climes sang as the music of the spheres. The presence of Design in Nature has been in the eyes of Believers an incontrovertible proof of the existence of a Designer. What we want to say is not that a watch (if we regard the universe as a watch) presupposes the existence of a watch-maker: we say the pattern itself is the expression of an idea, it involves a conception not imposed or projected from outside but inherent in itself. The Greek view of the artist's mode of operation is very illuminating in this connection. The artist, according to this view, when he carves out a statue for example, does not impose upon the stone a figure that he has only in his mind, but that the stone itself contains the figure, the artist has the vision to see it, his chisel follows the lines he sees imbedded in the stone. It is why we say that the geometry in the structure of a crystal or an atom or an astronomical system, the balance and harmony, the symmetry and polarity that govern the composition of objects and their relations, the blend of Colour schemes, the marshalling of lines and the building of volumes, in a word, the artistic make-up, perfect in detail and in the ensemble that characterise all nature's body and limbs and finally the mathematical laws that embrace and picture as it were Nature's movements, all point to the existence of a truth, a reality whose characteristic marks are or are very much like those of consciousness and Idea-Force. We fight shy of the wordconsciousness for it brings in a whole association of anthropomorphism and pathetic fallacy. But in our anxiety to avoid a ditch let us not fall over a precipice. If it is blindness to see nothing but the spirit, it is not vision to see nothing but Matter.
A hypothesis, however revolutionary or unorthodox it may seem for the moment, has to be tested by its effective application, in its successful working out. All scientific discoveries in the beginning appear as inconveniences that upset the known and accepted order. Copernicus, Newton, Galileo, Kepler, Maxwell or Einstein in our day enunciated principles that were not obvious sense-given axioms. These are at the outset more or less postulates that have to be judged by their applicability.
05.05 - Man the Prototype, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
The essential appearance of Man is, as we have said, the prototype of the actual man. That is to say, the actual man is a projection, even though a somewhat disfigured projection, of the original form; yet there is an essential similarity of pattern, a commensurability between the two. The winged angels, the cherubs and seraphs are reputed to be ideal figures of beauty, but they are nothing akin to the Prototype, they belong to a different line of emanation, other than that of the human being. We may have some idea of what it is like by taking recourse to the distinction that Greek philosophers used to make between the formal and the material cause of things. The prototype is the formal reality hidden and imbedded in the material reality of an object. The essential form is made of the original configuration of primary vibrations that later on consolidate and become a compact mass, arriving finally at its end physico-chemical composition. A subtle yet perfect harmony of vibrations forming a living whole is what the prototype essentially is. An artist perhaps is in a better position to understand what we have been labouring to describe. The artist's eye is not confined to the gross physical form of an object, even the most realistic artist does not hold up the mirror to Nature in that sense: he goes behind and sees the inner contour, the subtle figuration that underlies the external volume and mass. It is that that is beautiful and harmonious and significant, and it is that which the artist endeavours to bring out and fix in a system or body of lines and Colours. That inner form is not the outer visible form and still it is that form fundamentally, essentially. It is that and it is not that. We may add another analogy to illustrate the point. Pythagoras, for example, spoke of numbers being realities, the real realities of all sensible objects. He was evidently referring to the basic truth in each individual and this truth appeared to him as a number, the substance and relation that remain of an object when everything concrete and superficial is extractedor abstractedout of it. A number to him is a quality, a vibration, a quantum of wave-particles, in the modern scientific terminology, a norm. The human prototype can be conceived as something of the category of the Pythagorean number.
The conception of the Purusha at the origin of things, as the very source of things, so familiar to the Indian tradition, gives this high primacy to the human figure. We know also of the cosmic godhead cast in man's mouldalthough with multiple heads and feetvisioned and hymned by sages and seers. The gods themselves seem to possess a human frame. The Upanishads say that once upon a time the gods looked about for a proper body to dwell in, they were disappointed with all others; it is only when the human form was presented that they exclaimed, This is indeed a perfect form, a perfect form indeed. All that indicates the feeling and perception that there is something eternal and transcendent in the human body-frame.
05.06 - Physics or philosophy, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
Einstein's was, perhaps, the most radical and revolutionary solution ever proposed. Indeed, it meant the reversal of the whole scientific outlook, but something of the kind was an imperative need in order to save Science from inconsistencies that seemed to be inherent in it. The scientific outlook was vitiated, Einstein said, because we started from wrong premises; two assumptions mainly were responsible for the bank-ruptcy which befell latter-day Science. First, it was assumed that a push and pulla force (a gravitational or, more generally, a causal force) existed and that acted upon isolated and independent particles strewn about; and secondly, they were strewn about in an independently existing time and an independently existing space. Einstein has demonstrated, it seems, successfully that there is no Time and no Space actually, but times and spaces (this reminds one of a parallel conception in Sankhya and Patanjali) , that time is not independent of space (nor space of time) but that time is another co-ordinate or dimension necessary for all observation in addition to the three usual co-ordinates (or dimensions). This was the explanation he found of the famous Michelson-Morley experiment which failed to detect any difference in the velocity of light whether it moved with or against a moving object, which is an inconsistency according to the mechanistic view. 1 The absolute dependence of time and space upon each other was further demonstrated by the fact that it was absolutely impossible to synchronise two distant clocks (moving with different speeds and thus forming different systems) with perfect accuracy, or determine exactly whether two events happened simultaneously or not. In the final account of things, this relative element that varies according to varying particulars had to be eliminated, sublated. In order to make a law applicable to all fieldsfrom the astronomical through the normal down to the microscopic or sub-atomicin an equally valid manner, the law had to divest itself of all local Colour. Thus, a scientific law became a sheer 'mathematical formula; it was no longer an objective law that governed the behaviour of things, but merely a mental rule or mnemonics to string together as many diverse things as possible in order to be able to memorise them easily.
Again, the generalised law of relativity (that is to say, laws governing all motions, even accelerated motion and hot merely uniform motion) that sought to replace the laws of gravitation did away also with the concepts of force and causality: it stated that things moved not because they were pulled or pushed but because they followed the natural curve of space (they describe geodesics, i.e., move in the line of least distance). Space is not a plain surface, smooth and uniform, but full of dimples and hollows, these occurring in the vicinity of masses of matter, the sun, for instance, (although one does not see how or why a mass of matter should roll down the inclined plane of a curved surface without some kind of push and pull the problem is not solved but merely shifted and put off). All this means to say that the pattern of the universe is absolutely geometrical and science in the end resolves itself into geometry: the laws of Nature are nothing but theorems or corollaries deduced and deducible from a few initial postulates. Once again, on this line, of enquiry also the universe is dissolved into abstract and psychological factors.
--
Even Eddington is not so absurd or impossible as it may seem to some. He says, as we have seen, that all so-called laws of Nature can be discovered from within the mind itself, can be deduced logically from psychologically given premises: no empiricial observation or objective experimentation is necessary to arrive at them: they are found a priori in the subject. Now, mystic experience always lays stress on extra-sensory knowledge: it declares that such a knowledge is not only possible, but that this alone is the right and correct knowledge. All thingsmatter and mind and life and allbeing but vibrations of consciousness, even as the Colours of a spectrum are vibrations, electro-magnetic waves of different frequency, mystic discipline enables one to enter into that condition in which one's consciousness mingles with all consciousness or with another particular consciousness (Patanjali's term is samyama), and one can have all knowledge that one wishes to have by this inner contact or concentration or identification, one discovers the knowledge within oneself, no external means of sense observation and experimental testing, no empirical inductive process is needed. We do not say that Eddington had in view anything of this kind, but that his attitude points in this direction.
That seems to be the burden, the underlying preoccupation of modern physical science: it has been forced to grope towards some kind of mystic perception; at least, it has been put into a frame of mind, due to the crumbling of the very fundamentals of the past structure, which is less obstructive to other sources and spheres and ways of knowledge. Certainly, we must admit that we have moved very far from Laplace when we hear today a hard-boiled rationalist like De Broglie declare:
05.07 - The Observer and the Observed, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
Science means objectivity, that is to say, elimination of the personal elementtruth as pure fact without being distorted or Coloured by the feelings and impressions and notions of the observer. It is the very opposite of the philosopher's standpoint who says that a thing exists because (and so long as) it is perceived. The scientist swears that a thing exists whether you perceive it or not, perception is possible because it exists, not the other way. And yet Descartes is considered not only as the father of modern philosophy, but also as the founder o( modern mathematical science. But more of that anon. The scientific observer observes as a witness impartial and aloof: he is nothing more than a recording machine, a sort of passive mirror reflecting accurately and faithfully what is presented to it. This is indeed the great revolution brought about by Science in the world of human inquiry and in human consciousness, viz.,the isolation of the observer from the observed.
In the old world, before Science was born, sufficient distinction or discrimination was not made between the observer and the observed. The observer mixed himself up or identified himself with what he observed and the result was not a scientific statement but a poetic description. Personal feelings, ideas, judgments entered into the presentation of facts and the whole mass passed as truth, the process often being given the high-sounding name of Intuition, Vision or Revelation but whose real name is fancy. And if there happened to be truth off act somewhere, it was almost by chance. Once we thought of the eclipse being due to the greed of a demon, and pestilence due to the evil eye of a wicked goddess. The universe was born out of an egg, the cosmos consisted of concentric circles of worlds that were meant to reward the virtuous and punish the sinner in graded degrees. These are some of the very well-known instances of pathetic fallacy, that is to say, introducing the element of personal sentiment in our appreciation of events and objects. Even today Nazi race history and Soviet Genetics carry that unscientific prescientific tradition.
05.11 - The Place of Reason, #Collected Works of Nolini Kanta Gupta - Vol 01, #Nolini Kanta Gupta, #Integral Yoga
Another point in Sri Aurobindo's view of consciousness which troubles Prof. Das is about the exact nature and function of Reason. For while on one side Sri Aurobindo never seems to be tired of pointing out the inherent incapacity of Reasonin the good company of the ancient Rishisas an instrument for the discovery or realisation of the Absolute or the integral Reality, he asserts, on the other hand, almost in the same breath as it were, that mind can have some idea or conception of what is beyond it, which it so often vainly strives to seize or represent. Evidently, the rationalist logic fails to hold together the two ends, as it is further seen in Prof. Das's failure to perceive any distinction between types or gradations of "thinking".1 He thinks that just as a philosopher thinks, or a cabman thinks or an animal thinks, all must think in the same way and through the same function of the same organ: either there is thinking (thinking proper, of one particular kind) or there is no thinking. That Nature consists of a graduated scale in every line of its movements, and that the gradations shade off into each othernot only so but that each scale or principle may contain within itself all the others2is a phenomenon which runs contrary to the "either this or that" or "no-overlapping" principle, like the Colour-blind for whom things are either black or white. In the global outlook, however, we do not stand in the relation of division, separation, mutual exclusiveness. There is a consciousness in which all contraries find a harmonising truth and rhythm.
In Sri Aurobindo, Reason and Intuition possess a dual relation of mutual negation and mutual affirmation, of exclusiveness and inclusiveness, as indeed is the relation of Brahman and the World. One negates the other in the sphere of ignorance but in knowledge one affirms the other. That is to say, Reason or mental logic, so long as it is dominated by the senses, by the external impressions from things and by its analytic or exclusively separative method of procedure, is a denial of Intuition and a bar to spiritual experience. But Reason can be purified, relieved of its dross, illumined (sam-buddha)sublimated and uplifted then it comes to its own, becomes what it really is and should bea frame to give body to what is beyond and unembodied, a mirror in conceptual terms to what is supra-conceptual. It loses its hard rigidity and becomes supple, loses its obscurity, density and becomes transparent: it attains a new rhythm and gait and capacity. Many of the Upanishadic mantras, a good part of the Gita, do that. And Sri Aurobindo's own exposition is a miracle in that style. "Reason was a helper, Reason is the bar"and, we can add, Reason will again be an aid. The world, as it is, is anything but Divine; and yet it is nothing but the Divine essentially and fundamentally; it can and will attain the divine figure apparently and externally too. Even so with regard to man's mind and reason and all his other limbs.
06.08 - The Individual and the Collective, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
An integral sadhana cannot be confined to the individual alone; an element of collectivity must enter into it. An individual is not an isolated being in any way. There are, of course, schools of Yoga and philosophy that seek to isolate the individual, consider him as an entity hemmed in by his own consciousness; indeed they view the individuals as all distinct and separate, each a closed circle or sphere, they may barely touch each other but never interpenetrate or inter-communicate. Each stands as a solitary island, all together forming the vast archipelago of the universe. This is a position; no doubt, that can be acquired by a kind of discipline of the consciousness, though not to a great perfection; but it is not a natural or necessary poise. Normally, individuals do merge into each other and form one weft of give and take. A desire, an impulse, even a thought that rises in you, goes out of you, overflows you and spreads around even to the extreme limit of the earth, like a Hertzian wave. Again, any movement in any person anywhere in the world would come to you, penetrate you, raise a similar vibration in you, even though you may not so recognise it but consider it as something exclusively personal to you. You send out vibrations into the world and the world sends out vibrations into you. Individual life is the meeting-ground of these outgoing and incoming forces. It is precisely to avoid this circle or cycle of world-vibrations that the older Yogis used to leave the world, away from society, retire to mountain-tops, into the virgin forest where they hoped to find themselves alone and aloof, to be single with the Single Self. This is a way out, but it is not the only or the best solution. It is not the best solution, for although apparent-ly one is alone on the hill-top, in the desert crypt, or the forest womb, one always carries with oneself a whole world within, the normal nature with all its instincts and impulses, reactions, memories and hopes: you cut away the outside, run away from it, but what about the outside that is within you? The taste for a tasty thing does not drop with the removal of the object. Secondly, such an individual solution, even if it were possible, would still be a purely personal matter and, in the ultimate analysis, egoistic. It is why the Buddha refused to enter definitely into Nirvana and withdrew from the brink to work among men. Indeed, the real solution is else-where. It is not to withdraw or go away but to find within the orbit here a centre, a focus of consciousness which is not controlled by the outside forces but can control them, which is not Coloured by them but can lend them its own luminosity. That is the soul or the psychic centre.
And this centre is not an isolated entity in its nature: it is, as it were, a universal centre, that is to say, it links itself indissolubly in a secret sense of identity with all other centres. For this self is only one of the selves through which the One Self has multiplied itself for a varied self-objectification. The light that shines here, the fire that burns here and the delight that flows here illumine, purify and revitalise not only the individual in which it dwells, but move abroad and extend into the other individuals with which it lives in spiritual identity.
06.31 - Identification of Consciousness, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
I will give you one instance. There was an old mango tree in one of our gardensvery old, leafless and dried up, decrepit and apparently dying. Everybody was for cutting it down and making the place clean and clear for flowers or vegetables. I looked at the tree. Suddenly I saw within the dry bark, at the core, a column of thin and and dim light, a light greenish in Colour, mounting up, something very living. I was one with the consciousness of the tree and it told me that I should not allow it to be cut down. The tree is still living and in fairly good health. As a young girl barely in my teens I used to go into the woods not far from Paris, Bois de Fontainebleau: there were huge oak trees centuries old perhaps. And although I knew nothing of meditation then, I used to sit quietly by myself and feel the life around, the living presence of something in each tree that brought to me invariably the sense of health and happiness.
Another instance will show another kind of identification. It is an experience to which I have often referred. I was seated, drawn in and meditating. I felt that my physical body was I dissolving or changing: it was becoming wider and wider, losing its human characters and taking gradually the shape of a globe. Arms, legs, head were no longer there: it became spherical, having exactly the form of the earth. I felt I had become the earth. I was the earth in form and substance and all terrestrial objects were in me, animals and people, living and moving in me, trees and plants and even inanimate objects as part of myself, limbs of my body: I was the earth-consciousness incarnate.
07.02 - The Spiral Universe, #Collected Works of Nolini Kanta Gupta - Vol 03, #Nolini Kanta Gupta, #Integral Yoga
The universe can thus be conceived as a globe consisting of an infinite number of intersecting spirals. One can give to each spiral a different Colour, each representing one aspect of nature's movement. A model globe of this kind may perhaps be constructed. A section only of the curve of a spiral is on the outside, the rest is within the globe and can be seen because of its special Colour, provided we consider the globe as something transparent. It is these multiple sections outside that form the surface of the globe. The inside is of course full of spirals, excepting that section of a spiral which is outside. And yet though crossing and recrossing they do not form an opaque mass. One can see through and follow the brilliant lines of various Colours. That is how I see it. You can try to make a geometrical figure of it, if possible.
Nature has a plan of its own. It is not like the coherent rational plan of man. Nature's plan is made of an aspiration, a decision and a goal. But the way is quite fantastic, so it appears to man. Nature seems to move from moment to moment, under the stress of the occasion; there are advances, withdrawals, trials, contradictions, demolitions of things, laborious building up, and again throwing down. It is a complete chaos. She begins a thing, leaves it half done, takes up another, rejects one thing altogether, begins anew something left off, makes, remakes, unmakes, separates, mixes up. She follows a million lines of advance at the same time but not from the same point and each with its own speed and rhythm. There is such a tangle that seems to make no sense. Still there is a plan, she pursues an object which seems to be very clear to her, although veiled to the human eye. The spiral globe I spoke of was meant to give some idea of this complex unity in Nature's plan.
07.03 - The Entry into the Inner Countries, #Savitri, #Sri Aurobindo, #Integral Yoga
She must fill with Colour just her sanctioned space,
Not break out of the cabin of the idea
07.06 - Nirvana and the Discovery of the All-Negating Absolute, #Savitri, #Sri Aurobindo, #Integral Yoga
A painting's Colours hiding a surface void
That flickered upon dissolution's edge;
08.24 - On Food, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
Indeed, people who try to develop their taste are rarely very much attached to food. They cultivate their taste for developing, refining their senses, not for the sake of eating. In the same way the artist, a painter, for example, trains his eyes so that he can know how to appraise the beauty of form and Colour, line and design, composition and harmony that is found in physical nature. It is not mere desire or hunger that drives them, it is taste, culture, development of the sense of sight, appreciation of beauty that is his preoccupation. Generally, artists who are truly artists, who love and live their art, who are in search of beauty are people who do not have many desires. They live in their aesthetic sensibility, in their senses turned to the enjoyment and creation of beauty. They are not the kind of people who live by their vital impulses and physical desires.
In a general way, education, cultures, refinement of the senses are the means of curing movements of crude instinct and desire and passion. To obliterate them is not curing them; instead, they have to be cultivated, intellectualised, refined. That is the surest way of curing them. To give them their maximum growth in view of the progress and development of consciousness, so that one may acquire to a sense of harmony and exactitude of perception is part of culture and education for the human being. Men cultivate their intelligence in the same way: they read, they think, compare and contrast, they make a study. In this way their mind enlarges itself, it becomes wider and more comprehensive than the minds of those who live without a mental education, who possess only a few ideas that perhaps even contradict each other. They are moved wholly by these as they have no other, they think those are the only ideas that should govern them: such minds are extremely narrow and limited. On the other hand, they who have cultivated their intelligence, who have studied and thought, who have widened their mental range a little and so can see and note and compare other ideas and possible notions discover easily that it is sheer ignorance and absurdity to be attached to a limited set of ideas and to consider that alone as the expression of truth.
10.03 - The Debate of Love and Death, #Savitri, #Sri Aurobindo, #Integral Yoga
Borne like a Coloured and embosomed fire,
By spirits carried in a pearl-hued cave,
10.04 - The Dream Twilight of the Earthly Real, #Savitri, #Sri Aurobindo, #Integral Yoga
Its symbol Colours tuned with duller reds
And almost seemed a lurid mist of day.
--
Only to paint in new Colours an old face;
These wars, carnage triumphant, ruin gone mad,
1.00b - Introduction, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
The electrical and magnetical fluids are shown in red and blue Colours, electrical fluid being red, magnetical fluid blue.
The head region of the female is electrical, therefore red, the region of the genitals is magnetical, consequently blue. As for the male, it happens to be in inverted order.
--
Above the male, there are the active elements, that of the fire in red and the air element in blue Colour. Above the female there are the passive elements, the water element in green and the element of the earth in yellow Colour.
The middle along the magician up to the globe is dark purple, representing the sign of the akasa principle
--
The eternal, the infinite, the boundless, and the uncreated have been expressed symbolically by the word AUM and the dark purple to black Colour.
Initiation I
1.00c - DIVISION C - THE ETHERIC BODY AND PRANA, #A Treatise on Cosmic Fire, #Alice Bailey, #Occultism
The work of the second Logos ends, and the divine [132] incarnation of the Son is concluded. But the faculty or inherent quality of matter also persists, and at the end of each period of manifestation, matter (though distributed again into its primal form) is active intelligent matter plus the gain of objectivity, and the increased radiatory and latent activity which it has gained through experience. Let us illustrate: The matter of the solar system, when undifferentiated, was active intelligent matter, and that is all that can be predicated of it. This active intelligent matter was matter qualified by an earlier experience, and Coloured by an earlier incarnation. Now this matter is in form, the solar system is not in pralaya but in objectivity,this objectivity having in view the addition of another quality to the logoic content, that of love and wisdom. Therefore at the next solar pralaya, at the close of the one hundred years of Brahma, the matter of the solar system will be Coloured by active intelligence, and by active love. This means literally that the aggregate of solar atomic matter will eventually vibrate to another key than it did at the first dawn of manifestation.
We can work this out in connection with the planetary Logos and the human unit, for the analogy holds good. We have a correspondence on a tiny scale in the fact that each human life period sees a man taking a more evolved physical body of a greater responsiveness, tuned to a higher key, of more adequate refinement, and vibrating to a different measure. In these three thoughts lies much information, if they are carefully studied and logically extended.
1.00e - DIVISION E - MOTION ON THE PHYSICAL AND ASTRAL PLANES, #A Treatise on Cosmic Fire, #Alice Bailey, #Occultism
c. The seven rays, regarded as the seven veiling forms of the Spirits, themselves spheroidal bands of Colour, rotating longitudinally, and forming (in connection with the seven planes) a vast interlacing network. These two sets of spheres (planes and rays) form the totality of the solar system, and produce its form spheroidal.
Let us withdraw our thought at this juncture from the informing Consciousnesses of these three types of spheres, and concentrate our attention upon the realisation that each plane is a vast sphere of matter, actuated by latent heat and progressing or rotating in one particular direction. Each ray of light, no matter of what Colour, is likewise a sphere of matter of the utmost tenuity, rotating in a direction opposite to that of the planes. These rays produce by their mutual interaction a radiatory effect upon each other. Thus by the approximation of the latent heat in matter, and the interplay of that heat upon other spheres that totality is produced which we call "fire by friction."
[153]
--
4. Absorption, through that expression which is seen in all whirling spheres of atomic matter at whichever surface in the sphere corresponds to the point called in a planet the North Pole. Some idea of the intention that I seek to convey may be grasped by a study of the atom as portrayed in Babbitt's "Principles of Light and Colour," and later in Mrs. Besant's "Occult Chemistry." This depression is produced by radiations which proceed counter to the rotations of the sphere and pass down from the north southwards to a midway point. From there they tend to increase the latent heat, to produce added momentum and to give specific quality according to the source from which the radiation comes. This absorption of extra-spheroidal emanation is the secret of the dependence of one sphere upon another, and has its correspondence in the cycling of a ray through any plane sphere. Every atom, though termed spheroidal, is more accurately a sphere slightly depressed at one location, [156] that location being the place through which flows the force which animates the matter of the sphere. This is true of all spheres, from the solar down to the atom of matter that we call the cell in the body physical. Through the depression in the physical atom flows the vitalising force from without. Every atom is both positive and negative; it is receptive or negative where the inflowing force is concerned, and positive or radiatory where its own emanations are concerned, and in connection with its effect upon its environment.
This can be predicated likewise of the entire ring-pass-not of the solar system in relation to its cosmic environment. Force flows into the solar system from three directions via three channels:
--
I would like to describe these centres in greater detail, dealing with them as seen in etheric matter, and basing what I say upon a similar statement by Mr. C. W. Leadbeater in "Inner Life," Vol. 1, page 447-460. We will note the Colours and petals:
1. The base of the spine, four petals. These petals are in the shape of a cross, and radiate with orange fire.
1.00 - Preface, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
BASED on the versicle in the Song of Songs, " Thy plants are an orchard of Pomegranates ", a book entitled Pardis Rimonim came to be written by Rabbi Moses Cordovero in the sixteenth century. By some authorities this philosopher is considered as the greatest lamp in post-Zoharic days of that spiritual Menorah, the Qabalah, which, with so rare a grace and so profuse an irradiation of the Supernal Light, illuminated the literature and religious philosophy of the Jewish people as well as their immediate and subsequent neighbours in the Dias- pora. The English equivalent of Pardis Rimonim - A Garden of Pomegranates - I have adopted as the title of my own modest work, although I am forced to confess that this latter has but little connection either in actual fact or in historicity with that of Cordovero. In the golden harvest of purely spiritual intimations which the Holy Qabalah brings, I truly feel that a veritable garden of the soul may be builded ; a garden of immense magnitude and lofty significance, wherein may be discovered by each one of us all manner and kind of exotic fruit and gracious flower of exquisite Colour. The pomegranate, may I add, has always been for mystics everywhere a favourable object for recon- dite symbolism. The garden or orchard has likewise pro- duced in that book named The Book of Splendour an almost inexhaustible treasury of spiritual imagery of superb and magnificent taste.
This book goes forth then in the hope that, as a modern writer has put it:
10.14 - Night and Day, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
The night is the background to the day or otherwise the day is the stage and the night the green room, that is to say, whatever is expressed in the day, all your activities physical or mental, are in a large part determined or Coloured by your activities at night in sleep. The day represents your conscious activities, products of choice and the exercise of conscious will, but of the night we are wholly unconscious and we have no control over its hidden activities. Even so, it exercises a tremendous influence on the life of the day. The mood, the rhythm in the sleep-state Colours, as I say, very much the mood and rhythm of the active life of the day. The contrary also is true. For the nature of the day-life has an influence also on the nature of the night that follows.
As the day-life is consciously controlled, so also the night-life has to be controlled. Otherwise half of our life goes to waste. As we seek to utilise the day to our benefit we must know in the same way how to utilise the night. Indeed the night and the day must work together in union for a common purpose. The Vedic Rishi says, "The Night and the Day, although they look different, are of one mind."
1.01 - Appearance and Reality, #The Problems of Philosophy, #Bertrand Russell, #Philosophy
I believe that the table is 'really' of the same Colour all over, the parts that reflect the light look much brighter than the other parts, and some parts look white because of reflected light. I know that, if
I move, the parts that reflect the light will be different, so that the apparent distribution of Colours on the table will change. It follows that if several people are looking at the table at the same moment, no two of them will see exactly the same distribution of Colours, because no two can see it from exactly the same point of view, and any change in the point of view makes some change in the way the light is reflected.
For most practical purposes these differences are unimportant, but to the painter they are all-important: the painter has to unlearn the habit of thinking that things seem to have the Colour which common sense says they 'really' have, and to learn the habit of seeing things as they appear. Here we have already the beginning of one of the distinctions that cause most trouble in philosophy--the distinction between
'appearance' and 'reality', between what things seem to be and what they are. The painter wants to know what things seem to be, the practical man and the philosopher want to know what they are; but the philosopher's wish to know this is stronger than the practical man's, and is more troubled by knowledge as to the difficulties of answering the question.
To return to the table. It is evident from what we have found, that there is no Colour which pre-eminently appears to be _the_ Colour of the table, or even of any one particular part of the table--it appears to be of different Colours from different points of view, and there is no reason for regarding some of these as more really its Colour than others. And we know that even from a given point of view the Colour will seem different by artificial light, or to a Colour-blind man, or to a man wearing blue spectacles, while in the dark there will be no Colour at all, though to touch and hearing the table will be unchanged. This Colour is not something which is inherent in the table, but something depending upon the table and the spectator and the way the light falls on the table. When, in ordinary life, we speak of _the_ Colour of the table, we only mean the sort of Colour which it will seem to have to a normal spectator from an ordinary point of view under usual conditions of light. But the other Colours which appear under other conditions have just as good a right to be considered real; and therefore, to avoid favouritism, we are compelled to deny that, in itself, the table has any one particular Colour.
The same thing applies to the texture. With the naked eye one can see the grain, but otherwise the table looks smooth and even. If we looked at it through a microscope, we should see roughnesses and hills and valleys, and all sorts of differences that are imperceptible to the naked eye. Which of these is the 'real' table? We are naturally tempted to say that what we see through the microscope is more real, but that in turn would be changed by a still more powerful microscope. If, then, we cannot trust what we see with the naked eye, why should we trust what we see through a microscope? Thus, again, the confidence in our senses with which we began deserts us.
--
It will help us in considering these questions to have a few simple terms of which the meaning is definite and clear. Let us give the name of 'sense-data' to the things that are immediately known in sensation: such things as Colours, sounds, smells, hardnesses, roughnesses, and so on. We shall give the name 'sensation' to the experience of being immediately aware of these things. Thus, whenever we see a Colour, we have a sensation _of_ the Colour, but the Colour itself is a sense-datum, not a sensation. The Colour is that _of_ which we are immediately aware, and the awareness itself is the sensation. It is plain that if we are to know anything about the table, it must be by means of the sense-data--brown Colour, oblong shape, smoothness, etc.--which we associate with the table; but, for the reasons which have been given, we cannot say that the table is the sense-data, or even that the sense-data are directly properties of the table. Thus a problem arises as to the relation of the sense-data to the real table, supposing there is such a thing.
The real table, if it exists, we will call a 'physical object'. Thus we have to consider the relation of sense-data to physical objects.
1.01 - Archetypes of the Collective Unconscious, #The Archetypes and the Collective Unconscious, #Carl Jung, #Psychology
scious and by being perceived, and it takes its Colour from the
individual consciousness in which it happens to appear. 9
1.01 - BOOK THE FIRST, #Metamorphoses, #Ovid, #Poetry
Then, clad in Colours of a various dye,
Junonian Iris breeds a new supply
1.01 - Foreward, #Hymns to the Mystic Fire, #Sri Aurobindo, #Integral Yoga
the hymns of the Rig Veda, magnificent in their Colouring and
images, noble and beautiful in rhythm, perfect in their diction,
--
word which will convey the full connotation or Colour of the
original text; I have used two words instead of one or a phrase
1.01 - Historical Survey, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
Midrashic thought with the admixture of extraneous ele- ments picked up, as was inevitable, by the stream's course through many lands - elements the commingling of which must have, in many ways, transformed the original Colour and nature of the stream."
Be that as it may, and ignoring the sterile aspects of con- troversy, the public appearance of the Zohar was the great landmark in the development of the Qabalah, and we to-day are able to divide its history into two main periods, pre- and post-Zoharic. While it is undeniable that there were
1.01 - 'Imitation' the common principle of the Arts of Poetry., #Poetics, #Aristotle, #Philosophy
For as there are persons who, by conscious art or mere habit, imitate and represent various objects through the medium of Colour and form, or again by the voice; so in the arts above mentioned, taken as a whole, the imitation is produced by rhythm, language, or 'harmony,' either singly or combined.
Thus in the music of the flute and of the lyre, 'harmony' and rhythm alone are employed; also in other arts, such as that of the shepherd's pipe, which are essentially similar to these. In dancing, rhythm alone is used without 'harmony'; for even dancing imitates character, emotion, and action, by rhythmical movement.
1.01 - MAPS OF EXPERIENCE - OBJECT AND MEANING, #Maps of Meaning, #Jordan Peterson, #Psychology
and transformative rays. As gold and a heavenly body it contains an active sulphur of a red Colour, hot
and dry. Because of this red sulphur the alchemical sun, like the corresponding gold, is red. As every
1.01 - Our Demand and Need from the Gita, #Essays On The Gita, #Sri Aurobindo, #Integral Yoga
Nor shall we deal in any other spirit with the element of philosophical dogma or religious creed which either enters into the Gita or hangs about it owing to its use of the philosophical terms and religious symbols current at the time. When the Gita speaks of Sankhya and Yoga, we shall not discuss beyond the limits of what is just essential for our statement, the relations of the Sankhya of the Gita with its one Purusha and strong Vedantic Colouring to the non-theistic or "atheistic" Sankhya that has come down to us bringing with it its scheme of many Purushas and one Prakriti, nor of the Yoga of the Gita, many-sided, subtle, rich and flexible to the theistic doctrine and the fixed, scientific, rigorously defined and graded system of the Yoga of Patanjali.
In the Gita the Sankhya and Yoga are evidently only two convergent parts of the same Vedantic truth or rather two concurrent ways of approaching its realisation, the one philosophical, intellectual, analytic, the other intuitional, devotional, practical, ethical, synthetic, reaching knowledge through experience. The
1.01 - SAMADHI PADA, #Patanjali Yoga Sutras, #Swami Vivekananda, #Hinduism
(before different Coloured objects.)
What results from this constant meditation? We must
1.01 - The Ego, #Aion, #Carl Jung, #Psychology
varied as regards clarity, emotional Colouring, and scope. The
result of their combination- the ego- is therefore, so far as one
1.01 - THE STUFF OF THE UNIVERSE, #The Phenomenon of Man, #Pierre Teilhard de Chardin, #Christianity
the familiar properties of our bodies light, Colour, warmth,
impenetrability, etc. lose their meaning.
1.02.3.1 - The Lord, #Isha Upanishad, #unset, #Zen
not breaking out into Colour and form. It is the pure selfknowledge of the Purusha, the conscious Soul, with his Power,
his executive Force contained and inactive.
10.27 - Consciousness, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
This essential consciousness is an unchanging reality existing everywhere in the universe but it expresses itself in different modes and apparent forms, its essential quality does not change but acquires a different Colour and vibration in accordance with its degree and level of expression. For example, the body has a consciousness, life-force has a consciousness, mind has a consciousness, and the levels above the mind, each has a consciousness. All these types or modes or, as I have said, dimensions of consciousness are essentially the same consciousness. The vessels are different, their shape and Colour differ but they all hold as it were the same transparent, clear water. We all know the different movements of light, seen and unseen; but however much they differ in their vibration, all have the same speed of light. And it is always the same composition, as scientists have taught us a light particle is a fusion of an electron and a positron; even so consciousness is also an invariable entity.
Mother said of love the same thing as I have been saying of consciousness. She says, there is only one love, the divine love and none other. There are various expressions of that love according to the conditions in which it manifests, to the degree or status of being but everywhere it is the same divine love behind in essence. Because of inadequate expression it becomes blurred or faint and muddy but the living fire is there below the ashes. You have simply to shake off the outer coating to allow the inner reality to shine forth in its own nature.
1.02 - BOOK THE SECOND, #Metamorphoses, #Ovid, #Poetry
His Colour chang'd, he startled at the sight,
And his eyes darken'd by too great a light.
--
At the same time the raven's Colour chang'd.
The Story of Coronis, and Birth of Aesculapius
--
The God was wroth, the Colour left his look,
The wreath his head, the harp his hand forsook:
1.02 - MAPS OF MEANING - THREE LEVELS OF ANALYSIS, #Maps of Meaning, #Jordan Peterson, #Psychology
Point to a piece of paper. And now point to its shape now to its Colour now to its number (that
sounds queer). How did you do it? You will say that you meant a different thing each time you
pointed. And if I ask how that is done, you will say you concentrated your attention on the Colour, the
shape, etc. But I ask again: how is that done?186
1.02 - Meeting the Master - Authors second meeting, March 1921, #Evening Talks With Sri Aurobindo, #unset, #Zen
But the greatest surprise of my visit in 1921 was the 'darshan' of Sri Aurobindo. During the interval of two years his body had undergone a transformation which could only be described as miraculous. In 1918 the Colour of the body was like that of an ordinary Bengali rather dark though there was a lustre on the face and the gaze was penetrating. This time on going upstairs to see him (in the same house) I found his cheeks wore an apple-pink Colour and the whole body glowed with a soft creamy white light. So great and unexpected was the change that I could not help exclaiming: "What has happened to you?"
Instead of giving a direct reply he parried the question, as I had grown a beard: "And what has happened to you?"
1.02 - Prayer of Parashara to Vishnu, #Vishnu Purana, #Vyasa, #Hinduism
That chief principle (Pradhāna), which is the indiscrete cause, is called by the sages also Prakriti (nature): it is subtile, uniform, and comprehends what is and what is not (or both causes and effects); is durable, self-sustained, illimitable, undecaying, and stable; devoid of sound or touch, and possessing neither Colour nor form; endowed with the three qualities (in equilibrium); the mother of the world; without beginning; and that into which all that is produced is resolved[14]. By that principle all things were invested in the period subsequent to the last dissolution of the universe, and prior to creation[15]. For Brahmans learned in the Vedas, and teaching truly their doctrines, explain such passages as the following as intending the production of the chief principle (Pradhāna). "There was neither day nor night, nor sky nor earth, nor darkness nor light, nor any other thing, save only One, unapprehensible by intellect, or That which is Brahma and Pumān (spirit) and Pradhāna (matter)[16]." The two forms which are other than the essence of unmodified Viṣṇu, are Pradhāna (matter) and Puruṣa (spirit); and his other form, by which those two are connected or separated, is called Kāla (time)[17]. When discrete substance is aggregated in crude nature, as in a foregone dissolution, that dissolution is termed elemental (Prākrita). The deity as Time is without beginning, and his end is not known; and from him the revolutions of creation, continuance, and dissolution unintermittingly succeed: for when, in the latter season, the equilibrium of the qualities (Pradhāna) exists, and spirit (Pumān) is detached from matter, then the form of Viṣṇu which is Time abides[18]. Then the supreme Brahma, the supreme soul, the substance of the world, the lord of all creatures, the universal soul, the supreme ruler, Hari, of his own will having entered into matter and spirit, agitated the mutable and immutable principles, the season of creation being arrived, in the same manner as fragrance affects the mind from its proximity merely, and not from any immediate operation upon mind itself: so the Supreme influenced the elements of creation[19]. Puruṣottama is both the agitator and the thing to be agitated; being present in the essence of matter, both when it is contracted and expanded[20]. Viṣṇu, supreme over the supreme, is of the nature of discrete forms in the atomic productions, Brahmā and the rest (gods, men, &c.)
Then from that equilibrium of the qualities (Pradhāna), presided over by soul[21], proceeds the unequal developement of those qualities (constituting the principle Mahat or Intellect) at the time of creation[22]. The Chief principle then invests that Great principle, Intellect, and it becomes threefold, as affected by the quality of goodness, foulness, or darkness, and invested by the Chief principle (matter) as seed is by its skin. From the Great principle (Mahat) Intellect, threefold Egotism, (Aha
kāra)[23], denominated Vaikarīka, 'pure;' Taijasa, 'passionate;' and Bhūtādi, 'rudimental,'[24] is produced; the origin of the (subtile) elements, and of the organs of sense; invested, in consequence of its three qualities, by Intellect, as Intellect is by the Chief principle. Elementary Egotism then becoming productive, as the rudiment of sound, produced from it Ether, of which sound is the characteristic, investing it with its rudiment of sound. Ether becoming productive, engendered the rudiment of touch; whence originated strong wind, the property of which is touch; and Ether, with the rudiment of sound, enveloped the rudiment of touch. Then wind becoming productive, produced the rudiment of form ( Colour); whence light (or fire) proceeded, of which, form ( Colour) is the attribute; and the rudiment of touch enveloped the wind with the rudiment of Colour. Light becoming productive, produced the rudiment of taste; whence proceed all juices in which flavour resides; and the rudiment of Colour invested the juices with the rudiment of taste. The waters becoming productive, engendered the rudiment of smell; whence an aggregate (earth) originates, of which smell is the property[25]. In each several element resides its peculiar rudiment; thence the property of tanmātratā,[26] (type or rudiment) is ascribed to these elements. Rudimental elements are not endowed with qualities, and therefore they are neither soothing, nor terrific, nor stupifying[27]. This is the elemental creation, proceeding from the principle of egotism affected by the property of darkness. The organs of sense are said to be the passionate products of the same principle, affected by foulness; and the ten divinities[28] proceed from egotism affected by the principle of goodness; as does Mind, which is the eleventh. The organs of sense are ten: of the ten, five are the skin, eye, nose, tongue, and ear; the object of which, combined with Intellect, is the apprehension of sound and the rest: the organs of excretion and procreation, the hands, the feet, and the voice, form the other five; of which excretion, generation, manipulation, motion, and speaking, are the several acts.
Then, ether, air, light, water, and earth, severally united with the properties of sound and the rest, existed as distinguishable according to their qualities, as soothing, terrific, or stupifying; but possessing various energies, and being unconnected, they could not, without combination, create living beings, not having blended with each other. Having combined, therefore, with one another, they assumed, through their mutual association, the character of one mass of entire unity; and from the direction of spirit, with the acquiescence of the indiscrete Principle[29], Intellect and the rest, to the gross elements inclusive, formed an egg[30], which gradually expanded like a bubble of water. This vast egg, O sage, compounded of the elements, and resting on the waters, was the excellent natural abode of Viṣṇu in the form of Brahmā; and there Viṣṇu, the lord of the universe, whose essence is inscrutable, assumed a perceptible form, and even he himself abided in it in the character of Brahmā[31]. Its womb, vast as the mountain Meru, was composed of the mountains; and the mighty oceans were the waters that filled its cavity. In that egg, O Brahman, were the continents and seas and mountains, the planets and divisions of the universe, the gods, the demons, and mankind. And this egg was externally invested by seven natural envelopes, or by water, air, fire, ether, and Aha
--
khya. According to this notion, the elements add to their characteristic properties those of the elements which precede them. Ākas has the single property of sound: air has those of touch and sound: fire has Colour, touch, and sound: water has taste, Colour, touch, and sound: and earth has smell and the rest, thus having five properties: or, as the Li
ga P. describes the series, ###.
1.02 - SADHANA PADA, #Patanjali Yoga Sutras, #Swami Vivekananda, #Hinduism
through the Colouring of the intellect.
76
1.02 - The Magic Circle, #The Practice of Magical Evocation, #Franz Bardon, #Occultism
Bearing these facts in mind, it comes natural that the magic circle has to be drawn in complete accordance with the views of life and maturity of the magician. The initiate who is conscious about the Harmony of the Universe and its exact hierarchy will, of course, make use of his knowledge when drawing the magic circle. Such a magician may, if he likes, and if the circumstances permit it, draw into his magic circle diagrams representing the whole hierarchy of the universe and thus come into contact with, and awake his consciousness of, the universe much more rapidly. He is free to draw, if necessary, several circles at a certain distance from each other in order to use them for representing the hierarchy of the universe in the form of divine names, genii, princes, angels and other powers. One must, of course, meditate appropriately and take the concept of the divine aspects in question into consideration when drawing the circle. The true magician must know that divine names are symbolic designations of divine qualities and powers. It stands to reason that while drawing the circle and entering the divine names the magician must also consider the analogies corresponding to the power in question, such as Colour, number and direction, if he does not want to allow a breach in his consciousness to come into existance because he has not presented the universe in its complete analogy.
Each magic circle, no matter whether a simple drawing or a complicated one, will always serve its purpose, depending, of course, on the magician's faculty to bring his individual consciousness into full accordance with the universal, the cosmic consciousness. Even a large barrel-hoop will do the job, providing the magician is capable of finding the relevant state of mind and is completely convinced that the circle in the centre of which he is standing represents the universe, to which is to react, as a representation of God.
1.02 - The Pit, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
Truth. Numerous academic philosophers have likewise arrived at a similar conclusion. Some of the greater of these have despaired of ever devising a suitable method of transcending this limitation, and became sceptics. Others, seeing simply the solution, have seized upon intuition, or to be more accurate, the intellectual concept of intuition, leaving us, however, with no methods of checking and verifying that intuition, which in consequence is so liable to degenerate into mere guesswork, Coloured by personal inclination and abetted by gross wish-phantasm.
The two main methods of the traditional and esoteric
1.02 - THE QUATERNIO AND THE MEDIATING ROLE OF MERCURIUS, #Mysterium Coniunctionis, #Carl Jung, #Psychology
Finally, there will appear in the work that ardently desired blue or cerulean Colour, which does not darken or dull the eyes of the beholder by the healing power of its brilliance, as when we see the splendour of the outward sun. Rather does it sharpen and streng then them, nor does he [Mercurius] slay a man with his glance like the basilisk, but by the shedding of his own blood he calls back those who are near to death, and restores to them unimpaired their former life, like the pelican.51
Mercurius is conceived as spiritual blood,52 on the analogy of the blood of Christ. In Ephesians those who are separated are brought near in the blood of Christ. He makes the two one and has broken down the dividing wall in his flesh. Caro (flesh)53 is a synonym for the prima materia and hence for Mercurius. The one is a new man. He reconciles the two in one body,54 an idea which is figuratively represented in alchemy as the two-headed hermaphrodite. The two have one spirit, in alchemy they have one soul. Further, the lapis is frequently compared to Christ as the lapis angularis (cornerstone).55 As we know, the temple built upon the foundation of the saints inspired in the Shepherd of Hermas a vision of the great building into which human beings, streaming from the four quarters, inserted themselves as living stones, melting into it without seam.56 The Church is built upon the rock that gave Peter his name (Matthew 16 : 18).
1.02 - THE WITHIN OF THINGS, #The Phenomenon of Man, #Pierre Teilhard de Chardin, #Christianity
tion of a Colour, sometimes the magic of a sound which goes in
at our ears as a vibration and reaches our brains in the form of
10.31 - The Mystery of The Five Senses, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
Indeed we say habitually, when speaking of spiritual realisation, that one sees the truth, one has to see the truth: to know the truth, to know the reality is taken to mean to see the truth, to see the reality, and what does this signify? It signifies what one sees is the light, the light that emanates from truth, the form that the Truth takes, the radiant substance that is the Truth. This then is the special character or gift of this organ, the organ of sight, the eye. One sees the physical light, of course, but one sees also the supraphysical light. It is, as the Upanishad says, the eye of the eye, the third eye in the language of the occultists. What we say about the eye may be equally said in respect of the other sense-organs. Take hearing, for example. By the ear we hear the noises of the world, its deafening cries and no doubt at times also some earthly music. But when the ear is turned inward, we listen to unearthly things Indeed we know how stone-deaf Beethoven heard some of those harmonies of supreme beauty that are now the cherished possessions of humanity. This inner ear is able to take you by a process of regression to the very source of all sound and utterance, from where springs the anhata vk, the undictated voice, the nda-brahman, the original sound-seed, the primary vibration. So the ear gives that hearing which reveals to you a special aspect of the Divine: the vibratory rhythm of the being, that matrix of all utterance, of all speech that mark the material expression of consciousness. Next we come to the third sense, that of smell, Well, the nose is not a despicable organ, in any way; it is as important as any other more aristocratic sense-organ, as the eye or the ear. It is the gate to the perfumed atmosphere of the reality. Even like a flower, as a lotus for example, the truth is Colourful, beautiful, shapely, radiant to the eye; to the nostrils it is exhilarating perfume, it distils all around a divine scent that sanctifies, elevates the whole being. After the third sense we come to the fourth, the tongue. The mouth gives you the taste of the truth and you find that the Truth is sweetness, the delicious nectar of the gods: for the truth is also soma, the surpreme rasa, amta, immortality itself. Here is Aswapathy's experience of the thing in Savitri:
In the nostrils quivered celestial fragrances,
--
But these separate senses with their separate qualities are not really separate. In the final account of things, the account held in the Supreme Consciousness, at the highest height, these diverse elements or movements are diverse but not exclusive of one another. When they find themselves in the supreme consciousness, they do not, like the rivers of which the Upanishads speak, move and merge into the sea giving up their separate individual name and function. These senses do maintain their identity, each its own, even when they together are all of them part and parcel of the Supreme Universal Consciousness. Only, they become supple and malleable, they intertwine, mix together, even one doing another's work. Also, as things exist at present, modern knowledge has found out that a blind man can see, literally see, through some part of his body; the sense of hearing is capable of bringing to you the vision of Colours. And the olfactory organ can reveal to you the taste of things. Indeed it has been found that not only at the sight of good food, but in contemplating an extraordinarily beautiful scenery or while listening to an exquisite piece of music, the mouth waters. It is curious to note that Indra, the Lord of the gods, the Vedic lord of the mind and the senses, is said to have transformed the pores of his skin into so many eyes, so that he could see all things around at once, globally: it is why he was called Sahasralochana or Sahasraksha, one with a thousand eyes. The truth is that all the different senses are only extensions of one unitary sensibility and the variation depends on a particular mode or stress on the generalised sensibility.
This is what the Rishis meant when they named and represented even the senses as gods. The gods are many, each has his own attribute and function, but they form one indivisible unity.
1.038 - Impediments in Concentration and Meditation, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
Major impediments to yoga have been stated to be nine, according to the aphorism of Patanjali. We have been trying to observe the nature of these obstacles, and every one of them seems to have some connection with the other, perhaps one following the other in some mysterious manner. Finally, certain conditions may arise in the mind which may topple down all our effort namely, perception of illusions which can be easily mistaken for realities. Pressures exerted on the mind, which cannot be avoided in the earlier stages at least, set up certain psychological reactions, and these reactions appear as forms, shapes, Colours, sounds and sensations of touch, etc., which cannot be easily discovered in their essentiality. The mind gets mixed up with these conditions, and there can be a subtle erroneous feeling that perhaps one is touching the borderl and of Reality. But the visions and these experiences need not necessarily be of that nature. They can be merely kicks given back by mental conditions themselves, and these states are referred to by Patanjali in this sutra as bhrantidarshana (I.30) perception of illusions.
Everything that we see, and anything that we feel, need not necessarily be true. But everything passes for reality when it gets identified with consciousness. This is the difficulty of the whole matter. Yet, intelligently, one should be able to compare these experiences with the characteristics of Reality, and thereby know whether they are real or not. There should be a very clear philosophical background of perception in order that the intelligence of the seeker may not be duped by these experiences, because when there is even a flash of the vision of Reality, there will be such a transformation brought about in oneself that one can see in one's own personal life a reflection of those features which can be discovered only in Reality.&nbs.
1.03 - BOOK THE THIRD, #Metamorphoses, #Ovid, #Poetry
With thee the Colour'd shadow comes and goes,
Its empty being on thy self relies;
1.03 - Meeting the Master - Meeting with others, #Evening Talks With Sri Aurobindo, #unset, #Zen
Disciple: Why not? Sometimes it is compared to pearl-white in its Colour. There is the stamp of the individual on it while mill-cloth is mechanically uniform.
Sri Aurobindo: But nobody says that mill-made cloth is artistic!
1.03 - Preparing for the Miraculous, #Preparing for the Miraculous, #George Van Vrekhem, #Integral Yoga
rything had that Colour, although in various shades, which
made it possible to distinguish things from each other. The
--
the feet the more the Colour looked like that of the people
on the ship, that is to say orange; the more upwards the
1.03 - Questions and Answers, #Book of Certitude, #unset, #Zen
But a kurr or more of water remaineth unchanged after one or two washings of the face, and there is no objection to its use unless it is altered in one of the three ways, for example its Colour is changed, in which case it should be looked upon as used.
92. QUESTION: In a treatise in Persian on various questions, the age of maturity hath been set at fifteen; is marriage likewise conditional upon the reaching of maturity, or is it permissible before that time?
1.03 - Spiritual Realisation, The aim of Bhakti-Yoga, #Bhakti-Yoga, #Swami Vivekananda, #Hinduism
The vast mass of those whose religion is like this, are conscious or unconscious materialists the end and aim of their lives here and hereafter being enjoyment, which indeed is to them the alpha and the omega of human life, and which is their Ishtpurta; work like street-cleaning and scavengering, intended for the material comfort of man is, according to them, the be-all and end-all of human existence; and the sooner the followers of this curious mixture of ignorance and fanaticism come out in their true Colours and join, as they well deserve to do, the ranks of atheists and materialists, the better will it be for the world. One ounce of the practice of righteousness and of spiritual Self-realisation outweighs tons and tons of frothy talk and nonsensical sentiments. Show us one, but one gigantic spiritual genius growing out of all this dry dust of ignorance and fanaticism; and if you cannot, close your mouths, open the windows of your hearts to the clear light of truth, and sit like children at the feet of those who know what they are talking about the sages of India. Let us then listen attentively to what they say.
next chapter: 1.04 - The Need of Guru
1.03 - Sympathetic Magic, #The Golden Bough, #James George Frazer, #Occultism
to banish the yellow Colour to yellow creatures and yellow things,
such as the sun, to which it properly belongs, and to procure for
the patient a healthy red Colour from a living, vigorous source,
namely, a red bull. With this intention, a priest recited the
--
jaundice: in the Colour of the red bull do we envelop thee! We
envelop thee in red tints, unto long life. May this person go
unscathed and be free of yellow Colour! The cows whose divinity is
Rohini, they who, moreover, are themselves red (_rohinih_)--in their
--
tied a piece of the skin to him. Then in order to improve his Colour
by thoroughly eradicating the yellow taint, he proceeded thus. He
--
specific qualities of shape and Colour. For example, the Indians of
Peru employed certain stones for the increase of maize, others for
--
long silken gown of the deepest blue Colour, with the word
"longevity" embroidered all over it in thread of gold. To present an
1.03 - THE EARTH IN ITS EARLY STAGES, #The Phenomenon of Man, #Pierre Teilhard de Chardin, #Christianity
sec its Colour changing.
From age to age it increases in intensity. Something is going
1.03 - The Gate of Hell. The Inefficient or Indifferent. Pope Celestine V. The Shores of Acheron. Charon. The, #The Divine Comedy, #Dante Alighieri, #Christianity
These words in sombre Colour I beheld
Written upon the summit of a gate;
--
Their Colour changed and gnashed their teeth together,
As soon as they had heard those cruel words.
1.03 - THE ORPHAN, THE WIDOW, AND THE MOON, #Mysterium Coniunctionis, #Carl Jung, #Psychology
Thi fruyt me florysschith in blood Colour.179
[27] The motif of wounding in alchemy goes back to Zosimos (3rd cent.) and his visions of a sacrificial drama.180 The motif does not occur in such complete form again. One next meets it in the Turba: The dew is joined to him who is wounded and given over to death.181 The dew comes from the moon, and he who is wounded is the sun.182 In the treatise of Philaletha, Introitus apertus ad occlusum Regis palatium,183 the wounding is caused by the bite of the rabid Corascene dog,184 in consequence of which the hermaphrodite child suffered from hydrophobia.185 Dorn, in his De tenebris contra naturam, associates the motif of wounding and the poisonous snake-bite with Genesis 3: For the sickness introduced into nature by the serpent, and the deadly wound she inflicted, a remedy is to be sought.186 Accordingly it is the task of alchemy to root out the original sin, and this is accomplished with the aid of the balsamum vitae (balsam of life), which is a true mixture of the natural heat with its radical moisture. The life of the world is the light of nature and the celestial sulphur,187 whose substance is the aetheric moisture and heat of the firmament, like to the sun and moon.188 The conjunction of the moist (= moon) and the hot (= sun) thus produces the balsam, which is the original and incorrupt life of the world. Genesis 3 : 15, he shall bruise your head, and you shall bruise his heel (RSV), was generally taken as a prefiguration of the Redeemer. But since Christ was free from the stain of sin the wiles of the serpent could not touch him, though of course mankind was poisoned. Whereas the Christian belief is that man is freed from sin by the redemptory act of Christ, the alchemist was evidently of the opinion that the restitution to the likeness of original and incorrupt nature had still to be accomplished by the art, and this can only mean that Christs work of redemption was regarded as incomplete. In view of the wickednesses which the Prince of this world,189 undeterred, goes on perpetrating as liberally as before, one cannot withhold all sympathy from such an opinion. For an alchemist who professed allegiance to the Ecclesia spiritualis it was naturally of supreme importance to make himself an unspotted vessel of the Paraclete and thus to realize the idea Christ on a plane far transcending a mere imitation of him. It is tragic to see how this tremendous thought got bogged down again and again in the welter of human folly. A shattering example of this is afforded not only by the history of the Church, but above all by alchemy itself, which richly merited its own condemnationin ironical fulfilment of the dictum In sterquiliniis invenitur (it is found in cesspools). Agrippa von Nettesheim was not far wrong when he opined that Chymists are of all men the most perverse.190
1.03 - The Sephiros, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
Ambergris, that rarest and most precious of perfumes - while having little perfume in itself is most admirable as the basis of compounds, bringing out the best of any other with which it may be mixed - finds its place in this category of ideas. The Colour attri buted to Keser is White, its
Tarotic attri butions are the four Aces, and it is called in the
--
Its Colour is grey ; its perfume the orchitic Musk, plant the Amaranth, which is the flower of immortality ; and the
Four Twos of the Tarot. Its precious stones are the Star
--
Its Colour is black, since it is negative and receptive of all things ; the precious stone attri buted hereto being the
Pearl, on account of its being the typical stone of the sea, and also referring to the manner in which the pearl has its
--
Triad beyond the Abyss. The three primary or elementary Colours are attri buted to the Sephiros of this second trinity ; blue to Chesed, red to Geburah, and Yellow to
Tipharas.
--
Horse, the latter because Poseidon in legend created the horse and taught men the noble art of managing horses by the bridle. Its plants are the Pine, Olive, and Shamrock ; its stone the Amethyst and Sapphire ; Blue is its Colour, and the Tarot attri butions are the four Fours, its metal being Tin, and its perfume Cedar.
V. Geburah
--
Tobacco and the Nettle are correspondences, both because of their fiery and stinging nature. Its Colour is red, obviously martial ; and hence the ruby, which is bright scarlet, is harmonious. Its sacred creature is the legendary
Basilisk of the staring eye, and the Tarot cards are the four Fives. According to the Sepher Yetsirah , Geburah is named " The Radical Intelligence ".
--
Olibanum ; its Colour Yellow because the Sun- the source of spiritual existence and physical life alike- is its luminary.
The Tarot cards are the four Sixes, and to Tipharas is given the title of Son and the letter 1 V of Tetragramma- ton, and the four Princes or Knights (Jacks) of the Tarot.
--
" The Mediating Intelligence ". Its jewels are the Topaz and Yellow Diamond, so attri buted because of their Colour.
58
--
The Sepher Yetsirah calls Netsach " The Occult Intelli- gence " ; its Colour is Green, being derived from the union of the blue and yellow of Chesed and Tipharas ; and its
Tarot cards are the four Sevens.
--
Lewinii which causes, when taken internally, visions of Colour rings and of an intellectual nature, enhancing self- analysis. Its perfume is Storax, its jewel Opal, its Colour
Orange - derived from the Red of Geburah and the Yellow of Tipharas ; its Yetsiratic title being " The Absolute or
--
Its plants are the Mandrake and Damiana, both of whose aphrodisiac qualities are well known. Its perfume is Jas- mine, also a sexual excitant ; its Colour Purple ; its Sepher
Yetsirah title, "The Pure or Clear Intelligence"; its number 9, and its Tarot correspondence the four Nines.
--
Crete because of the heavy clouds of dense smoke given off by this incense. Its Colours are Citrine, Olive, Russet, and
Black, and its Tarot cards are the four Tens. It is given by the Zohar the final n H^h of Tetragrammaton, and authority attri butes to it the four Princess cards of the
1.040 - Re-Educating the Mind, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
There is nothing personal in us, if we become genuine seekers of Truth. We become like crystal, as the Samkhya philosophers would say, which has no Colour of its own and appears to have a Colour of everything that comes near it. Everything is okay. There is nothing wrong, erroneous, ugly or unwanted in this world from the point of view of the strange harmony that exists among things at the core. Ultimately, everything is harmonious. That is the meaning of the universe or cosmos. The moment we touch this secret of things by the practice of concentration of mind, we invoke the harmony that is at the back of all things. And harmony is nothing but the attunement of things with one another and the basic relatedness of things, rather than the so-called irreconcilability that is visible outside. The moment the mind concentrates on this fact, bereft of all inward distractions and tensions, there is an automatic summoning of the essential nature of things outside, and they come to us instead of getting repelled.
It is possible to concentrate the mind on an object merely on the surface level, though at the bottom there may be a feeling of irreconcilability. That will not lead to success. We may be praying to God through an image in a temple, and yet have a suspicion in the mind that we are praying only to an idol made of stone. This suspicion will spoil all our devotion. "After all, I am praying to a small wooden image. How will this bring fulfilment of my wish or the satisfaction of my desires? I want to be a king, an emperor, and for that purpose I am praying to an idol which is unconscious, which cannot listen to anything that I say." This suspicion will shake the very foundation of devotion, and religion will become merely a pharisaical ritual.
1.04 - ADVICE TO HOUSEHOLDERS, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
Spiritual disciplines necessary at the beginning MASTER: "I should like to visit Iswar Chandra Vidyasagar a few times more. The painter first draws the general outlines and then puts in the details and Colours at his leisure.
The moulder first makes the image out of clay, then plasters it, then gives it a coat of whitewash, and last of all paints it with a brush. All these steps must be taken successively. Vidyasagar is fully ready, but his inner stuff is covered with a thin layer.
1.04 - GOD IN THE WORLD, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
Li-lou does not know how to discriminate right Colour.
Li-lou lived in the reign of the Emperor Huang. He is said to have been able to distinguish the point of a soft hair at a distance of one hundred paces. His eyesight was extraordinary. When the Emperor Huang took a pleasure cruise on the River Chih, he dropped his precious jewel in the water and made Li fetch it up. But he failed. The Emperor made Chih-kou search for it; but he also failed to find it. Later Hsiang-wang was ordered to get it, and he got it. Hence,
--
When we come to these higher spheres, even the eyes of Li-lou are incapable of discriminating the right Colour.
How can Shih-kuang recognize the mysterious tune? Shih-kuang was the son of Ching-kuang of Chin in the province of Chiang under the Chou dynasty. His other name was Tzu-yeh. He could thoroughly distinguish the five sounds and the six notes; he could even hear the ants fighting on the other side of a hill. When Chin and Chu were at war, Shih-kuang could tell, just by softly fingering the strings of his lute, that the engagement would surely be unfavourable for Chu. In spite of his extraordinary sensitiveness Seccho declares that he is unable to recognize the mysterious tune. After all, one who is not at all deaf is really deaf. The most exquisite note in the higher spheres is beyond the hearing of Shih-kuang. Says Seccho, I am not going to be a Li-lou, nor a Shih-kuang; for
1.04 - KAI VALYA PADA, #Patanjali Yoga Sutras, #Swami Vivekananda, #Hinduism
de-pendent on the Colouring which they give to the
mind.
--
chain of motion is the PuruSa, the changeless, the Colourless,
the pure. All these impressions are merely reflected upon it, as
1.04 - Magic and Religion, #The Golden Bough, #James George Frazer, #Occultism
relation will necessarily be Coloured by the idea which we have
formed of the nature of religion itself; hence a writer may
1.04 - Narayana appearance, in the beginning of the Kalpa, as the Varaha (boar), #Vishnu Purana, #Vyasa, #Hinduism
The auspicious supporter of the world, being thus hymned by the earth, emitted a low murmuring sound, like the chanting of the Sāma veda; and the mighty boar, whose eyes were like the lotus, and whose body, vast as the Nīla mountain, was of the dark Colour of the lotus leaves[6], uplifted upon his ample tusks the earth from the lowest regions. As he reared up his head, the waters shed from his brow purified the great sages, Sanandana and others, residing in the sphere of the saints. Through the indentations made by his hoofs, the waters rushed into the lower worlds with a thundering noise. Before his breath, the pious denizens of Janaloka were scattered, and the Munis sought for shelter amongst the bristles upon the scriptural body of the boar, trembling as he rose up, supporting the earth, and dripping with moisture. Then the great sages, Sanandana and the rest, residing continually in the sphere of saints, were inspired with delight, and bowing lowly they praised the stern-eyed upholder of the earth.
The Yogis.-Triumph, lord of lords supreme; Keśava, sovereign of the earth, the wielder of the mace, the shell, the discus, and the sword: cause of production, destruction, and existence. THOU ART, oh god: there is no other supreme condition, but thou. Thou, lord, art the person of sacrifice: for thy feet are the Vedas; thy tusks are the stake to which the victim is bound; in thy teeth are the offerings; thy mouth is the altar; thy tongue is the fire; and the hairs of thy body are the sacrificial grass. Thine eyes, oh omnipotent, are day and night; thy head is the seat of all, the place of Brahma; thy mane is all the hymns of the Vedas; thy nostrils are all oblations: oh thou, whose snout is the ladle of oblation; whose deep voice is the chanting of the Sāma veda; whose body is the hall of sacrifice; whose joints are the different ceremonies; and whose ears have the properties of both voluntary and obligatory rites[7]: do thou, who art eternal, who art in size a mountain, be propitious. We acknowledge thee, who hast traversed the world, oh universal form, to be the beginning, the continuance, and the destruction of all things: thou art the supreme god. Have pity on us, oh lord of conscious and unconscious beings. The orb of the earth is seen seated on the tip of thy tusks, as if thou hadst been sporting amidst a lake where the lotus floats, and hadst borne away the leaves covered with soil. The space between heaven and earth is occupied by thy body, oh thou of unequalled glory, resplendent with the power of pervading the universe, oh lord, for the benefit of all. Thou art the aim of all: there is none other than thee, sovereign of the world: this is thy might, by which all things, fixed or movable, are pervaded. This form, which is now beheld, is thy form, as one essentially with wisdom. Those who have not practised devotion, conceive erroneously of the nature of the world. The ignorant, who do not perceive that this universe is of the nature of wisdom, and judge of it as an object of perception only, are lost in the ocean of spiritual ignorance. But they who know true wisdom, and whose minds are pure, behold this whole world as one with divine knowledge, as one with thee, oh god. Be favourable, oh universal spirit: raise up this earth, for the habitation of created beings. Inscrutable deity, whose eyes are like lotuses, give us felicity. Oh lord, thou art endowed with the quality of goodness: raise up, Govinda, this earth, for the general good. Grant us happiness, oh lotus-eyed. May this, thy activity in creation, be beneficial to the earth. Salutation to thee. Grant us happiness, oh lotus-eyed. arāśara said:-
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[6]: Varāha Avatāra. The description of the figure of the boar is much more particularly detailed in other Purāṇas. As in the Vāyu: "The boar was ten Yojanas in breadth, a thousand Yojanas high; of the Colour of a dark cloud; and his roar was like thunder; his bulk was vast as a mountain; his tusks were white, sharp, and fearful; fire flashed from his eyes like lightning, and he was radiant as the sun; his shoulders were round, flit, and large; he strode along like a powerful lion; his haunches were fat, his loins were slender, and his body was smooth and beautiful." The Matsya P. describes the Varāha in the same words, with one or two unimportant varieties. The Bhāgavata indulges in that amplification which marks its more recent composition, and describes the Varāha as issuing from the nostrils of Brahmā, at first of the size of the thumb, or an inch long, and presently increasing to the stature of an elephant. That work also subjoins a legend of the death of the demon Hiranyākṣa, who in a preceding existence was one of Viṣṇu's doorkeepers, at his palace in Vaikuntha. Having refused admission to a party of Munis, they cursed him, and he was in consequence born as one of the sons of Diti. When the earth, oppressed by the weight of the mountains, sunk down into the waters, Viṣṇu was beheld in the subterrene regions, or Rasātala, by Hiranyākṣa in the act of carrying it off. The demon claimed the earth, and defied Viṣṇu to combat; and a conflict took place, in which Hiranyākṣa was slain. This legend has not been met with in any other Purāṇa, and certainly does not occur in the chief of them, any more than in our text. In the Mokṣa Dherma of the Mahābhārata, e.35, Viṣṇu destroys the demons in the form of the Varāha, but no particular individual is specified, nor does the elevation of the earth depend upon their discomfiture. The Kālikā Upapurāṇa has an absurd legend of a conflict between Śiva as a Sarabha, a fabulous animal, and Viṣṇu as the Varāha, in which the latter suffers himself and his offspring begotten upon earth to be slain.
[7]: This, which is nothing more than the developement of the notion that the Varāha incarnation typifies the ritual of the Vedas, is repeated in most of the Purāṇas in the same or nearly the same words.
1.04 - On blessed and ever-memorable obedience, #The Ladder of Divine Ascent, #Saint John of Climacus, #unset
Let all of us who wish to fear the Lord struggle with our whole might, so that in the school of virtue we do not acquire for ourselves malice and vice, cunning and craftiness, curiosity and anger. For it does happen, and no wonder! As long as a man is a private individual, or a seaman, or a tiller of the soil, the Kings enemies do not war so much against him. But when they see him taking the Kings Colours,3 and the shield, and the dagger, and the sword, and the bow, and clad in soldiers garb, then they gnash at him with their teeth, and do all in their power to destroy him. And so, let us not slumber.
I have seen innocent and most beautiful children come to school for the sake of wisdom, education and profit, but through contact with the other pupils they learn there nothing but cunning and vice. The intelligent will understand this.
1.04 - Religion and Occultism, #Words Of The Mother III, #The Mother, #Integral Yoga
Can one tell when the Colour yellow indicates the mind and when it indicates light?
Greenish yellow is mental.
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In the picture which I received today from Thee, I see someone offering with two hands a full-bloomed red lotus, a lotus bud and a garland. The background of the picture is yellow in Colour. What do all these signify?
The red lotus is the symbol of the Avatar and the offering of the red lotus is meant to suggest the full consecration to
1.04 - The Aims of Psycho therapy, #The Practice of Psycho therapy, #Carl Jung, #Psychology
for hours with refractory brush and Colours, only to produce in the end
something which, taken at its face value, is perfectly senseless. If it were
--
symbolism which is conspicuous both in the drawing and in the Colouring.
The Colours are as a rule quite barbaric in their intensity. Often an
unmistakable archaic quality is present. These peculiarities point to the
1.04 - The Divine Mother - This Is She, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
Then going back to her room, she would start the "flower work" in this state of trance. We know that she is very fond of flowers, particularly roses, both for their own sake and for their power to transmit her force. Hundreds of roses daily came to her as an offering from our gardens. She would spread all of them on trays, pick and choose them according to size, Colour, etc., trim and arrange them in different vases, aided by a sadhika. This would continue till the early hours of the morning when she would retire for a short nap. Once I had a long talk with her concerning the affairs of the Dispensary during this time. I wondered how in such a trance-condition her hands moved correctly, used the scissors, cut and trimmed the flowers and at the same time she went on answering the various problems I put before her. Much later I found the solution and that also in an embarrassing manner. She had come to do Sri Aurobindo's hair and as usual was overtaken by trance. The eyes were half closed, the body swayed but the hands were doing their work. Two of us who were then on duty began to joke and play with each other silently, assuming that she could not notice our innocent pranks. But as she was leaving the room, she said to us, "I can see everything. I have eyes at the back of my head." Imagine our discomfiture! We had heard that she was the greatest occultist known to Theon, her teacher in occultism. We had no small amount of personal experience in support of it. Still, this small incident from its manner and occasion left us flabbergasted. She must have had her inner senses functioning when the outer ones were in suspension or had ceased their work. She said on one occasion that she is extremely sensitive to the atmosphere. She can at once feel the vibrations of a place or of persons.
In the previous chapters I have given some indications about her power of organisation, her foresight, her practical wisdom in the limited field concerning Sri Aurobindo's personal needs. Now let me cite some instances to illustrate her method of working in the larger context of the Ashram, those which I came to know in Sri Aurobindo's presence. Her mind, when she had decided upon a project, would concentrate on it and not relax until it was accomplished or stood on a sound basis. In the same manner she would deal with several projects in the course of the day. She could be single-pointed and many-faceted at the same time. It is the way with all great men of action, I believe.
--
I shall now take up a minor but important activity of which the world has not heard much. I mean the Mother's coaching in dramatics. After her return from tennis and finishing all other activities she would attend the dramatic rehearsals of our children who were being trained for the School Anniversary on the 1st of December. She herself would select the play or theme, choose the roles for different participants and coach them individually night after night till they were ready. I have been told what minute care she took to correct the movements, articulations of each actor, and how she would not spare anyone. A young participant told me laughingly that once he ran away for fear of being scolded before the others! Sometimes the Mother would give descriptions of the display to Sri Aurobindo. Once when a suitable theme was hard to find, for Sri Aurobindo's dramas had not yet come out, I suggested to the Mother in the presence of Sri Aurobindo, to stage Savitri. She accepted the idea. Thanks to her assiduous personal training and attention, our novices learnt the art of acting with beauty and refinement. Though she herself cannot attend these functions nowadays, the tradition she established is respectfully maintained by the artistes she prepared. A foreign visitor seeing the Mother in her Colourful tennis dress observed that she looked like Sarah Bernhardt, the famous French actress. Curiously enough, I had the same impression when I first saw her in that costume without knowing much of the actress except her great name. The Mother's Dramatic faculty and wonderful gift of elocution gave substance to my impression.
The picture that now emerges of the Mother's daily life is one of intense dynamism expressing itself in various ways: creative, organisational, artistic, physical, etc., etc., leaving out of account numberless small individual touches interspersed between the big activities. Except for a few hours for meals and bath and some rest at night, the wheel went round and round with hardly a stop. Even in the midst of such whirling activity she found time for teaching arithmetic to a boy and reading Prayers and Meditations in French, at midnight to some youngsters. Once a young boy was found in the streets at about 2 a.m. The French officer who was on patrol challenged him. When he saw that the boy had a flower in his hand, he asked, "This flower is from the Mother?" "Yes!" he replied, "I am coming from the Mother." "So late at night?" exclaimed the officer, utterly baffled, and let him go. The officer knew the Mother. I have seen her bestowing special attention on some young people and sending them to bed past midnight. Mysterious are her ways! I shall cite an instance of her eye for minor details. A sadhika recounted to me how the Mother remembers even the smallest details in the midst of her most busy hours. Once during the Pranam and sari distribution,[^8] when all the inmates, numbering about 500, passed in a line before the Mother and a sadhak standing by her side handed the saris to her one by one, the Mother gave the sadhika a sari with a black border. Next day when she came up to see the Mother on some business, she said, "I don't know why X handed that black-bordered sari for you. There is a heap over there, go and choose whichever you like." The sadhika replied, "It doesn't matter, Mother. Give me whichever you like." The Mother gave her a green-bordered one. She was simply staggered at her extraordinary observation and recollection of even an apparently insignificant detail in the midst of a crowded programme and was quite overwhelmed by the unexpected touch of her Divine Grace. And this is not the only instance. In those old days when our number was limited and the Mother could establish a personal contact with all of us, big or small, we all had such unexpected touches to treasure in our memory. This faculty, whatever else it might be, is certainly not human, it is a Power beyond and above the human that is all the time at work.
1.04 - The First Circle, Limbo Virtuous Pagans and the Unbaptized. The Four Poets, Homer, Horace, Ovid, and Lucan. The Noble Castle of Philosophy., #The Divine Comedy, #Dante Alighieri, #Christianity
And I, who of his Colour was aware,
Said: "How shall I come, if thou art afraid,
1.04 - The Gods of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
But even such a science, when completed, could not, owing to the paucity of our records be, by itself, a perfect guide. It would be necessary to discover, fix & take always into account the actual ideas, experiences and thought-atmosphere of the Vedic Rishis; for it is these things that give Colour to the words of men and determine their use. The European translations represent the Vedic Rishis as cheerful semi-savages full of material ideas & longings, ceremonialists, naturalistic Pagans, poets endowed with an often gorgeous but always incoherent imagination, a rambling style and an inability either to think in connected fashion or to link their verses by that natural logic which all except children and the most rudimentary intellects observe. In the light of this conception they interpret Vedic words & evolve a meaning out of the verses. Sayana and the Indian scholars perceive in the Vedic Rishis ceremonialists & Puranists like themselves with an occasional scholastic & Vedantic bent; they interpret Vedic words and Vedic mantras accordingly. Wherever they can get words to mean priest, prayer, sacrifice, speech, rice, butter, milk, etc, they do so redundantly and decisively. It would be at least interesting to test the results of another hypothesis,that the Vedic thinkers were clear-thinking men with at least as clear an expression as ordinary poets have and at least as high ideas and as connected and logical a way of expressing themselvesallowing for the succinctness of poetical formsas is found in other religious poetry, say the Psalms or the Book of Job or St Pauls Epistles. But there is a better psychological test than any mere hypothesis. If it be found, as I hold it will be found, that a scientific & rational philological dealing with the text reveals to us poems not of mere ritual or Nature worship, but hymns full of psychological & philosophical religion expressed in relation to fixed practices & symbolic ceremonies, if we find that the common & persistent words of Veda, words such as vaja, vani, tuvi, ritam, radhas, rati, raya, rayi, uti, vahni etc,an almost endless list,are used so persistently because they expressed shades of meaning & fine psychological distinctions of great practical importance to the Vedic religion, that the Vedic gods were intelligently worshipped & the hymns intelligently constructed to express not incoherent poetical ideas but well-connected spiritual experiences,then the interpreter of Veda may test his rendering by repeating the Vedic experiences through Yoga & by testing & confirming them as a scientist tests and confirms the results of his predecessors. He may discover whether there are the same shades & distinctions, the same connections in his own psychological & spiritual experiences. If there are, he will have the psychological confirmation of his philological results.
Even this confirmation may not be sufficient. For although the new version may have the immense superiority of a clear depth & simplicity supported & confirmed by a minute & consistent scientific experimentation, although it may explain rationally & simply most or all of the passages which have baffled the older & the newer, the Eastern & the Western scholars, still the confirmation may be discounted as a personal test applied in the light of a previous conclusion. If, however, there is a historical confirmation as well, if it is found that Veda has exactly the same psychology & philosophy as Vedanta, Purana, Tantra & ancient & modern Yoga & all of them indicate the same Vedic results which we ourselves have discovered in our experience, then we may possess our souls in peace & say to ourselves that we have discovered the meaning of Veda; its true meaning if not all its significance. Nor need we be discouraged, if we have to disagree with Sayana & Yaska in the actual rendering of the hymns no less than with the Europeans. Neither of these great authorities can be held to be infallible. Yaska is an authority for the interpretation of Vedic words in his own age, but that age was already far subsequent to the Vedic & the sacred language of the hymns was already to him an ancient tongue. The Vedas are much more ancient than we usually suppose. Sayana represents the scholarship & traditions of a period not much anterior to our own. There is therefore no authoritative rendering of the hymns. The Veda remains its own best authority.
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It was this aspect of impure mahas, vijnanam working not in its own home, swe dame but in the house of a stranger, as a servant of an inferior faculty, reason as we call it, which led the Rishi Mahachamasya to include mahas among the vyahritis. But vijnana itself is an integral part of the supreme movement, it is divine thought in divine being,therefore not a vyahriti. The Veda uses to express this pure Truth &ideal knowledge another word, equivalent in meaning to mahat,the word brihat and couples with it two other significant expressions, satyam & ritam. This trinity of satyam ritam brihatSacchidananda objectivisedis the Mahan Atma. Satyam is Truth, the principle of infinite & divine Being, Sat objectivised to Knowledge as the Truth of things self-manifested; Ritam is Law, the motion of things thought out, the principle of divine self-aware energy, Chit-shakti objectivised to knowledge as the Truth of things selfarranged; Brihat is full content & fullness, satisfaction, Nature, the principle of divine Bliss objectivised to knowledge as the Truth of things contented with its own manifestation in law of being & law of action. For, as the Vedanta tells us, there is no lasting satisfaction in the little, in the unillumined or half-illumined things of mind & sense, satisfaction there is only in the large, the self-true & self-existent. Nalpe sukham asti bhumaiva sukham. Bhuma, brihat, mahat, that is God. It is Ananda therefore that insists on largeness & constitutes the mahat or brihat. Ananda is the soul of Nature, its essentiality, creative power & peace. The harmony of creative power & peace, pravritti & nivritti, jana & shama, is the divine state which we feelas Wordsworth felt itwhen we go back to the brihat, the wide & infinite which, containing & contented with its works, says of it Sukritam, What I have made, is good. Whoever enters this kingdom of Mahat, this Maho Arnas or great sea of ideal knowledge, comes into possession of his true being, true knowledge, true bliss. He attains the ideal powers of drishti, sruti, smritisees truth face to face, hears her unerring voice or knows her by immediate recognising memoryjust as we say of a friend This is he and need no reasoning of observation, comparison, induction or deduction to tell us who he is or to explain our knowledge to ourselvesthough we may, already knowing the truth, use a self-evident reasoning masterfully in order to convince others. The characteristic of ideal knowledge is first that it is direct in its approach, secondly, that it is self-evident in its revelation, swayamprakasha, thirdly, that it is unerring fact of being, sat, satyam in its substance. Moreover, it is always perfectly satisfied & divinely pleasurable; it is atmarati & atmastha, confines itself to itself & does not reach out beyond itself to grasp at error or grope within itself to stumble over ignorance. It is, too, perfectly effective whether for knowledge, speech or action, satyakarma, satyapratijna, satyavadi. The man who rising beyond the state of the manu, manishi or thinker which men are now, becomes the kavi or direct seer, containing what he sees,he who draws the manomaya purusha up into the vijnanamaya,is in all things true. Truth is his characteristic, his law of being, the stamp that God has put upon him. But even for the manishi ideal Truth has its bounties. For from thence come the intuitions of the poet, the thinker, the artist, scientist, man of action, merchant, craftsman, labourer each in his sphere, the seed of the great thoughts, discoveries, faiths that help the world and save our human works & destinies from decay & dissolution. But in utilising these messages from our higher selves for the world, in giving them a form or a practical tendency, we use our intellects, feelings or imaginations and alter to their moulds or Colour with their pigments the Truth. That alloy seems to be needed to make this gold from the mines above run current among men. This then is Maho Arnas.The psychological conceptions of our remote forefa thers concerning it have so long been alien to our thought & experience that they may be a little difficult to follow & more difficult to accept mentally. But we must understand & grasp them in their fullness if we have any desire to know the meaning of the Veda. For they are the very centre & keystone of Vedic psychology. Maho Arnas, the Great Ocean, is the stream of our being which at once divides & connects the human in us from the divine, & to cross over from the human to the divine, from this small & divided finite to that one, great & infinite, from this death to that immortality, leaving Diti for Aditi, alpam for bhuma, martyam for amritam is the great preoccupation & final aim of Veda & Vedanta.
We can now understand the intention of the Rishi in his last verse and the greatness of the climax to which he has been leading us. Saraswati is able to give impulsion to Truth and awaken to right thinking because she has access to the Maho Arnas, the great ocean. On that level of consciousness, we are usually it must be remembered asleep, sushupta. The chetana or waking consciousness has no access; it lies behind our active consciousness, is, as we might say, superconscious, for us, asleep. Saraswati brings it forward into active consciousness by means of the ketu or perceptive intelligence, that essential movement of mind which accepts & realises whatever is presented to it. To focus this ketu, this essential perception on the higher truth by drawing it away from the haphazard disorder of sensory data is the great aim of Yogic meditation. Saraswati by fixing essential perception on the satyam ritam brihat above makes ideal knowledge active and is able to inform it with all those plentiful movements of mind which she, dhiyavasu, vajebhir vajinivati, has prepared for the service of the Master of the sacrifice. She is able to govern all the movements of understanding without exception in their thousand diverse movements & give them the single impression of truth and right thinkingvisva dhiyo vi rajati. A governed & ordered activity of soul and mind, led by the Truth-illuminated intellect, is the aim of the sacrifice which Madhuchchhanda son of Viswamitra is offering to the Gods.
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The characteristics of Varuna in the Veda have given pause even to its naturalistic interpreters and compelled them to admit the presence of moral ideas and a subjective element in the Rishis conception of their divinities. They admit it grudgingly and attempt to give it as crude and primitive an appearance as possible, but the moral & supernatural functions of Varuna are undeniable. Yet Varuna is the Greek Ouranos, which is simply & plainly the sky, Akasha. Ouranos in Greek myth is a Colourless presence, parent by his union with Earth, Akasha with Prithivi, of all beings but especially of Kronos & the Titans, the elder gods, the first masters of heaven. There is no resemblance here to Varuna. Farther to complicate the task of the modern mythologists, Varuna in later Sanscrit has fallen from his skies & become the god of the Ocean. By what extraordinary chemical process of the imagination was the god of the sky converted into the god of the Ocean? Because both are blue, one is driven to suppose! That would be material enough and crude enough to satisfy the firmest believer in the intellectual crudity & semi-savagery of the Vedic Rishis. But let us leave aside the shadowy Greek Ouranos and look a little from our own standpoint at this mighty Vedic Varuna.
We get our first mention of Varuna at the end of the second hymn in the Rigveda, the hymn of Madhuchchhandas in which he calls, as in the third, on several gods, first to Vayu, then to Vayu and Indra together, last, Varuna and Mitra. Arrive, he says, O Vayu, O beautiful one, lo these Soma-powers in their array (is it not a battle-array?), protect them, hear their call! O Vayu, strongly thy lovers woo thee with prayers (or, desires), they have distilled the nectar, they have found their strength (or, they know the day?). O Vayu, thy abounding stream moves for the giver, it is wide for the drinking of the Soma-juice. O Indra & Vayu, here are the outpourings, come to them with outputtings of strength, the powers of delight desire you both. Thou, O Vayu, awake, and Indra, to the outpourings of the Soma, you who are rich in power of your plenty; so (that is, rich in power) come to me, for the foe has attacked. Come O Vayu, and Indra, to the distiller of the nectar, expel the foe, swiftly hither strong by the understanding. And then comes the closing call to Mitra & Varuna. I call Mitra of purified discernment and Varuna who destroys the foe, they who effect a bright and gracious understanding. By Law of Truth, Mitra and Varuna, who by the Truth increase and to the Truth attain, enjoy a mighty strength. Mitra and Varuna, the seers, born in Force, dwellers in the Vast, uphold Daksha (the discerning intelligence) at his work.
1.04 - The Origin and Development of Poetry., #Poetics, #Aristotle, #Philosophy
Poetry in general seems to have sprung from two causes, each of them lying deep in our nature. First, the instinct of imitation is implanted in man from childhood, one difference between him and other animals being that he is the most imitative of living creatures, and through imitation learns his earliest lessons; and no less universal is the pleasure felt in things imitated. We have evidence of this in the facts of experience. Objects which in themselves we view with pain, we delight to contemplate when reproduced with minute fidelity: such as the forms of the most ignoble animals and of dead bodies. The cause of this again is, that to learn gives the liveliest pleasure, not only to philosophers but to men in general; whose capacity, however, of learning is more limited. Thus the reason why men enjoy seeing a likeness is, that in contemplating it they find themselves learning or inferring, and saying perhaps, 'Ah, that is he.' For if you happen not to have seen the original, the pleasure will be due not to the imitation as such, but to the execution, the Colouring, or some such other cause.
Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, metres being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry.
1.04 - The Paths, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
The fan as a magical weapon is attri buted to Aleph, having an obvious reference to Air. Its Colour is Sky
Blue, its jewels Topaz and Chalcedony, and its perfume
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Artemis, Hecate, Chomse, and Chandra are the deities attri buted, all of them being lunar goddesses. Its Colour is Silver, the glistening Colour of the Moon ; Camphor and
Aloes are its perfumes ; the Moonstone and Pearl being its jewels. The Dog is sacred to Gimel, probably because the huntress Artemis always had hounds in attendance. The
--
The Colours are Green and Emerald Green. The jewels are the Emerald and Turquoise ; the flowers Myrtle and
Rose ; the birds being the Sparrow and Dove. The magical appurtenance is the Girdle, in view of the legend that whosoever wore Aphrodite's girdle became an object of universal love and desire.
--
The Spear is the weapon appropriate ; the flower Ger- anium, and the jewel Ruby because of its Colour.
The Tarot card is IV. - entitled The Emperor, who has a red robe, and seated on a throne (in his crown are rubies), his legs forming a cross. His arms and head form a triangle.
--
Storax is the perfume, Mallow the plant, and Topaz its jewel. Indigo is the Colour of this Path.
Depending entirely upon where the d6gish is placed, this letter can be either U .% or O i, or V 1.
--
Intelligence ". All hybrids are attri buted here ; its bird is the Magpie, and Alexandrite and Tourmaline its precious stones. Its Colour is Mauve, and its plants are all forms and species of Orchids.
The Tarot card is VI. - The Lovers. Ancient packs describe this as representing a man between two women, who arc Vice and Virtue, Lilith, the wife of the evil Samael, and Eve. Modern cards, however, show a nude male and female figure, with an angel or a Cupid with outspread wings hovering above them.
--
Sepher Yetsirah names Ches " The House of Influence " ; the Lotus is its flower, Onycha its perfume, Maroon its Colour, and Amber its jewel.
tD- T
--
Purple is its Colour.
Its Tarot card is VIII. - Strength, showing a woman crowned and girdled with flowers, calmly and without apparent effort, closing the jaws of a lion.
--
Narcissus, both implying purity and innocence ; and its Colour Grey.
3-K
--
Oak ; perfume Saffron and all other generous odours, and its Colour Blue.
The Tarot card is X.-The Wheel of Fortune which, in some packs, is a wheel of seven spokes, with a figure of
--
Elephant ; its perfume is Galbanum, and its Colour Blue.
Its Yetsiratic title is " The Faithful Intelligence ".
--
Mem is called " The Stable Intelligence ", and its Colour is Sea Green. The Cup and Sacramental Wine (Soma, the elixir of immortality) is the magical equipment for cere- monial. The so-called Kerubs of Water are the Eagle,
Snake, and Scorpion, representing the unredeemed man, his magical force, and his final " salvation ". All water plants and the Lotus are proper correspondences. Aqua- marine or Beryl is its precious stone, and Onycha and
--
Its Yetsiratic title is " The Imaginative Intelligence ", and its jewel Snakestone ; Colour Beetle-Brown ; perfume
Opoponax ; its plant Cactus and all poisonous growths.
--
The symbol of Sagittarius is the Centaur, half-man and half-beast, who is traditionally connected with Archery ; and the Horse, too, is a correspondence of Samech. The plant appropriate is the Rush, used for making arrows; perfume Lignaloes, and Green is the Colour. The Rainbow is also a correspondence of Samech, and in this connection the God Ares is attri buted.
The Tarot attri bution is XIV. -Temperance, showing an angel crowned with the golden sigil of the Sun, clothed in beautiful white robes, and on his breast are written the letters of the Tetragrammaton over a white square, wherein is a gold triangle. He pours a blue liquid from a gilt chalice into another.
--
The jewel appropriate to the twenty-sixth Path is the black Diamond ; the animals the Goat and Ass. It will be remembered that Jesus is pictured in the Gospel as riding into Jerusalem astride an ass, and if my memory serves me correctly there is reference somewhere of Dionysius, too, riding an ass. Its title is " The Renovating Intelligence " ; its perfume Musk, and its Colour Black.
s-p
--
Its metal is Iron, its animals the Bear and Wolf, its jewels the Ruby and any other red stone ; its plants Rue, Pepper, and Absin the ; its perfumes Pepper and all pungent odours, and its Colour Red.
The Tarot card appropriate is XVI. - The Tower, the upper part of which is shaped like a crown. It is alternately
--
Olympus ; its perfume Galbanum, and its Colour Sky Blue.
Its Yetsiratic title is " The Natural Intelligence The
--
Its sacred creature is the Dolphin, its Colour Buff, and its jewel the Pearl. The Pearl is referred to Pisces be- cause of its cloudy brilliance as contrasted with the trans- parency of other jewels, thus reminding one somewhat of the astral plane with its cloudy forms and semi-opaque visions as opposed to the flashes of formless light apper- taining to purely spiritual planes.
XVIII. - The Moon, is its Tarot card, describing a mid- night landscape on which the moon is shining. Standing between two towers a jackal and a wolf, with muzzles
--
Ra, Helios, Apollo, and Surya are all gods of the solar disk. Yellow is the Colour given to Resh ; Cinnamon and
Olibanum are its perfumes - obviously solar ; the Lion and the Sparrowhawk are its animals. Gold is the appropriate metal ; the Sunflower, Heliotrope, and Laurel being its plants. Crysoleth is its jewel, suggesting the golden Colour of the Sun. Its title is " The Collecting Intelligence
The Tarot card XIX. - The Sun, corresponds beautifully.
--
Its Colour is Black, its plants the Ash and Nightshade, and its Yetsiratic title " The Administrative Intelligence ".
The Tarot card is XXI. - The World, showing within a flowery wreath a female figure, who has come to be known as the Virgin of the World, giving this Path added significance since it descends upon Malleus, to which the Zohar allocates the final Hdh, the Daughter, who is the reflection below of the Shechinah on high. At the four comers of the cards are the four cherubic animals of the Apocalypse ; the man, the eagle, the bull, and the lion.
1.04 - The Qabalah The Best Training for Memory, #Magick Without Tears, #Aleister Crowley, #Philosophy
("How many sets of attri butions?" Well, certainly, the Hebrew and Greek Alphabets with the names and numbers of each letter, and its mean- ing: a couple of lists of God-names, with a clear idea of the character, qualities, functions, and importance of each; the "King-scale" of Colour, all the Tarot attri butions, of course; then animals, plants, drugs, per- fumes, a list or two of archangels, angels, intelligences and spirits that ought to be enough for a start.)
Now you are armed! Ask yourself: why is the influence of Tiphareth transmitted to Yesod by the Path of Samekh, a fence, 60, Sagittarius, the Archer, Art, blue and so on; but to Hod by the Path of Ayin, an eye, 70, Capricornus, the Goat, the Devil, Indigo, K.T.L.
1.04 - The Sacrifice the Triune Path and the Lord of the Sacrifice, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
But, most often, the sacrifice is done unconsciously, egoistically and without knowledge or acceptance of the true meaning of the great world-rite. It is so that the vast majority of earth-creatures do it; and, when it is so done, the individual derives only a mechanical minimum of natural inevitable profit, achieves by it only a slow painful progress limited and tortured by the smallness and suffering of the ego. Only when the heart, the will and the mind of knowledge associate themselves with the law and gladly follow it, can there come the deep joy and the happy fruitfulness of divine sacrifice. The minds knowledge of the law and the hearts gladness in it culminate in the perception that it is to our own Self and Spirit and the one Self and Spirit of all that we give. And this is true even when our self-offering is still to our fellow-creatures or to lesser Powers and Principles and not yet to the Supreme. Not for the sake of the wife, says Yajnavalkya in the Upanishad, but for the sake of the Self is the wife dear to us. This in the lower sense of the individual self is the hard fact behind the Coloured and passionate professions of egoistic love; but in a higher sense it is the inner significance of that love too which is not egoistic but divine. All true love and all sacrifice are in their essence Natures contradiction of the primary egoism and its separative error; it is her attempt to turn from a necessary first fragmentation towards a recovered oneness. All unity between creatures is in its essence a self-finding, a fusion with that from which we have separated, a discovery of ones self in others.
But it is only a divine love and unity that can possess in the light what the human forms of these things seek for in the darkness. For the true unity is not merely an association and agglomeration like that of physical cells joined by a life of common interests; it is not even an emotional understanding, sympathy, solidarity or close drawing together. Only then are we really unified with those separated from us by the divisions of Nature, when we annul the division and find ourselves in that which seemed to us not ourselves. Association is a vital and physical unity; its sacrifice is that of mutual aid and concessions. Nearness, sympathy, solidarity create a mental, moral and emotional unity; theirs is a sacrifice of mutual support and mutual gratifications. But the true unity is spiritual; its sacrifice is a mutual self-giving, an interfusion of our inner substance. The law of sacrifice travels in Nature towards its culmination in this complete and unreserved self-giving; it awakens the consciousness of one common self in the giver and the object of the sacrifice. This culmination of sacrifice is the height even of human love and devotion when it tries to become divine; for there too the highest peak of love points into a heaven of complete mutual self-giving, its summit is the rapturous fusing of two souls into one.
1.04 - The Self, #Aion, #Carl Jung, #Psychology
garden gate green or white, that green is the Colour of life and
hope, the symbolic aspect of "green" is nevertheless present as
1.05 - Adam Kadmon, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
Memory is the very stuff of consciousness itself. It is, to use a figure of speech, the mortar of the architecture of the mind, that integrating faculty binding together all the various sensations and impressions. The Will is a Colour- less principle moved by, and comparable to, desire. It is the power of the spiritual Self in action. In ordinary life it is not, as it should be, the servant of the man, but rules him with a rod of iron binding him to those very things from which he essays to escape.
Imagination is a faculty much misunderstood, most people thinking of it as sheer fantasy used in day-dreaming.
1.05 - CHARITY, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
Our present economic, social and international arrangements are based, in large measure, upon organized lovelessness. We begin by lacking charity towards Nature, so that instead of trying to co-operate with Tao or the Logos on the inanimate and subhuman levels, we try to dominate and exploit, we waste the earths mineral resources, ruin its soil, ravage its forests, pour filth into its rivers and poisonous fumes into its air. From lovelessness in relation to Nature we advance to lovelessness in relation to arta lovelessness so extreme that we have effectively killed all the fundamental or useful arts and set up various kinds of mass production by machines in their place. And of course this lovelessness in regard to art is at the same time a lovelessness in regard to the human beings who have to perform the fool-proof and grace-proof tasks imposed by our mechanical art-surrogates and by the interminable paper work connected with mass production and mass distribution. With mass-production and mass-distribution go mass-financing, and the three have conspired to expropriate ever-increasing numbers of small owners of land and productive equipment, thus reducing the sum of freedom among the majority and increasing the power of a minority to exercise a coercive control over the lives of their fellows. This coercively controlling minority is composed of private capitalists or governmental bureaucrats or of both classes of bosses acting in collaborationand, of course, the coercive and therefore essentially loveless nature of the control remains the same, whether the bosses call themselves company directors or civil servants. The only difference between these two kinds of oligarchical rulers is that the first derive more of their power from wealth than from position within a conventionally respected hierarchy, while the second derive more power from position than from wealth. Upon this fairly uniform groundwork of loveless relationships are imposed others, which vary widely from one society to another, according to local conditions and local habits of thought and feeling. Here are a few examples: contempt and exploitation of Coloured minorities living among white majorities, or of Coloured majorities governed by minorities of white imperialists; hatred of Jews, Catholics, Free Masons or of any other minority whose language, habits, appearance or religion happens to differ from those of the local majority. And the crowning superstructure of uncharity is the organized lovelessness of the relations between state and sovereign statea lovelessness that expresses itself in the axiomatic assumption that it is right and natural for national organizations to behave like thieves and murderers, armed to the teeth and ready, at the first favourable opportunity, to steal and kill. (Just how axiomatic is this assumption about the nature of nationhood is shown by the history of Central America. So long as the arbitrarily delimited territories of Central America were called provinces of the Spanish colonial empire, there was peace between their inhabitants. But early in the nineteenth century the various administrative districts of the Spanish empire broke from their allegiance to the mother country and decided to become nations on the European model. Result: they immediately went to war with one another. Why? Because, by definition, a sovereign national state is an organization that has the right and duty to coerce its members to steal and kill on the largest possible scale.)
Lead us not into temptation must be the guiding principle of all social organization, and the temptations to be guarded against and, so far as possible, eliminated by means of appropriate economic and political arrangements are temptations against charity, that is to say, against the disinterested love of God, Nature and man. First, the dissemination and general acceptance of any form of the Perennial Philosophy will do something to preserve men and women from the temptation to idolatrous worship of things in timechurch-worship, state-worship, revolutionary future-worship, humanistic self-worship, all of them essentially and necessarily opposed to charity. Next come decentralization, widespread private ownership of land and the means of production on a small scale, discouragement of monopoly by state or corporation, division of economic and political power (the only guarantee, as Lord Acton was never tired of insisting, of civil liberty under law). These social rearrangements would do much to prevent ambitious individuals, organizations and governments from being led into the temptation of behaving tyrannously; while co-operatives, democratically controlled professional organizations and town meetings would deliver the masses of the people from the temptation of making their decentralized individualism too rugged. But of course none of these intrinsically desirable reforms can possibly be carried out, so long as it is thought right and natural that sovereign states should prepare to make war on one another. For modern war cannot be waged except by countries with an over-developed capital goods industry; countries in which economic power is wielded either by the state or by a few monopolistic corporations which it is easy to tax and, if necessary, temporarily to nationalize; countries where the labouring masses, being without property, are rootless, easily transferable from one place to another, highly regimented by factory discipline. Any decentralized society of free, uncoerced small owners, with a properly balanced economy must, in a war-making world such as ours, be at the mercy of one whose production is highly mechanized and centralized, whose people are without property and therefore easily coercible, and whose economy is lop-sided. This is why the one desire of industrially undeveloped countries like Mexico and China is to become like Germany, or England, or the United States. So long as the organized lovelessness of war and preparation for war remains, there can be no mitigation, on any large, nation-wide or world-wide scale, of the organized lovelessness of our economic and political relationships. War and preparation for war are standing temptations to make the present bad, God-eclipsing arrangements of society progressively worse as technology becomes progressively more efficient.
1.05 - Dharana, #Liber ABA, #Aleister Crowley, #Philosophy
4:Suppose you have chosen a white cross. It will move its bar up and down, elongate the bar, turn the bar oblique, get its arms unequal, turn upside down, grow branches, get a crack around it or a figure upon it, change its shape altogether like an Amoeba, change its size and distance as a whole, change the degree of its illumination, and at the same time change its Colour. It will get splotchy and blotchy, grow patterns, rise, fall, twist and turn; clouds will pass over its face. There is no conceivable change of which it is incapable. Not to mention its total disappearance, and replacement by something altogether different!
5:Any one to whom this experience does not occur need not imagine that he is meditating. It shows merely that he is incapable of concentrating his mind in the very smallest degree. Perhaps a student may go for several days before discovering that he is not meditating. When he does, the obstinacy of the object will infuriate him; and it is only now that his real troubles will begin, only now that Will comes really into play, only now that his manhood is tested. If it were not for the Will-development which he got in the conquest of Asana, he would probably give up. As it is, the mere physical agony which he underwent is the veriest trifle compared with the horrible tedium of Dharana.
1.05 - Knowledge by Aquaintance and Knowledge by Description, #The Problems of Philosophy, #Bertrand Russell, #Philosophy
We shall say that we have _acquaintance_ with anything of which we are directly aware, without the intermediary of any process of inference or any knowledge of truths. Thus in the presence of my table I am acquainted with the sense-data that make up the appearance of my table--its Colour, shape, hardness, smoothness, etc.; all these are things of which I am immediately conscious when I am seeing and touching my table. The particular shade of Colour that I am seeing may have many things said about it--I may say that it is brown, that it is rather dark, and so on. But such statements, though they make me know truths about the Colour, do not make me know the Colour itself any better than I did before so far as concerns knowledge of the Colour itself, as opposed to knowledge of truths about it, I know the Colour perfectly and completely when I see it, and no further knowledge of it itself is even theoretically possible. Thus the sense-data which make up the appearance of my table are things with which I have acquaintance, things immediately known to me just as they are.
My knowledge of the table as a physical object, on the contrary, is not direct knowledge. Such as it is, it is obtained through acquaintance with the sense-data that make up the appearance of the table. We have seen that it is possible, without absurdity, to doubt whether there is a table at all, whereas it is not possible to doubt the sense-data. My knowledge of the table is of the kind which we shall call 'knowledge by description'. The table is 'the physical object which causes such-and-such sense-data'. This describes the table by means of the sense-data. In order to know anything at all about the table, we must know truths connecting it with things with which we have acquaintance: we must know that 'such-and-such sense-data are caused by a physical object'. There is no state of mind in which we are directly aware of the table; all our knowledge of the table is really knowledge of truths, and the actual thing which is the table is not, strictly speaking, known to us at all. We know a description, and we know that there is just one object to which this description applies, though the object itself is not directly known to us. In such a case, we say that our knowledge of the object is knowledge by description.
1.05 - Qualifications of the Aspirant and the Teacher, #Bhakti-Yoga, #Swami Vivekananda, #Hinduism
Bhagavn Ramakrishna used to tell a story of some men who went into a mango orchard and busied themselves in counting the leaves, the twigs, and the branches, examining their Colour, comparing their size, and noting down everything most carefully, and then got up a learned discussion on each of these topics, which were undoubtedly highly interesting to them. But one of them, more sensible than the others, did not care for all these things. and instead thereof, began to eat the mango fruit. And was he not wise? So leave this counting of leaves and twigs and note-taking to others. This kind of work has its proper place, but not here in the spiritual domain. You never see a strong spiritual man among these "leaf counters". Religion, the highest aim, the highest glory of man, does not require so much labour. If you want to be a Bhakta, it is not at all necessary for you to know whether Krishna was born in Mathur or in Vraja, what he was doing, or just the exact date on which he pronounced the teachings of the Git. You only require to feel the craving for the beautiful lessons of duty and love in the Gita. All the other particulars about it and its author are for the enjoyment of the learned. Let them have what they desire. Say "Shntih, Shntih" to their learned controversies, and let us "eat the mangoes".
The second condition necessary in the teacher is sinlessness. The question is often asked,
1.05 - The Magical Control of the Weather, #The Golden Bough, #James George Frazer, #Occultism
time of drought. In all these cases the Colour of the animal is part
of the charm; being black, it will darken the sky with rain-clouds.
--
prescribed that on these occasions the Colour of the victim shall be
black, as an emblem of the wished-for rain-clouds. But if fine
1.05 - THE MASTER AND KESHAB, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
"Is Kli, my Divine Mother, of a black complexion? She appears black because She is viewed from a distance; but when intimately known She is no longer so. The sky appears blue at a distance; but look at it close by and you will find that it has no Colour.
The water of the ocean looks blue at a distance, but when you go near and take it in your hand, you find that it is Colourless."
The Master became intoxicated with divine love and sang: Is Kli, my Mother, really black?
--
"It is all a question of the mind. Bondage and liberation are of the mind alone. The mind will take the Colour you dye it with. It is like white clothes just returned from the laundry. If you dip them in red dye, they will be red. If you dip them in blue or green, they will be blue or green. They will take only the Colour you dip them in, whatever it may be. Haven't you noticed that, if you read a little English, you at once begin to utter English words: Foot fut it mit? Then you put on boots and whistle a tune, and so on. It all goes together. Or, if a scholar studies Sanskrit, he will at once rattle off Sanskrit verses. If you are in bad company, then you will talk and think like your companions.
On the other hand, when you are in the company of devotees, you will think and talk only of God.
1.05 - The Second Circle The Wanton. Minos. The Infernal Hurricane. Francesca da Rimini., #The Divine Comedy, #Dante Alighieri, #Christianity
That reading, and drove the Colour from our faces;
But one point only was it that o'ercame us.
1.05 - The Universe The 0 = 2 Equation, #Magick Without Tears, #Aleister Crowley, #Philosophy
Just one further explanation in pure mathematics. To interpret X1, X1+1 or X2, and so on, we assume the reference to be to spatial dimensions. Thus suppose X1 to be a line a foot long, X2 will be a plane a foot square, and X3 a cube measuring a foot in each dimension. But what about X4? There are no more spatial dimensions. Modern mathematics has (unfortunately, I think) agreed to consider this fourth dimension as time. Well, and X{5}? To interpret this expression, we may begin to consider other qualities, such as electric capacity, Colour, moral attri butes, and so on.[6] But this remark, although necessary, leads us rather away from our main thesis instead of toward it.
P. What happens when we put a minus sign before the index (that small letter up on the right) instead of a plus? Quite simple. x2 = X1+1 = X1 + X1. With a minus, we divide instead of multiplying. Thus, X3-2 = X3 X2 = X1, just as if you had merely subtracted the 2 from the 3 in the index.
1.05 - Vishnu as Brahma creates the world, #Vishnu Purana, #Vyasa, #Hinduism
ga P. describes the repeated birth of Śiva, or Vāmadeva, as a Kumāra, or boy, from Brahmā, in each Kalpa, who again becomes four. Thus in the twenty-ninth Kalpa Swetalohita is the Kumāra, and he becomes Sananda, Nandana, Viswananda, Upanandana; all of a white complexion: in the thirtieth the Kumāra becomes Virajas, Vivāhu, Visoka, Vīswabhāvana; all of a red Colour: in the thirty-first he becomes four youths of a yellow Colour: and in the thirty-second the four Kumāras were black. All these are, no doubt, comparatively recent additions to the original notion of the birth of Rudra and the Kumāras; itself obviously a sectarial innovation upon the primitive doctrine of the birth of the Prajāpatis, or will-born sons of Brahmā.
[14]: These reiterated, and not always very congruous accounts of the creation are explained by the Purāṇas as referring to different Kalpas, or renovations of the world, and therefore involving no incompatibility. A better reason for their appearance is the probability that they have been borrowed from different original authorities. The account that follows is evidently modified by the Yogi Saivas, by its general mysticism, and by the expressions with which it begins: 'Collecting his mind into itself,' according to the comment, is the performance of the Yoga (Yūyuje). The term Ambhānsi, lit. 'waters,' for the four orders of beings, gods, demons, men, and Pitris, is also a peculiar, and probably mystic term. The commentator says it occurs in the Vedas as a synonyme of gods. The Vāyu Purāṇa derives it from 'to shine,' p. 40 because the different orders of beings shine or flourish severally by moonlight, night, day, and twilight: &c.
1.06 - Agni and the Truth, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
In this passage we have a series of terms plainly bearing or obviously capable of a psychological sense and giving their Colour to the whole context. Sayana, however, insists on a purely ritual interpretation and it is interesting to see how he arrives at it. In the first phrase we have the word kavi meaning a seer and, even if we take kratu to mean work of the sacrifice, we shall have as a result, "Agni, the priest whose work or rite is that of the seer", a turn which at once gives a symbolic character to the sacrifice and is in itself sufficient to serve as the seed of a deeper understanding of the Veda. Sayana feels that he has to turn the difficulty at any cost and therefore he gets rid of the sense of seer for kavi and gives it another and unusual significance. He then explains that Agni is satya, true, because he brings about the true fruit of the sacrifice. Sravas Sayana renders "fame", Agni has an exceedingly various renown. It would have been surely better to take the word in the sense of wealth so as to avoid the incoherency of this last rendering. We shall then have this result for the fifth verse, "Agni the priest, active in the ritual, who is true (in its fruit) - for his is the most varied wealth, - let him come, a god with the gods."
The Secret of the Veda
1.06 - BOOK THE SIXTH, #Metamorphoses, #Ovid, #Poetry
Their Colourings insensibly unite.
As when a show'r transpierc'd with sunny rays,
--
From whence a thousand diff'rent Colours rise,
Whose fine transition cheats the clearest eyes;
--
Her cheek still red'ning, but its Colour dead,
Faded her eyes, and set within her head.
1.06 - Definition of Tragedy., #Poetics, #Aristotle, #Philosophy
The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful Colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.
Third in order is Thought,--that is, the faculty of saying what is possible and pertinent in given circumstances. In the case of oratory, this is the function of the Political art and of the art of rhetoric: and so indeed the older poets make their characters speak the language of civic life; the poets of our time, the language of the rhetoricians.
1.06 - On Induction, #The Problems of Philosophy, #Bertrand Russell, #Philosophy
B. There may be other data, which _might_ be taken into account, which would gravely alter the probability. For example, a man who had seen a great many white swans might argue, by our principle, that on the data it was _probable_ that all swans were white, and this might be a perfectly sound argument. The argument is not disproved ny the fact that some swans are black, because a thing may very well happen in spite of the fact that some data render it improbable. In the case of the swans, a man might know that Colour is a very variable characteristic in many species of animals, and that, therefore, an induction as to Colour is peculiarly liable to error. But this knowledge would be a fresh datum, by no means proving that the probability relatively to our previous data had been wrongly estimated. The fact, therefore, that things often fail to fulfil our expectations is no evidence that our expectations will not
_probably_ be fulfilled in a given case or a given class of cases. Thus our inductive principle is at any rate not capable of being _disproved_ by an appeal to experience.
1.06 - The Ascent of the Sacrifice 2 The Works of Love - The Works of Life, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
It is here that the emergence of the secret psychic being in us as the leader of the sacrifice is of the utmost importance; for this inmost being alone can bring with it the full power of the spirit in the act, the soul in the symbol. It alone can assure, even while the spiritual consciousness is incomplete, the perennial freshness and sincerity and beauty of the symbol and prevent it from becoming a dead form or a corrupted and corrupting magic; it alone can preserve for the act its power with its significance. All the other members of our being, mind, life-force, physical or body consciousness, are too much under the control of the Ignorance to be a sure instrumentation and much less can they be a guide or the source of an unerring impulse. Always the greater part of the motive and action of these powers clings to the old law, the deceiving tablets, the cherished inferior movements of Nature and they meet with reluctance, alarm or revolt or obstructing inertia the voices and the forces that call and impel us to exceed and transform ourselves into a greater being and a wider Nature. In their major part the response is either a resistance or a qualified or temporising acquiescence; for even if they follow the call, they yet tend - when not consciously, then by automatic habit - to bring into the spiritual action their own natural disabilities and errors. At every moment they are moved to take egoistic advantage of the psychic and spiritual influences and can be detected using the power, joy or light these bring into us for a lower life-motive. Afterwards too, even when the seeker has opened to the Divine Love transcendental, universal or immanent, yet if he tries to pour it into life, he meets the power of obscuration and perversion of these lower Natureforces. Always they draw away towards pitfalls, pour into that higher intensity their diminishing elements, seek to capture the descending Power for themselves and their interests and degrade it into an aggrandised mental, vital or physical instrumentation for desire and ego. Instead of a Divine Love creator of a new heaven and a new earth of Truth and Light, they would hold it here prisoner as a tremendous sanction and glorifying force of sublimation to gild the mud of the old earth and Colour with its rose and sapphire the old turbid unreal skies of sentimentalising vital imagination and mental idealised chimera. If that falsification is permitted, the higher Light and Power and Bliss withdraw, there is a fall back to a lower status; or else the realisation remains tied to an insecure half-way and mixture or is covered and even submerged by an inferior exaltation that is not the true Ananda. It is for this reason that Divine Love which is at the heart of all creation and the most powerful of all redeeming and creative forces has yet been the least frontally present in earthly life, the least successfully redemptive, the least creative. Human nature has been unable to bear it in its purity for the very reason that it is the most powerful, pure, rare and intense of all the divine energies; what little could be seized has been corrupted at once into a vital pietistic ardour, a defenceless religious or ethical sentimentalism, a sensuous or even sensual erotic mysticism of the roseate Coloured mind or passionately turbid life-impulse and with these simulations compensated its inability to house the Mystic Flame that could rebuild the world with its tongues of sacrifice. It is only the inmost psychic being unveiled and emerging in its full power that can lead the pilgrim sacrifice unscathed through these ambushes and pitfalls; at each moment it catches, exposes, repels the mind's and the life's falsehoods, seizes hold on the truth of the Divine Love and Ananda and separates it from the excitement of the mind's ardours and the blind enthusiasms of the misleading life-force. But all things that are true at their core in mind and life and the physical being it extricates and takes with it in the journey till they stand on the heights, new in spirit and sublime in figure.
And yet even the leading of the inmost psychic being is not found sufficient until it has succeeded in raising itself out of this mass of inferior Nature to the highest spiritual levels and the divine spark and flame descended here have rejoined themselves to their original fiery Ether. For there is there no longer a spiritual consciousness still imperfect and half lost to itself in the thick sheaths of human mind, life and body, but the full spiritual consciousness in its purity, freedom and intense wideness. There, as it is the eternal Knower that becomes the Knower in us and mover and user of all knowledge, so it is the eternal All-Blissful who is the Adored attracting to himself the eternal divine portion of his being and joy that has gone out into the play of the universe, the infinite Lover pouring himself out in the multiplicity of his own manifested selves in a happy Oneness.
--
This physical mind of inertia believes in no divinity other than its own small earth-gods; it aspires perhaps to a greater comfort, order, pleasure, but asks for no uplifting and no spiritual deliverance. At the centre we meet a stronger Will of life with a greater gusto, but it is a blinded Daemon, a perverted spirit and exults in the very elements that make of life a striving turmoil and an unhappy imbroglio. It is a soul of human or Titanic desire clinging to the garish Colour, disordered poetry, violent tragedy or stirring melodrama of this mixed flux of good and evil, joy and sorrow, light and darkness, heady rapture and bitter torture.
It loves these things and would have more and more of them or, even when it suffers and cries out against them, can accept or joy in nothing else; it hates and revolts against higher things and in its fury would trample, tear or crucify any diviner Power that has the presumption to offer to make life pure, luminous and happy and snatch from its lips the fiery brew of that exciting mixture. Another Will-in-Life there is that is ready to follow the ameliorating ideal Mind and is allured by its offer to extract some harmony, beauty, light, nobler order out of life, but this is a smaller part of the vital nature and can be easily overpowered by its more violent or darker duller yoke-comrades; nor does it readily lend itself to a call higher than that of the
1.06 - THE MASTER WITH THE BRAHMO DEVOTEES, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
"Listen to a story. Once a man entered a wood and saw a small animal on a tree. He came back and told another man that he had seen a creature of a beautiful red Colour on a certain tree. The second man replied: 'When I went into the wood, I also saw that animal. But why do you call it red? It is green.' Another man who was present contradicted them both and insisted that it was yellow. Presently others arrived and contended that it was grey, violet, blue, and so forth and so on. At last they started quarrelling among themselves. To settle the dispute they all went to the tree. They saw a man sitting under it. On being asked, he replied: 'Yes, I live under this tree and I know the animal very well. All your descriptions are true. Sometimes it appears red, sometimes yellow, and at other times blue, violet, grey, and so forth. It is a chameleon. And sometimes it has no Colour at all. Now it has a Colour, and now it has none.'
"In like manner, one who constantly thinks of God can know His real nature; he alone knows that God reveals Himself to seekers in various forms and aspects. God has attri butes; then again He has none. Only the man who lives under the tree knows that the chameleon can appear in various Colours, and he knows, further, that the animal at times has no Colour at all. It is the others who suffer from the agony of futile argument.
"Kabir used to say, 'The formless Absolute is my Father, and God with form is my Mother.'
--
"Do you know why images of Krishna or Kli are three and a half cubits high? Because of distance. Again, on account of distance the sun appears to be small. But if you go near it you will find the sun so big that you won't be able to comprehend it. Why have images of Krishna and Kli a dark-blue Colour? That too is on account of distance, like the water of a lake, which appears green, blue, or black from a distance. Go near, take the water in the palm of your hand, and you will find that it has no Colour. The sky also appears blue from a distance. Go near and you will see that it has no Colour at all.
"Therefore I say that in the light of Vedantic reasoning Brahman has no attri butes. The real nature of Brahman cannot be described. But so long as your individuality is real, the world also is real, and equally real are the different forms of God and the feeling that God is a Person.
1.06 - The Sign of the Fishes, #Aion, #Carl Jung, #Psychology
Middle East especially, has a long and Colourful prehistory, from
the Babylonian fish-god Oannes and his priests who clothed
1.06 - The Three Schools of Magick 1, #Magick Without Tears, #Aleister Crowley, #Philosophy
It is customary to describe these three Schools as Yellow, Black, and White. The first thing necessary is to warn the reader that they must by no means be confounded with racial distinctions of Colour; and they correspond still less with conventional symbols such as yellow caps, yellow robes, black magick, white witchcraft, and the like. The danger is only the greater that these analogies are often as alluring as the prove on examination to be misleading.
These Schools represent three perfectly distinct and contrary theories of the Universe, and, therefore, practices of spiritual science. The magical formula of each is as precise as a theorem of trigonometry. Each assumes as fundamental a certain law of Nature, and the subject is complicated by the fact that each School, in a certain sense, admits the formul of the other two. It merely regards them as in some way incomplete, secondary, or illusory. Now, as will be seen later, the Yellow School stand aloof from the other two by the nature of its postulates. But the Black School and the White are always more or less in active conflict; and it is because just at this moment that conflict is approaching a climax that it is necessary to write this essay. The adepts of the White School consider the present danger to mankind so great that they are prepared to abandon their traditional policy of silence, in order to enlist in their ranks the profane of every nation.
1.06 - Wealth and Government, #Words Of The Mother III, #The Mother, #Integral Yoga
Do not attach too much importance to what is said. Words are only words and in each mind they take a different Colouring.
February 1966
1.070 - The Seven Stages of Perfection, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
The first stage is supposed to be the detection of the defect in the objects or things: there is something wrong with things, and they are not as they appear to be. This is the first awareness that arises in a person. Things are not what they seem, as the poet said. Even the best things are not really what they are. They appear to be best under certain conditions. The valuable things, the worthy things, the virtuous things, the beautiful things all these are conditionally valid, and they are not valid in their essence. That the objects of sense, the things of the world, are constituted of a nature essentially different from what they appear to the senses and the mind is an awareness that arises in the discriminating, and not in all people. Crass perception takes the world for granted, and people run after things as moths run to fire, not knowing that it is their destruction. The awareness arises, pointing out that there is some mystery behind things which is quite different from the Colour and the shape of things visible to the senses that there is pain in this world, and it is not pleasure. Pain is rooted behind the so-called pleasure of the world. Sorrow is to follow all the joys of the world, one day or the other. The first step is the awareness or discovery that pain is present and it cannot be avoided under any circumstance as long as things continue to be in the present set-up.
The second stage is the discovery that there is a cause of this pain, that it has not come suddenly from the blue. How has this pain come this suffering, this sorrow? What is the reason for this defect behind everything? There is a reason. Without a cause, there is no effect. The discovery of the cause of this troublesome situation is the second stage of knowledge. That is a greater control that we gain over our situation. When we know that there is some trouble, and we do not know how the trouble has arisen, we are in a difficulty. But the difficulty is a little bit ameliorated when the cause of it is known, because we feel a confidence that, after all, this is the cause, and we shall try to tackle it. So, in the second stage of awareness there is a recognition of the causal background of the troubles of life, the pains of experience.
1.07 - BOOK THE SEVENTH, #Metamorphoses, #Ovid, #Poetry
Their num'rous legs, and former Colour lost,
The insects cou'd a human figure boast.
1.07 - Bridge across the Afterlife, #Preparing for the Miraculous, #George Van Vrekhem, #Integral Yoga
more the Colour looked like that of the people on the ship,
that is to say orange; the more upwards, the more it was
1.07 - Savitri, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
In another letter of the same year: "The poem was originally written from a lower level, a mixture perhaps of the inner mind, psychic, poetic intelligence, sublimised vital, afterwards with the Higher Mind, often illumined and intuitivised, intervening. Most of the stuff of the first Book is new or else the old so altered as to be no more what it was; the best of the old has sometimes been kept almost intact because it had already the higher inspiration. Moreover, there have been made several successive revisions, each trying to lift the general level higher and higher towards a possible Overmind poetry. As it now stands there is a general Overmind influence, I believe, sometimes coming fully through, sometimes Colouring the poetry of the other higher planes fused together, sometimes lifting any one of these higher planes to its highest or the psychic, poetic intelligence or vital towards them."
Sri Aurobindo, sitting on the bed, used to dictate Savitri to Nirod.
--
I had no access to the work or to any of his other writings till that year. Though all the works must have been lying on the table or in the drawers, I had to curb my strong impulse to have a peep into the legend of Savitri. For we were in his room for a different purpose and it would have been a breach of trust on our part to lay hands on his sacred private property. The chance came in 1940, first only to place the requisite manuscripts before him, then gradually to work as a scribe. I still distinctly remember the day when, sitting on the bed with the table in front of him, he remarked: "You will find in the drawers long exercise books with Coloured covers. Bring them." I think I went wrong in the first attempt, the second one met with his smiling approval. What he actually did with them, I cannot say, for he was working all alone, and we were sitting behind. I guess that he must have been giving a first reading to all the versions, for there were quite a number. He had already written to us before his accident that he had recast the first Book about ten times. Perhaps he was going through these and making a selection of the lines and passages for the final version. Then a few months after and at this time he was sitting in the morning in a chair he told me that he needed some exercise books. Without informing the Mother about it, I at once ran to the market and bought two or three exercise books from Manikachetty. He accepted them with a smile and I was happy to find that he used them for copying Savitri. At the end of one of the books he has written: "Last draft of Savitri, Sep.6, 1942." In another exercise book, containing matter up to the end of The Book of the Divine Mother, only at the end of Canto V of Book I, the date written is: April 24, 1944. (This, as you see, was the morning of the Darshan day). From these two dates we can surmise that from 1940, the year in which we presume he took up the work on Savitri, to 1944, he continued working on the first three Books. Now, how much new material did he add to them? We know from his letter to Amal that Book II at any rate, The Book of the Traveller of the Worlds, was just a small passage. Here now we find the fully lengthened and developed Book running into 15 Cantos. The third Book, The Book of the Divine Mother, was also written probably for the first time, for he wrote to Amal in 1946: "...there is also a third sufficiently long Book, The Book of the Divine Mother."
The next step in the development was his re-copying the entire three Books on big white sheets of paper, in two columns in fine handwriting. There is one date at the end of The Book of the Divine Mother: May 7, 1944, which suggests that the copying of the entire three Books had taken about a year. When this was completed I was called in. Perhaps because his eye-sight was getting dim, I was asked to read to him this final copy. Now began alterations and additions in my hand on the manuscript itself. I regret to say that they marred the clean beauty of the original, and I realise now that it was a brutal act of sacrilege on my part, tantamount to desecration of the carved images on the temple wall. But I cannot imagine either how else I could have inserted so many corrections and additions, one line, one word here, two there, more elsewhere, throughout the entire length. We know how prodigious were the corrections and revisions in so far as Savitri was concerned. One is simply amazed at the enormous pains he has taken to raise Savitri to his ideal of perfection. I wonder if any other poet can be compared with him in this respect. He gave me the example of Virgil who, it seems, wrote six lines in the morning, and went on correcting them during the rest of the day. Even so, his Aeneid runs not even half the length of the first three Books of Savitri. Along with all these revisions, Sri Aurobindo added, on separate small sheets of paper, long passages written in his own hand up to the Canto, The Kingdom of the Greater Mind, Book II. All this work was completed, I believe, by the end of 1944.
1.07 - The Magic Wand, #The Practice of Magical Evocation, #Franz Bardon, #Occultism
2. The other way to charge the wand with elements is as follows: The magician draws the element which he wants to use for his work directly from the universe, that is, its particular Iphere, by force of the imagination, and dynamically accumulates it in the wand. When working with this kind of loaded wand, the results wanted are not caused by the beings of the elements, but directly by the magician himself. The advantage of this way of charging a wand is that it will give the magician a strong feeling of latisfaction, because he is the immediate cause of the magical effect. It is necessary, however, that a separate rod be manufactured for each of the elements and the wands must be stored apart from each other. To prevent the magician from mixing them up, he must be sure that he can easily differentiate between them by their outside appearance. Each wand may, for this purpose, have the Colour of the relevant element. At the beginning the results will only occur on the mental plane, but prolonged use and repeated charging will make it work also on the astral plane, and eventually also on the physical world. This kind of wand will enable its owner to influence all manners of spirits, men, animals, even inanimate nature, by the element, similar to the influence of the electromagnetic fluid. Good magicians are able to cause, by the force of such a wand, marvelous natural phenomena, for in Itance, change of weather, acceleration of the growth of plants, and many other things of that nature.
Regarding Point 5: Charge with the Akasha-principle:
1.07 - The Three Schools of Magick 2, #Magick Without Tears, #Aleister Crowley, #Philosophy
The Black School of Magick, which must by no means be confused with the School of Black Magick or Sorcery, which latter is a perversion of the White tradition, is distinguished fundamentally from the Yellow School in that it considers the Universe not as neutral, but as definitely a curse. Its primary theorem is the "First Noble Truth" of the Buddha "Everything is Sorrow." In the primitive classics of this School the idea of sorrow is confused with that of sin. (This idea of universal lamentation is presumably responsible for the choice of black as its symbolic Colour. And yet? Is not white the Chinese hue of mourning?)
The analysis of the philosophers of this School refers every phenomenon to the category of sorrow. It is quite useless to point out to them that certain events are accompanied with joy: they continue their ruthless calculations, and prove to your satisfaction, or rather dissatisfaction, that the more apparently pleasant an event is, the more malignantly deceptive is its fascination. There is only one way of escape even conceivable, and this way is quite simple, annihilation. (Shallow critics of Buddhism have wasted a great deal of stupid ingenuity on trying to make out that Nirvana or Nibbana means something different from what etymology, tradition and the evidence of the Classics combine to define it. The word means, quite simply, cessation: and it stands to reason that, if everything is sorrow, the only thing which is not sorrow is nothing, and that therefore to escape from sorrow is the attainment of nothingness.)
1.080 - Pratyahara - The Return of Energy, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
When the inclination for concentration arises in the mind, a great change will be felt in ones own self. A new type of mood will rise within, and it will look like the whole world is changing its Colours and relations. There will be a total confirmation of the nature of ones feelings when this inclination to concentration arises in the mind. We have to bear in mind the importance of this sutra, dhrasu ca yogyat manasa (II.53), which means that there should be the minds preparedness or readiness for concentration, as a mere pressure of the will cannot bring about concentration.
Every stage of yoga, every step in its practice, is a healthful growth and not any kind of pressurisation from any source. Therefore, it is a very gradual ascent because the natural inclination does not arise quickly, due to the presence of other impressions in the mind. So, if we properly bear in mind the significance of the earlier steps mentioned right from yama onwards, up to pranayama we will be able to understand the types of preparation that we have to make for this readiness of the mind to concentrate. Most of us are not ready for concentration, and if we ask the mind to concentrate when it is not prepared, how will we take to that practice? We cannot even take our meal when the stomach is not ready for it. Nothing can be done when the system is not prepared. Neither can we walk, nor can we sleep, nor can we eat, nor can we speak if we are not ready for these things. For every action, function or conduct, there should be a readiness of the system a preparedness, a mood, a tendency, an inclination.
1.089 - The Levels of Concentration, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
Therefore, it is necessary that a detailed observation process be practised in the beginning. We have to observe, with a minute eye, every bit of the different aspects of the form of the object, from head to foot, fix the mind on those aspects and not allow the mind to think of any other thing. In the beginning it will not be possible for the mind to fix itself on any single aspect exclusively. So, the method prescribed is to allow the mind to move from one aspect to another aspect of the same object. If we meditate on Lord Krishnas form, we conceive of His form from head to foot in various manners, right from the diadem down to the toenails. We cannot conceive the form at once, in its completeness, because the mind is not used to such forms of conception, so we take it part by part every aspect, every detail, every feature, Colour and so on, of the object. We allow the mind to roll like this, from top to bottom and bottom to top, again and again, until we are able to conceive the object in its totality and the form of the object grips us with a force which will draw the attention of the mind totally towards it. It should be like a powerful magnet drawing the mind towards it entirely, and not only in parts. The object will not draw us entirely unless we have a clear concept of the entire object. Nothing in the world can draw us entirely, because we always have a partial and superficial observation of things. We never observe anything in detail. We are never used to such work. But here, a novelty is introduced in observation. A very methodical and acute observation is called for so that the mind is concentrated so concentrated that it has become practically one with that which it is contemplating.
The stages, as the sutra tells us the bhumis are the degrees of the manifestation of the nature of the object. It is very difficult to explain to a novitiate what actually is the series of the stages of the development of an object. Any object, for the matter of that, is a very complex structure. It has deep details involved within its being which cannot easily be observed with the naked eye. The implications go deeper and deeper as we begin to conceive the details of the object more and more, with greater and greater attention.
--
Thus, the capacity of the mind to lay itself upon the substance of the note, divested of the value that has been superimposed upon it, will be the next step the next higher stage of contemplation. Now we begin to see the paper rather than the note. The idea of note has gone. We call it paper. But is paper the real substance of what we see there? What is paper? It is a name that we give to a peculiar form that wooden pulp has taken. Paper is nothing but wooden pulp which has been made malleable and flattened by a mechanical process in the factory; and we have a Coloured piece of wooden pulp before us, which we call paper. We remove the idea of paper from our minds because that is only a name that we have coined to designate a particular form taken by a wooden pulp. What is there? What is the substance of paper? It is pulp, made of wood. From the currency note we have gone to paper, from paper we have gone to wooden pulp. What is the wooden pulp made of?
Now we go deeper still. Is there such a thing as wooden pulp? It is nothing but a heap of chemical substances. The wooden pulp is nothing but a chemical value, assessable and measurable in a laboratory. Perhaps we will be able to manufacture, chemically, certain substances which are equivalent to wooden pulp. We can chemically manufacture paper without wood. The essence of the wooden pulp is nothing but a chemical substance so much of carbon, so much of this, so much of that. They have been mixed in a particular proportion, in permutation and combination, and what we call the wooden pulp is nothing but a chemical substance. So we have gone from currency note to paper, from paper to wooden pulp, and from wooden pulp we have gone to the chemical substance. What is the chemical substance made of?
1.08a - The Ladder, #A Garden of Pomegranates - An Outline of the Qabalah, #Israel Regardie, #Occultism
" . . . watched the eager earth responding to the ardour of the sky. They became one as the Colour faded
THE LADDER 151
1.08 - The Four Austerities and the Four Liberations, #On Education, #The Mother, #Integral Yoga
Among the contented, there is a certain category of people who are perfectly adapted to Natures ways: these are the optimists. For them the days are brighter because of the nights, Colours are vivid because of the shadows, joy is more intense because of suffering, pain gives a greater charm to pleasure, illness gives health all its value; I have even heard some of them say that they are glad to have enemies because it made them appreciate their friends all the more. In any case, for all these people, sexual activity is one of the most enjoyable of occupations, satisfaction of the palate is a delight of life that they cannot go without; and it is quite normal to die since one is born: death puts an end to a journey which would become tedious if it were to last too long.
In short, they find life quite all right as it is and do not care to know whether it has a purpose or a goal; they do not worry about the miseries of others and do not see any need for progress.
1.08 - THE MASTERS BIRTHDAY CELEBRATION AT DAKSHINESWAR, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
MASTER: "It is not good for a devotee to play such parts. It is bad for the mind to dwell on such subjects for a long while. The mind is like white linen fresh from the laundry; it takes the Colour in which you dip it. If it is associated with falsehood for a long time, it will be stained with falsehood.
"Another day I went to Keshab's house to see the play called Nimai Sannyas. Some flattering disciples of Keshab spoiled the whole performance.
1.08 - The Supreme Will, #The Synthesis Of Yoga, #Sri Aurobindo, #Integral Yoga
4:The social law, that second term of our progress, is a means to which the ego is subjected in order that it may learn discipline by subordination to a wider collective ego. This law may be quite empty of any moral content and may express only the needs or the practical good of the society as each society conceives it. Or it may express those needs and that good, but modified and Coloured and supplemented by a higher moral or ideal law. It is binding on the developing but not yet perfectly developed individual in the shape of social duty, family obligation, communal or national demand, so long as it is not in conflict with his growing sense of the higher Right. But the sadhaka of the Karmayoga will abandon this also to the Lord of works. After he has made this surrender, his social impulses and judgments will, like his desires, only be used for their exhaustion or, it may be, so far as they are still necessary for a time to enable him to identify his lower mental nature with mankind in general or with any grouping of mankind in its works and hopes and aspirations. But after that brief time is over, they will be withdrawn and a divine government will alone abide. He will be identified with the Divine and with others only through the divine consciousness and not through the mental nature.
5:For, even after he is free, the sadhaka will be in the world and to be in the world is to remain in works. But to remain in works without desire is to act for the good of the world in general or for the kind or the race or for some new creation to be evolved on the earth or some work imposed by the Divine Will within him. And this must be done either in the framework provided by the environment or the grouping in which he is born or placed or else in one which is chosen or created for him by a divine direction. Therefore in our perfection there must be nothing left in the mental being which conflicts with or prevents our sympathy and free self-identification with the kind, the group or whatever collective expression of the Divine he is meant to lead, help or serve. But in the end it must become a free selfidentification through identity with the Divine and not a mental bond or moral tie of union or a vital association dominated by any kind of personal, social, national, communal or credal egoism. If any social law is obeyed, it will not be from physical necessity or from the sense of personal or general interest or for expediency or because of the pressure of the environment or from any sense of duty, but solely for the sake of the Lord of works and because it is felt or known to be the Divine Will that the social law or rule or relation as it stands can still be kept as a figure of the inner life and the minds of men must not be disturbed by its infringement. If, on the other hand, the social law, rule or relation is disregarded, that too will not be for the indulgence of desire, personal will or personal opinion, but because a greater rule is felt that expresses the law of the Spirit or because it is known that there must be in the march of the divine All-Will a movement towards the changing, exceeding or abolition of existing laws and forms for the sake of a freer larger life necessary to the world's progress.
1.094 - Understanding the Structure of Things, #The Study and Practice of Yoga, #Swami Krishnananda, #Yoga
The true state of affairs is that any particular form that is visible or tangible in any other manner to the senses is a representation of a particular condition, or avastha, of prakriti, which has as its background the laksana, or the pattern which is in its mind, or which is its motive just as an artist has a particular pattern present in his mind before he paints a picture with ink on a canvas. The ink can take any shape. He can paint a cow, or a horse, or a human being with the same ink. The substance is the same. Three Colours are given to a painter, and the painter can paint anything. Any shape can be taken by the same substance. Likewise, the painter is only prakriti who painted these pictures of varieties out of a basic substance which is common to all forms, and the mind is not to be deluded into the belief that this variety is really there. There are only three inks sattva, rajas and tamas out of which all this wonderful painting has been presented before the senses. The master genius, who is prakriti, is the artist.
Now we come to the point of practice of yoga, which is the intention in this sutra: etena bhtendriyeu dharma lakaa avasth parim vykhyt (III.13). Just as there are the parinamas, or transformations, of the mind known as nirodha parinama, samadhi parinama and ekagrata parinama, there are the dharma, laksana and avastha parinamas of everything. In fact, dharma, laksana and avastha are only other names for these three parinamas mentioned already namely, nirodha, samadhi and ekagrata.
1.09 - A System of Vedic Psychology, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
Nevertheless a time must come when the Indian mind will shake off the paralysis that has fallen upon it, cease to think or hold opinions at second & third hand & reassert its right to judge and inquire with a perfect freedom into the meaning of its own Scriptures. When that day comes, we shall, I think, discover that the imposing fabric of Vedic theory is based upon nothing more sound or lasting than a foundation of loosely massed conjectures. We shall question many established philological myths,the legend, for instance, of an Aryan invasion of India from the north, the artificial & unreal distinction of Aryan & Dravidian which an erroneous philology has driven like a wedge into the unity of the homogeneous Indo-Afghan race; the strange dogma of a henotheistic Vedic naturalism; the ingenious & brilliant extravagances of the modern sun & star myth weavers, and many another hasty & attractive generalisation which, after a brief period of unquestioning acceptance by the easily-persuaded intellect of mankind, is bound to depart into the limbo of forgotten theories. We attach an undue importance & value to the ephemeral conclusions of European philology, because it is systematic in its errors and claims to be a science.We forget or do not know that the claims of philology to a scientific value & authority are scouted by European scientists; the very word, Philologe, is a byword of scorn to serious scientific writers in Germany, the temple of philology. One of the greatest of modern philologists & modern thinkers, Ernest Renan, was finally obliged after a lifetime of hope & earnest labour to class the chief preoccupation of his life as one of the petty conjectural sciencesin other words no science at all, but a system of probabilities & guesses. Beyond one or two generalisations of the mutations followed by words in their progress through the various Aryan languages and a certain number of grammatical rectifications & rearrangements, resulting in a less arbitrary view of linguistic relations, modern philology has discovered no really binding law or rule for its own guidance. It has fixed one or two sure signposts; the rest is speculation and conjecture.We are not therefore bound to worship at the shrines of Comparative Science & Comparative Mythology & offer up on these dubious altars the Veda & Vedanta. The question of Vedic truth & the meaning of Veda still lies open. If Sayanas interpretation of Vedic texts is largely conjectural and likely often to be mistaken & unsound, the European interpretation can lay claim to no better certainty. The more lively ingenuity and imposing orderliness of the European method of conjecture may be admitted; but ingenuity & orderliness, though good helps to an enquiry, are in themselves no guarantee of truth and a conjecture does not cease to be a conjecture, because its probability or possibility is laboriously justified or brilliantly supported. It is on the basis of a purely conjectural translation of the Vedas that Europe presents us with these brilliant pictures of Vedic religion, Vedic society, Vedic civilisation which we so eagerly accept and unquestioningly reproduce. For we take them as the form of an unquestionable truth; in reality, they are no more than brilliantly Coloured hypotheses,works of imagination, not drawings from the life.
***
1.09 - BOOK THE NINTH, #Metamorphoses, #Ovid, #Poetry
In glowing Colours with the Tyrian dye.
Of these she cropt, to please her infant son,
1.09 - Civilisation and Culture, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
The first results of this momentous change have been inspiriting to our desire of movement, but a little disconcerting to the thinker and to the lover of a high and fine culture; for if it has to some extent democratised culture or the semblance of culture, it does not seem at first sight to have elevated or streng thened it by this large accession of the half-redeemed from below. Nor does the world seem to be guided any more directly by the reason and intelligent will of her best minds than before. Commercialism is still the heart of modern civilisation; a sensational activism is still its driving force. Modern education has not in the mass redeemed the sensational man; it has only made necessary to him things to which he was not formerly accustomed, mental activity and occupations, intellectual and even aesthetic sensations, emotions of idealism. He still lives in the vital substratum, but he wants it stimulated from above. He requires an army of writers to keep him mentally occupied and provide some sort of intellectual pabulum for him; he has a thirst for general information of all kinds which he does not care or has not time to coordinate or assimilate, for popularised scientific knowledge, for such new ideas as he can catch, provided they are put before him with force or brilliance, for mental sensations and excitation of many kinds, for ideals which he likes to think of as actuating his conduct and which do give it sometimes a certain Colour. It is still the activism and sensationalism of the crude mental being, but much more open and free. And the cultured, the intelligentsia find that they can get a hearing from him such as they never had from the pure Philistine, provided they can first stimulate or amuse him; their ideas have now a chance of getting executed such as they never had before. The result has been to cheapen thought and art and literature, to make talent and even genius run in the grooves of popular success, to put the writer and thinker and scientist very much in a position like that of the cultured Greek slave in a Roman household where he has to work for, please, amuse and instruct his master while keeping a careful eye on his tastes and preferences and repeating trickily the manner and the points that have caught his fancy. The higher mental life, in a word, has been democratised, sensationalised, activised with both good and bad results. Through it all the eye of faith can see perhaps that a yet crude but an enormous change has begun. Thought and Knowledge, if not yet Beauty, can get a hearing and even produce rapidly some large, vague, yet in the end effective will for their results; the mass of culture and of men who think and strive seriously to appreciate and to know has enormously increased behind all this surface veil of sensationalism, and even the sensational man has begun to undergo a process of transformation. Especially, new methods of education, new principles of society are beginning to come into the range of practical possibility which will create perhaps one day that as yet unknown phenomenon, a race of mennot only a classwho have to some extent found and developed their mental selves, a cultured humanity.
***
1.09 - Concentration - Its Spiritual Uses, #Raja-Yoga, #Swami Vivkenanda, #unset
41. The Yogi whose Vrittis have thus become powerless (controlled) obtains in the receiver, (the instrument of) receiving, and the received (the Self, the mind, and external objects), concentratedness arid sameness like the crystal (before different Coloured objects).
What results from this constant meditation? We must remember how in a previous aphorism Patanjali went into the various states of meditation, how the first would be the gross, the second the fine, and from them the advance was to still finer objects. The result of these meditations is that we can meditate as easily on the fine as on the gross objects. Here the Yogi sees the three things, the receiver, the received, and the receiving instrument, corresponding to the Soul, external objects, and the mind. There are three objects of meditation given us. First, the gross things, as bodies, or material objects; second, fine things, as the mind, the Chitta; and third, the Purusha qualified, not the Purusha itself, but the Egoism. By practice, the Yogi gets established in all these meditations. Whenever he meditates he can keep out all other thoughts; he becomes identified with that on which he meditates. When he meditates, he is like a piece of crystal. Before flowers the crystal becomes almost identified with the flowers. If the flower is red, the crystal looks red, or if the flower is blue, the crystal looks blue.
1.09 - SKIRMISHES IN A WAY WITH THE AGE, #Twilight of the Idols, #Friedrich Nietzsche, #Philosophy
cramp, or paralysis; and above all the smells, Colours and forms
associated with decomposition and putrefaction, however much they may
--
I fear it is Nature. Why is there beauty of tone, Colour, aroma, and
of rhythmic movement in Nature at all? What is it forces beauty to the
1.09 - Talks, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
I have said that Sri Aurobindo rarely looked into our eyes except at Darshans when, he said, he gave a piercing look to everybody. Most often, he was gazing in front or looking down, and seldom were the eyes fully open. During our pranams in his room on our birthdays or on Darshan days, he looked deep and steadily into our eyes. At that time I could mark their Colour: it was a dark brown. To see anything beyond the softness and compassion in the expression was not given to me. But once, and once only, I saw a different pair of eyes, and that experience is unforgettable. He had finished lunch and I was attending on him. Just for a memorable moment, he half-opened his eyes and I saw two deep pools, intensely black, serene, inscrutable and unfathomable. It was as if on a hushed afternoon you entered a dense wood and suddenly came upon a deep pond and saw its still dark waters.
People who read our Correspondence were under the impression that our days bubbled with "jest and jollity, quips and cranks" all the while. In fact, a friend did not believe me when I said that the bubbling lasted only for a short time. Sri Aurobindo was, after all, a Yogi. All who knew him knew that. In one of his letters to Dilip, when Dilip complained that Sri Aurobindo would not laugh or even smile, he replied that since his childhood, he had been estranged from his family and accustomed to live a solitary life. His nature had therefore become reserved, somewhat remote and he felt shy of too much personal emotion. The English racial climate may have, I suppose, added its own large share to it. Moreover, the Yoga he had practised, beginning with the transcendental nirvanic experience, must have crowned the natural disposition. Buddha, I believe, for all his compassion, could not but have been impersonal in his daily communication. This vast impersonality even in personal relations, is it not the basis of his Yoga? I have often wondered what his state of consciousness was, for instance, when he was talking with us or dictating Savitri. Now I have learnt that the three states of consciousness: transcendent, cosmic and individual can operate at the same time. I also used to wonder how he could take interest even in the most trivial, "unspiritual" amusing talk or incidents, and joke with us, say on snoring or baldness! He had found the rasa,the delight of Brahman in everything. So his jokes were never trivial; they could be playful but always had an intellectual element in them.
1.09 - The Crown, Cap, Magus-Band, #The Practice of Magical Evocation, #Franz Bardon, #Occultism
Always when carrying out operations of ritual magic, no matter whether evocations, invocations or other operations, the magician should wear something on his head. He may take, for this purpose, a golden crown with magic symbols engraved on it, or he may take a cap or some other headgear with the symbols of the macrocosm and microcosm of the deity with whom the magician is connected or whose shape he is taking on. The symbols must either be drawn with a good Colour or embroidered or fastened with silk. Such a symbol of the macrocosm and microcosm, for instance, is a hexagon in the middle of two circles inside of which is the microcosmic symbol of man, the pentagram. If the magician embroiders his cap himself, or if he has it embroidered by somebody else, he may choose a golden Colour for the circles as a symbol of infinity; for the hexagon he may take a silvery Colour as the symbol of the created universe, and for the pentagram in the centre a white or violet Colour. Instead of using a cap or a turban as a headgear, a silk-band, a so-called magus-band, may suffice. This band may be in white, violet or black and is to be wound round the magician's head. The part running over his forehead should be ornamented with the macro-microcosmic symbol, described previously. The symbol may either be embroidered or drawn on a piece of parchment, thereby using the Colour mentioned above. Instead of the symbol of the macrocosm some other symbol representing the magician's connection with the deity may be used. For instance, a cross, which at the same time, symbolizes the Positive and the Negative, and the ends of which symbolize the four elements. A rosecross symbol may also be employed, that is a cross with seven roses in the centre, also symbolizing the four elements, the Positive and the Negative, and on top of that, the seven planets. The magician's choice is not, as can be seen, restricted to a particular symbol. He may express his spiritual development, his destination, his maturity, his cosmic relationship by several symbols, whichever he prefers, and he may wear them on his cap or magus-band.
As already mentioned, the crown, cap or magus-band is a symbol of the dignity of the magician's authority. It is a symbol of the perfection of his spirit, a symbol of his relationship to the microcosm and macrocosm, the tiny and the great world, the highest expression of his magical power, serving him to crown his head. All articles, no matter whether cap, crown or magus-band, must be made of the finest material and must serve no other purposes but operations of ritual magic. As soon as the cap, crown or magus-band is ready and has been tried out, it should be sanctified by meditation and a holy oath, so that the magician will only put it on his head when he is fully absorbed with the idea of his unity with the deity, and he will only make use of the cap for operations which demand this kind of symbolism. When speaking his oath the magician should put his right hand on the cap and should concentrate, by force of imagination, on the idea that at the moment he puts the cap on his head he is united with his deity, or with the symbol ornamenting his cap. Then he should put his headgear away safely together with his other magical implements.
1.09 - The Furies and Medusa. The Angel. The City of Dis. The Sixth Circle Heresiarchs., #The Divine Comedy, #Dante Alighieri, #Christianity
Sooner repressed within him his new Colour.
He stopped attentive, like a man who listens,
1.09 - The Pure Existent, #The Life Divine, #Sri Aurobindo, #Integral Yoga
6:But this is infinity with regard to Time and Space, an eternal duration, interminable extension. The pure Reason goes farther and looking in its own Colourless and austere light at Time and Space points out that these two are categories of our consciousness, conditions under which we arrange our perception of phenomenon. When we look at existence in itself, Time and Space disappear. If there is any extension, it is not a spatial but a psychological extension; if there is any duration, it is not a temporal but a psychological duration; and it is then easy to see that this extension and duration are only symbols which represent to the mind something not translatable into intellectual terms, an eternity which seems to us the same all-containing ever-new moment, an infinity which seems to us the same all-containing all-pervading point without magnitude. And this conflict of terms, so violent, yet accurately expressive of something we do perceive, shows that mind and speech have passed beyond their natural limits and are striving to express a Reality in which their own conventions and necessary oppositions disappear into an ineffable identity.
7:But is this a true record? May it not be that Time and Space so disappear merely because the existence we are regarding is a fiction of the intellect, a fantastic Nihil created by speech, which we strive to erect into a conceptual reality? We regard again that Existence-in-itself and we say, No. There is something behind the phenomenon not only infinite but indefinable. Of no phenomenon, of no totality of phenomena can we say that absolutely it is. Even if we reduce all phenomena to one fundamental, universal irreducible phenomenon of movement or energy, we get only an indefinable phenomenon. The very conception of movement carries with it the potentiality of repose and betrays itself as an activity of some existence; the very idea of energy in action carries with it the idea of energy abstaining from action; and an absolute energy not in action is simply and purely absolute existence. We have only these two alternatives, either an indefinable pure existence or an indefinable energy in action and, if the latter alone is true, without any stable base or cause, then the energy is a result and phenomenon generated by the action, the movement which alone is. We have then no Existence, or we have the Nihil of the Buddhists with existence as only an attribute of an eternal phenomenon, of Action, of Karma, of Movement. This, asserts the pure reason, leaves my perceptions unsatisfied, contradicts my fundamental seeing, and therefore cannot be. For it brings us to a last abruptly ceasing stair of an ascent which leaves the whole staircase without support, suspended in the Void.
11.01 - The Eternal Day The Souls Choice and the Supreme Consummation, #Savitri, #Sri Aurobindo, #Integral Yoga
The Colours of whose plumage had been caught
From the rainbow of imagination's wings.
--
Experience mounted on joy's Coloured breast
To inaccessible spheres in spiral flight.
1.1.02 - Sachchidananda, #Letters On Yoga I, #Sri Aurobindo, #Integral Yoga
Consciousness is usually identified with mind, but mental consciousness is only the human range which no more exhausts all the possible ranges of consciousness than human sight exhausts all the gradations of Colour or human hearing all the gradations of sound - for there is much above or below that is to man invisible and inaudible. So there are ranges of consciousness above and below the human range, with which the normal human has no contact and they seem to it unconscious,
- supramental or overmental and submental ranges.
1.1.04 - Philosophy, #Essays Divine And Human, #Sri Aurobindo, #Integral Yoga
To withdraw from contact with emotion and life and weave a luminous Colourless shadowless web of thought, alone and far away in the infinite azure empyrean of pure ideas, can be an enthralling pastime fit for Titans or even for Gods. The ideas so found have always their value and it is no objection to their truth that, when tested by the rude ordeal of life and experience, they go to pieces. All that inopportune disaster proves is that they are no fit guides to ordinary human conduct; for material life which is the field of conduct is only intellectual on its mountaintops; in the plains and valleys ideas must undergo limitation by unideal conditions and withstand the shock of crude sub-ideal forces.
Nevertheless conduct is a great part of our existence and the mere metaphysical, logical or scientific knowledge that either does not help me to act or even limits my self-manifestation through action, cannot be my only concern. For God has not set me here merely to think, to philosophise, to weave metaphysical systems, to play with words and syllogisms, but to act, love and know. I must act divinely so that I may become divine in being and deed; I must learn to love God not only in Himself but in all beings, appearances, objects, enjoyments, events, whether men call them good or bad, real or mythical, fortunate or calamitous; and I must know Him with the same divine impartiality and completeness in order that I may come to be like Him, perfect, pure and unlimited - that which all sons of Man must one day be. This, I cannot help thinking, is the meaning and purpose of the Lila. It is not true that because I think, I am; but rather because I think, feel and act, and even while I am doing any or all of these things, can transcend the thought, feeling and
1.10 - BOOK THE TENTH, #Metamorphoses, #Ovid, #Poetry
The fleshy Colour in his body fades,
And a green tincture all his limbs invades;
1.10 - Concentration - Its Practice, #Raja-Yoga, #Swami Vivkenanda, #unset
20. The seer is intelligence only, and though pure, sees through the Colouring of the intellect.
This is, again, Sankhya philosophy. We have seen from the same philosophy that from the lowest form up to intelligence all is nature; beyond nature are Purushas (souls), which have no qualities. Then how does the soul appear to be happy or unhappy? By reflection. If a red flower is put near a piece of pure crystal, the crystal appears to be red, similarly the appearances of happiness or unhappiness of the soul are but reflections. The soul itself has no Colouring. The soul is separate from nature. Nature is one thing, soul another, eternally separate. The Sankhyas say that intelligence is a compound, that it grows and wanes, that it changes, just as the body changes, and that its nature is nearly the same as that of the body. As a finger-nail is to the body, so is body to intelligence. The nail is a part of the body, but it can be pared off hundreds of times, and the body will still last. Similarly, the intelligence lasts aeons, while this body can be "pared off," thrown off. Yet intelligence cannot be immortal because it changes growing and waning. Anything that changes cannot be immortal. Certainly intelligence is manufactured, and that very fact shows us that there must be something beyond that. It cannot be free, everything connected with matter is in nature, and, therefore, bound for ever. Who is free? The free must certainly be beyond cause and effect. If you say that the idea of freedom is a delusion, I shall say that the idea of bondage is also a delusion. Two facts come into our consciousness, and stand or fall with each other. These are our notions of bondage and freedom. If we want to go through a wall, and our head bumps against that wall, we see we are limited by that wall. At the same time we find a willpower, and think we can direct our will everywhere. At every step these contradictory ideas come to us. We have to believe that we are free, yet at every moment we find we are not free. If one idea is a delusion, the other is also a delusion, and if one is true, the other also is true, because both stand upon the same basis consciousness. The Yogi says, both are true; that we are bound so far as intelligence goes, that we are free so far as the soul is concerned. It is the real nature of man, the soul, the Purusha, which is beyond all law of causation. Its freedom is percolating through layers of matter in various forms, intelligence, mind, etc. It is its light which is shining through all. Intelligence has no light of its own. Each organ has a particular centre in the brain; it is not that all the organs have one centre; each organ is separate. Why do all perceptions harmonise? Where do they get their unity? If it were in the brain, it would be necessary for all the organs, the eyes, the nose, the ears, etc., to have one centre only, while we know for certain that there are different centres for each. Both a man can see and hear at the same time, so a unity must be there at the back of intelligence. Intelligence is connected with the brain, but behind intelligence even stands the Purusha, the unit, where all different sensations and perceptions join and become one. The soul itself is the centre where all the different perceptions converge and become unified. That soul is free, and it is its freedom that tells you every moment that you are free. But you mistake, and mingle that freedom every moment with intelligence and mind. You try to attribute that freedom to the intelligence, and immediately find that intelligence is not free; you attri bute that freedom to the body, and immediately nature tells you that you are again mistaken. That is why there is this mingled sense of freedom and bondage at the same time. The Yogi analyses both what is free and what is bound, and his ignorance vanishes. He finds that the Purusha is free, is the essence of that knowledge which, coming through the Buddhi, becomes intelligence, and, as such, is bound.
1.10 - Conscious Force, #The Life Divine, #Sri Aurobindo, #Integral Yoga
12:It is then necessary to examine into the relation between Force and Consciousness. But what do we mean by the latter term? Ordinarily we mean by it our first obvious idea of a mental waking consciousness such as is possessed by the human being during the major part of his bodily existence, when he is not asleep, stunned or otherwise deprived of his physical and superficial methods of sensation. In this sense it is plain enough that consciousness is the exception and not the rule in the order of the material universe. We ourselves do not always possess it. But this vulgar and shallow idea of the nature of consciousness, though it still Colours our ordinary thought and associations, must now definitely disappear out of philosophical thinking. For we know that there is something in us which is conscious when we sleep, when we are stunned or drugged or in a swoon, in all apparently unconscious states of our physical being. Not only so, but we may now be sure that the old thinkers were right when they declared that even in our waking state what we call then our consciousness is only a small selection from our entire conscious being. It is a superficies, it is not even the whole of our mentality. Behind it, much vaster than it, there is a subliminal or subconscient mind which is the greater part of ourselves and contains heights and profundities which no man has yet measured or fathomed. This knowledge gives us a starting-point for the true science of Force and its workings; it delivers us definitely from circumscription by the material and from the illusion of the obvious.
13:Materialism indeed insists that, whatever the extension of consciousness, it is a material phenomenon inseparable from our physical organs and not their utiliser but their result. This orthodox contention, however, is no longer able to hold the field against the tide of increasing knowledge. Its explanations are becoming more and more inadequate and strained. It is becoming always clearer that not only does the capacity of our total consciousness far exceed that of our organs, the senses, the nerves, the brain, but that even for our ordinary thought and consciousness these organs are only their habitual instruments and not their generators. Consciousness uses the brain which its upward strivings have produced, brain has not produced nor does it use the consciousness. There are even abnormal instances which go to prove that our organs are not entirely indispensable instruments, - that the heart-beats are not absolutely essential to life, any more than is breathing, nor the organised brain-cells to thought. Our physical organism no more causes or explains thought and consciousness than the construction of an engine causes or explains the motive-power of steam or electricity. The force is anterior, not the physical instrument.
1.10 - Laughter Of The Gods, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
Sri Aurobindo: Why not seven tails with an eighth on the head everybody different Colours, blue, magenta, indigo, green, scarlet, etc.; hair luxuriant but vermillion and flying erect skywards; other details to match? Amen!
Now you can't surely say that all your points have not been cleared?
1.10 - Relics of Tree Worship in Modern Europe, #The Golden Bough, #James George Frazer, #Occultism
leaves, flowers, slips of Coloured paper, gilt egg-shells strung on
reeds, and so on, are exposed for sale. Bonfires are lit on the
--
top to the bottome, and sometime painted with variable Colours, with
two or three hundred men, women and children following it with great
1.10 - The Magical Garment, #The Practice of Magical Evocation, #Franz Bardon, #Occultism
This is to be treated in the same manner as the cap or magusband. The magical gament is a long robe made of silk, buttoned from the neck to the toes. The sleeves of the robe end at the wrists. The robe looks like the vestment of a clergyman and symbolizes the absolute purity of all ideas, and the purity of the magician's soul. It is also the symbol of protection. Just as a common garment protects a man's physical body from outside influences, rain, cold etc. so the magical garment of the magician shelters him from outside influences which may attact his body through its astral or mental matrix. As already mentioned several times, silk is the best insulating material against any astral or mental influences. A robe made of silk is therefore an excellent means of in61 sulation and may also be successfully used for other operations not directly connected with ritual magic; for instance, protection of the astral or physical body when projecting the mental or astral body so that no being can take possession of the magician's astral or physical body without his approval. A magic robe may also be successfully used for similar operations for which the insulation of the mental, astral and physical body is necessary. It is, however, up to the magician which possible variations he wants to make use of. Under no circumstances may the magician use a garment for ritual magic or evocations which has been used for common purposes such as, for example, training, or current magical operations. A special robe must be taken for this special kind of magic, and its Colour must suit the purpose. Here I should point out that for common mental and astral operations or experiments, the insulating garment may be put on top of any other clothes; for evocations and ritual magic; however, the magical garment is to be worn over the naked body. The magician may, however, in cold weather, put on a shirt or pants made of pure silk und put the robe over them, but the pants or shirt must be of the same Colour as the robe. The magician may use house-shoes of the same Colour as the robe. The soles of the shoes can be made of leather or rubber.
The Colour of the robe corresponds to the work, idea and purpose the magician wishes to carry out. He may choose one of the three universal Colours: white, violet or black. Violet is equivalent to the Akasha- Colour and may be used for nearly all magical operations. White is chosen for the robe only, when dealing with high and good beings. Black is the appropriate Colour for negative powers and beings. The magician is able to carry out almost all ritual operations with these Colours. If he can afford the expense, he can have three robes made, one of each Colour. A wealthy magician may choose, for his robes, Colours analogous to the individual spheres of the planets he works with. Thus he will take for:
- dark-violet beings of Saturn beings of Jupiter
--
Of course, only the prosperous magician will be able to afford such expenditure. A magician not so prosperous will get satisfactory results with just one robe in a light-violet Colour. His cap or magus-band should be of the same Colour.
When the robe is ready, the magician must wash it in running water in order to de-od it, so that no alien influence will remain on the silk. Then he must iron the robe by himself, for no other hands but his should ever come in contact with it. The magician will find these measures quite justified, for, being very particular in this respect, he will already find it disturbing if another person, even if it is someone of his family, of his relations or friends, merely touches one of his magical implements. The robe prepared in the manner described must then be put in front of the magician, who, by help of imagination, must unite himself with his deity and bless the robe, not as his own person, but as the deity evoking itself. He must take an oath, that is swear to the garment that he will only use it for ritual purposes. A dress influenced and impregnated in such a way then has genuine magical power and will offer the magician absolute security. Before the magician prepares his robe for magical purposes he may embroider it, if he likes, with universal symbols similar to his cap. All this, of course, entirely depends on his own will and he may rest assured that he cannot make any mistakes in this respect.
1.10 - The Secret of the Veda, #Vedic and Philological Studies, #Sri Aurobindo, #Integral Yoga
European scholars believe that they have fixed finally the meaning of Veda. Using as their tools the Sciences of Comparative Philology & Comparative Mythology, itself a part of the strangely termed Science of Comparative Religion, they have excavated for us out of the ancient Veda a buried world, a forgotten civilisation, lost names of kings and nations, wars & battles, institutions, social habits & cultural ideas which the men of Vedantic times & their forerunners never dreamed were lying concealed in the revered & sacred words used daily by them in their worship and the fount and authority for their richest spiritual experiences deepest illuminated musings. The picture these discoveries constitute is a remarkable composition, imposing in its mass, brilliant and attractive in its details. The one lingering objection to them is a possible doubt of the truth of these discoveries, the soundness of the methods used to arrive at them. Are the conclusions of Vedic scholarship so undoubtedly true or so finally authoritative as to preclude a totally different hypothesis even though it may lead possibly to an interpretation which will wash out every Colour & negative every detail of this great recovery? We must determine, first, whether the foundations of the European theory of Veda are solid & certain fact or whether it has been reared upon a basis of doubtful inference and conjecture. If the former, the question of the Veda is closed, its problem solved; if the latter, the European results may even then be true, but equally they may be false and replaceable by a more acceptable theory and riper conclusions.
We ought at least to free our minds of one misconception which has a very strong hold of the average Indian mind and blocks up the way for free investigation & the formation of a strong & original school of Indian scholars better circumstanced than the Europeans for determining the truth about our past and divining its difficult secrets. The triumphant & rapid march of the physical sciences in Europe has so mastered our intellects and dazzled our eyes, that we are apt to extend the unquestioned finality which we are accustomed to attach to the discoveries & theories of modern Science, to all the results of European research & intellectual activity. Even in Europe itself, we should remember, there is no such implicit acceptance. The theories of today are there continually being combated and overthrown by the theories of tomorrow. Outside the range of the physical sciences & even in some portions of that splendid domain the whole of European knowledge is felt more & more to be a mass of uncertain results ephemeral in their superstructure, shifting in their very foundations. For the Europeans have that valuable gift of intellectual restlessness which, while it often stands in the way of mans holding on to abiding truth, helps him to emerge swiftly out of momentarily triumphant error. In India on the other hand we have fallen during the last few centuries into a fixed habit of unquestioning deference to authority. We used to hold it, & some still hold it almost an impiety to question Shankaras interpretation of the Upanishads, or Sayanas interpretation of the Veda, and now that we are being torn out of this bondage, we fall into yet more absurd error by according, if not an equal reverence, yet an almost equal sense of finality to the opinions of Roth & Max Muller. We are ready to accept all European theories, the theory of an Aryan colonisation of a Dravidian India, the theory of the Nature-worship and henotheism of the Vedic Rishis, the theory of the Upanishads as a speculative revolt against Vedic materialism & ritualism, as if these hazardous speculations were on a par in authority & certainty with the law of gravitation and the theory of evolution. We are most of us unaware that in Europe it is disputed and very reasonably disputed whether, for instance, any such entity as an Aryan race ever existed. The travail of dispute & uncertainty in which the questions of Vedic scholarship & ethnology are enveloped is hidden from us; only the over-confident statement of doubtful discoveries and ephemeral theories reaches our knowledge.
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Among such branches of research which can even now be used in spite of new & hostile conclusions as a sort of side support to the modern theory of the Veda stand in a curious twilit corner of their own the researches of the ethnologists. There is no more glaring instance of the conjectural and unsubstantial nature of these pseudo-Sciences than the results of Ethnology which yet claims to deduce its results from fixed and certain physical tests and data. We find the philological discovery of the Aryan invasion supported by the conclusions of ethnologists like Sir Herbert Risley, who make an ethnological map of India Coloured in with all shades of mixed raciality, Dravidian,Scytho-Dravidian, Mongolo-Dravidian, Scytho-Aryan. More modern schools of ethnology assert positively on the strength of [the] same laws & the same tests that there is but one homogeneous Indo-Afghan race inhabiting the whole peninsula from theHimalayas to Cape Comorin. What are we to think of a science of which the tests are so pliant and the primary results so irreconcilable? Or how, if the more modern theory is correct, if a distinct homogeneous race inhabits India, can we fail to doubt strongly as a philological myth the whole story of the Aryan invasion & colonisation of Northern India, which has been so long one of the most successful & loudly proclaimed results of the new philology? As a result perhaps of these later conclusions we find a tendency even in philological scholarship towards the rise of new theories which dispute the whole legend of an Aryan invasion, assert an indigenous or even a southern origin for the peoples of the Vedic times and suppose Aryanism to have been a cult and not a racial distinction. These new theories destroy all fixed confidence in the old without themselves revealing any surer foundations for their own guesses; both start from conjectural philology & end in an imaginatively conjectural nation-building or culture-building. It is exceedingly doubtful whether the Vedic terms Aryan & unAryan at all refer to racial or cultural differences; they may have an entirely different and wholly religious & spiritual significance & refer to the good and evil powers & mortals influenced by them. If this prove to be the truth, and the close contiguity & probable historical connection between the Vedic Indians & the Zoroastrian Persians gives it a great likelihood, then the whole elaborate edifice built up by the scholars of an Aryan invasion and an Aryan culture begins to totter & seek the ground, there to lie in the dust amid the wrecks of other once confident beliefs and triumphant errors.
The substance of modern philological discovery about the Vedas consists, first, in the picture of an Aryan civilisation introduced by northern invaders and, secondly, in the interpretation of the Vedic religion as a worship of Nature-powers & Vedic myths as allegorical legends of sun & moon & star & the visible phenomena of Nature. The latter generalisation rests partly on new philological renderings of Vedic words, partly on the Science of Comparative Mythology. The method of this Science can be judged from one or two examples. The Greek story of the demigod Heracles is supposed to be an evident sun myth. The two scientific proofs offered for this discovery are first that Hercules performed twelve labours and the solar year is divided into twelve months and, secondly, that Hercules burnt himself on a pyre on Mount Oeta and the sun also sets in a glory of flame behind the mountains. Such proofs seem hardly substantial enough for so strong a conclusion. By the same reasoning one could prove the emperor Napoleon a sun myth, because he was beaten & shorn of his glory by the forces of winter and because his brilliant career set in the western ocean and he passed there a long night of captivity. With the same light confidence the siege of Troy is turned by the scholars into a sun myth because the name of the Greek Helena, sister of the two Greek Aswins, Castor & Pollux, is philologically identical with the Vedic Sarama and that of her abductor Paris is not so very different from the Vedic Pani. It may be noted that in the Vedic story Sarama is not the sister of the Aswins and is not abducted by the Panis and that there is no other resemblance between the Vedic legend & the Greek tradition. So by more recent speculation even Yudhishthira and his brothers and the famous dog of theMahabharat are raised into the skies & vanish in a starry apotheosis,one knows not well upon what grounds except that sometimes the Dog Star rages in heaven. It is evident that these combinations are merely an ingenious play of fancy & prove absolutely nothing. Hercules may be the Sun but it is not proved. Helen & Paris may be Sarama & one of the Panis, but itis not proved. Yudhishthira & his brothers may be an astronomical myth, but it is not proved. For the rest, the unsubstantiality & rash presumption of the Sun myth theory has not failed to give rise in Europe to a hostile school of Comparative Mythologists who adopt other methods & seek the origins of early religious legend & tradition in a more careful and flexible study of the mentality, customs, traditions & symbolisms of primitive races. The theory of Vedic Nature-worship is better founded than these astronomical fancies. Agni is plainly the God of Fire, Surya of the Sun, Usha of the Dawn, Vayu of the Wind; Indra for Sayana is obviously the god of rain; Varuna seems to be the sky, the Greek Ouranos,et cetera. But when we have accepted these identities, the question of Vedic interpretation & the sense of Vedic worship is not settled. In the Greek religion Apollo was the god of the sun, but he was also the god of poetry & prophecy; Athene is identified with Ahana, a Vedic name of the Dawn, but for the Greeks she is the goddess of purity & wisdom; Artemis is the divinity of the moon, but also the goddess of free life & of chastity. It is therefore evident that in early Greek religion, previous to the historic or even the literary period, at an epoch therefore that might conceivably correspond with the Vedic period, many of the deities of the Greek heavens had a double character, the aspect of physical Nature-powers and the aspect of moral Nature-powers. The indications, therefore,for they are not proofs,even of Comparative Mythology would justify us in inquiring whether a similar double character did not attach to the Vedic gods in the Vedic hymns.
1.11 - BOOK THE ELEVENTH, #Metamorphoses, #Ovid, #Poetry
And change their Colour, changing their disease,
Like various fits the Trachin vessel finds,
1.11 - Correspondence and Interviews, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
Work of a different sort that did not interfere with his regular schedule was to correct various factual errors perpetrated by his biographers. Quite a number of people from outside started writing in English and Bengali about his life. One biography that gained some Popularity in Bengal and drew public attention was by a Bengali littrateur Shri Girija Shankar Roy Chowdhury. He was reputed to be a scholar and his articles were coming out in the well-known Bengali journal Udbodhan. But many of the facts he had collected and collated from heterogenous sources were entirely baseless and therefore the conclusions he had drawn from them wrong and fanciful. He took them for granted, without caring in the least to refer to Sri Aurobindo for verification. Since he was a man of some consequence, many of his articles were read before Sri Aurobindo who was amazed to find his erudition so muddled, and imagination so fantastic that he asked Purani to compile a sort of factual biography where only the facts of his life would be stated with precise dates and exact descriptions. Both, the Master and the disciple in collaboration, established on a sure and authentic foundation all the main incidents of his life and corrected those that passed into currency on the authority of the biographers. These are given at the end of Purani's book, The Life of Sri Aurobindo. Sri Aurobindo was very much amused at the fanciful hypothesis drawn from his early love poems that he must have fallen in love more than once while in England! We could hardly control our laughter. Because of such inaccuracies, twisting of facts, Colourful and hasty conclusions indulged in quite often by biographers, Sri Aurobindo discouraged the sadhaks from writing about his life since he did not "want to be murdered by his own disciples in cold print". The greatest drawback of Girija Shankar's book is that he does not seem to be an impersonal seeker of the truth about Sri Aurobindo's life. He was already a partisan even when he began his so-called biography.
Among the interviews granted to public figures by Sri Aurobindo the first one was in September 1947, followed by a few others at a later date. It was a great concession on his part to break his self-imposed seclusion. A prominent French politician Maurice Schumann was deputed by the French Government as the leader of a cultural mission to see Sri Aurobindo and pay him homage from the French Government and to propose to set up at Pondicherry an institute for research and study of Indian and European cultures with Sri Aurobindo as its head. I was happily surprised to hear this great news, great in the sense that Sri Aurobindo had at all consented to the proposal, for I hailed it as an indication of his future public appearance. The fact that it came on the heels of India's Independence pointed to her role as a dominant power in the comity of nations, as envisaged by Sri Aurobindo. It seems Sri Aurobindo asked the Mother in what language he should speak to the delegates. The Mother replied, "Why, in French! You know French." Sri Aurobindo protested, "No, no! I can't speak in French." The Mother, Sri Aurobindo and the French delegates were closeted in Sri Aurobindo's room and we don't know what passed among them.
1.11 - GOOD AND EVIL, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
If a delicious fragrant fruit had a power of separating itself from the rich spirit, fine taste, smell and Colour, which it receives from the virtue of the air and the spirit of the sun, or if it could, in the beginning of its growth, turn away from the sun and receive no virtue from it, then it would stand in its own first birth of wrath, sourness, bitterness, astringency, just as the devils do, who have turned back into their own dark root and have rejected the Light and Spirit of God. So that the hellish nature of a devil is nothing but its own first forms of life withdrawn or separated from the heavenly Light and Love; just as the sourness, bitterness and astringency of a fruit are nothing else but the first form of its vegetable life, before it has reached the virtue of the sun and the spirit of the air. And as a fruit, if it had a sensibility of itself, would be full of torment as soon as it was shut up in the first forms of its life, in its own astringency, sourness and stinging bitterness, so the angels, when they had turned back into these very same first forms of their own life, and broke off from the heavenly Light and Love of God, became their own hell. No hell was made for them, no new qualities came into them, no vengeance or pains from the Lord of Love fell on them; they only stood in that state of division and separation from the Son and Holy Spirit of God, which by their own motion they had made for themselves. They had nothing in them but what they had from God, the first forms of a heavenly life; but they had them in a state of self-torment, because they had separated them from birth of Love and Light.
William Law
1.11 - On Intuitive Knowledge, #The Problems of Philosophy, #Bertrand Russell, #Philosophy
'truths of perception', and the judgements expressing them we will call 'judgements of perception'. But here a certain amount of care is required in getting at the precise nature of the truths that are self-evident. The actual sense-data are neither true nor false. A particular patch of Colour which I see, for example, simply exists: it is not the sort of thing that is true or false. It is true that there is such a patch, true that it has a certain shape and degree of brightness, true that it is surrounded by certain other Colours. But the patch itself, like everything else in the world of sense, is of a radically different kind from the things that are true or false, and therefore cannot properly be said to be _true_. Thus whatever self-evident truths may be obtained from our senses must be different from the sense-data from which they are obtained.
It would seem that there are two kinds of self-evident truths of perception, though perhaps in the last analysis the two kinds may coalesce. First, there is the kind which simply asserts the _existence_ of the sense-datum, without in any way analysing it. We see a patch of red, and we judge 'there is such-and-such a patch of red', or more strictly 'there is that'; this is one kind of intuitive judgement of perception. The other kind arises when the object of sense is complex, and we subject it to some degree of analysis. If, for instance, we see a
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In our present kind we have a single sense-datum which has both Colour and shape: the Colour is red and the shape is round. Our judgement analyses the datum into Colour and shape, and then recombines them by stating that the red Colour is round in shape. Another example of this kind of judgement is 'this is to the right of that', where 'this' and 'that' are seen simultaneously. In this kind of judgement the sense-datum contains constituents which have some relation to each other, and the judgement asserts that these constituents have this relation.
Another class of intuitive judgements, analogous to those of sense and yet quite distinct from them, are judgements of _memory_. There is some danger of confusion as to the nature of memory, owing to the fact that memory of an object is apt to be accompanied by an image of the object, and yet the image cannot be what constitutes memory. This is easily seen by merely noticing that the image is in the present, whereas what is remembered is known to be in the past. Moreover, we are certainly able to some extent to compare our image with the object remembered, so that we often know, within somewhat wide limits, how far our image is accurate; but this would be impossible, unless the object, as opposed to the image, were in some way before the mind. Thus the essence of memory is not constituted by the image, but by having immediately before the mind an object which is recognized as past. But for the fact of memory in this sense, we should not know that there ever was a past at all, nor should we be able to understand the word 'past', any more than a man born blind can understand the word 'light'. Thus there must be intuitive judgements of memory, and it is upon them, ultimately, that all our knowledge of the past depends.
1.11 - The Kalki Avatar, #Preparing for the Miraculous, #George Van Vrekhem, #Integral Yoga
Going down towards the feet, the Colour became more like
that of the people on the ship, that is to say orange; going
1.11 - The Magical Belt, #The Practice of Magical Evocation, #Franz Bardon, #Occultism
The magical belt is part of the magical garment. Put round the waist it keeps the whole robe together. The belt is made of the same material as the robe and cap, but leather may also be used; it must, however, be of the same Colour as the garment. Magicians of days gone by preferred belts made of lion skin, which they first made into leather and then into a belt. The skin of a lion was the symbol eof power, superiority and dominance. The symbolic meaning of the belt could really be best compared with the domination over the elements, the magical equilibrium. And the upper and lower part of a man's body, kept together in the middle by the belt, symbolizes the scales. The symbol chosen may either be drawn or carved into the leather or it may be embroidered on a silk belt. The symbolic drawing of the equilibrium of the elements and their domination can be made according to the magician's own ideas. He may, for instance, draw a circle and inside it a pentagram with one point upward, and in the middle of the pentagram again a triangle as the symbol of the domination over the elements of the three planes. In the middle of the triangle a cross with two arms of the same length should be drawn as the symbol of the Plus- and Minus-principles and their equilibrium.
Also in this case the magician should go about as he has done with the cap and garment, that is he must sanctify and bless the belt and swear that he will use the belt together with the robe and only for ritual purposes. The belt will be stored away safely, together with the robe, in the same place as the other magical implements.
1.11 - The Soul or the Astral Body, #Initiation Into Hermetics, #Franz Bardon, #Occultism
Therefore this kind of aura is not to be compared with the astral matrix, because between these two conceptions there is a thumping difference. The astral matrix is the connecting substance between body and soul, whilst the aura is the emanation of the action o the elements in the various qualities, having its origin either in the active or in the passive form. This emanation in the whole soul produces a certain vibration corresponding to a certain Colour. On the grounds of this Colour, the adept can exactly recognize his own aura of that of another being with the astral eyes. Backed by this aura, the seer can establish not only a mans basic character, but he also can perceive the action or the polarity of the souls vibration, and influence it eventually. I shall speak of these problems in a more detailed way in a separate chapter relating to introspection. Hence, a mans temperament influences his character, and both together, in their effect as total result, are creating the emanation of the soul or the aura. This is also the reason for high adepts or saints always being represented in the images with a halo identical to the aura we have described.
Besides the character, the temperament and the activity of the electromagnetic fluid, the astral body still has two centres in the brain, the cerebrum being the seat of normal consciousness, whilst in the cerebellum, there is the opposite to the normal consciousness, the sub-conscious. As to their functions, see the chapter concerning the Spirit.
1.11 - Woolly Pomposities of the Pious Teacher, #Magick Without Tears, #Aleister Crowley, #Philosophy
When, in one of those curious fits of indisposition of which you periodically complain, and of which the cause appears to you so obscure, you see pink leopards on the staircase, mmmmm "Ah! the Colour of the King Scale of Tiphareth Oh! the form of Leo, probably in the Queen Scale" and thereby increase your vocabulary by these two items. Then, perhaps, someone suggests that indiscretion in the worship of Dionysus is respon- sible for the observed phenomena well, there's Tiphareth again at once; the Priest, moreover, wears a leopard-skin, and the spots suggest the Sun. Also, Sol is Lord of Leo: so there you are! pink leopards are exactly what you have a right to expect!
Until you have practiced this method, all day and every day, for quite a long while, you cannot tell how amazingly your mnemonic power increases by virtue thereof. But be careful always to range the new ideas as they come along in their right order of importance.
1.12 - BOOK THE TWELFTH, #Metamorphoses, #Ovid, #Poetry
Coal-black his Colour, but like jett it shone;
His legs, and flowing tail were white alone.
1.1.2 - Commentary, #Kena and Other Upanishads, #Sri Aurobindo, #Integral Yoga
obvious such as Colour, light etc., merely operations of Force,
but form itself is only an operation of Force. This Force again
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workings. We see Colour because that is the presentation which
1 Devatmasaktim svagunair nigudham, self-power of the divine Existent hidden by its
1.12 - Further Magical Aids, #The Practice of Magical Evocation, #Franz Bardon, #Occultism
The magician must deal the same way with any further aids which he may want to use for his ritual purposes as he has with the magical implements already described. There is still quite a number of them, and it would lead us too far if I were to deal with each of them in this book, as magical aids depend on the purpose and aim for which they are made. Thus, for instance, the magician needs a special pen, ink, engraving pencil for writing and engraving, needles for embroidering, embroidery-wool and embroidery-silk, parchment paper, Colours, sacrificial blood for certain operations, the so-called holy oil, with which he anoints his implements and himself on certain parts of his body. Salt, incense or other means for incensing; a whip which he uses in much the same way as his magic sword, attri buting to it the same symbolism. Apart from that he needs a chain as the symbol of the relationship of the macrocosm with the microcosm with all its spheres. At the same time the chain is the symbol of the magician's admittance to the great brotherhood of magicians and to the hierarchy of all beings of the macrocosm and microcosm.
The chain may be worn round the neck like a piece of jewellery and indicates that the magician is a member of the association of all true and genuine magicians.
1.12 - God Departs, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
On 9th December, the Light faded and signs of discoloration here and there were visible. Then, according to the Mother's direction, the body was put into a specially prepared rosewood casket lined with silver sheet and satin and the bottom made comfortable with cushions. Sri Aurobindo's body was wrapped in a gold-embroidered cloth. At 5 p.m. the body was carried by the sadhaks to the Ashram courtyard under the Service tree where a cement vault had been under construction from 5th December. Udar climbed down into the vault to receive the casket and put it in its proper position. As the box was lowered a friend of mine said that a prayer sprang spontaneously from his heart: "Now that you have gone physically, assure us that your work will be done." Something made him look up at the Service tree and suddenly he saw against it Sri Aurobindo; his undraped upper body was of a golden Colour. He said firmly with great energy and power in Bengali, "Habe, habe, habe" "It will be done, it will be done, it will be done." Then, as wished by the Mother, Champaklal came first to place a potful of earth upon the slate of the vault, followed by Moni, Nolini and other sadhaks. The ceremony was quiet and solemn. The Mother watched it from the terrace above Dyuman's room. Hundreds of sadhaks stood in the courtyard in silent prayer and consecration. The most blessed Service tree amply fulfils its name by offering the Samadhi day and night, a cool shade and sweet-scented flowers.
Thus came to a close the physical life of the One who, without the world knowing it, worked unceasingly for the world and will continue doing so, careless of human reward of any kind and accepting the success of his mission as the only recompense. Of the latter he was absolutely sure, but were it to end in failure, he said that he would still go on unperturbed, because "I would still have done to the best of my power the work that I had to do, and what is so done counts always in the economy of the universe." Was it the sacrifice that he called, "paying here God's debt to earth and man"? Never has there been recorded in earth-history a phenomenon where a person of Sri Aurobindo's supreme eminence has lived secluded from the world-gaze and quietly and unobtrusively passed away. Such a complete self-effacement can be thought of only of one who is a god or has become a god. It is certain that one day the world will wake up to realise who he was and what it owes to him as it becomes more and more enlightened in its consciousness. Already, some faint glimmerings of that recognition are visible in the Eastern sky, "a long lone line of hesitating hue". His Birth Centenary is knocking at our door. Rabindranath's salutation to him in his political days will turn into a salutation of the whole of humanity as its lover and saviour. The long lone hue will be transformed into a full blaze of the living Sun.
1.12 - Independence, #Raja-Yoga, #Swami Vivkenanda, #unset
16. Things are known on unknown to the mind, being dependent on the Colouring which they give to the mind.
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The whole gist of this theory is that the universe is both mental and material. Both of these are in a continuous state of flux. What is this book? It is a combination of molecules in constant change. One lot is going out, and another coming in; it is a whirlpool, but what makes the unity? What makes it the same book? The changes are rhythmical; in harmonious order they are sending impressions to my mind, and these pieced together make a continuous picture, although the parts are continuously changing. Mind itself is continuously changing. The mind and body are like two layers in the same substance, moving at different rates of speed. Relatively, one being slower and the other quicker, we can distinguish between the two motions. For instance, a train is in motion, and a carriage is moving alongside it. It is possible to find the motion of both these to a certain extent. But still something else is necessary. Motion can only be perceived when there is something else which is not moving. But when two or three things are relatively moving, we first perceive the motion of the faster one, and then that of the slower ones. How is the mind to perceive? It is also in a flux. Therefore another thing is necessary which moves more slowly, then you must get to something in which the motion is still slower, and so on, and you will find no end. Therefore logic compels you to stop somewhere. You must complete the series by knowing something which never changes. Behind this never-ending chain of motion is the Purusha, the changeless, the Colourless, the pure. All these impressions are merely reflected upon it, as a magic lantern throws images upon a screen, without in any way tarnishing it.
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22. Coloured by the seer and the seen the mind is able to understand everything.
On one side of the mind the external world, the seen, is being reflected, and on the other, the seer is being reflected. Thus comes the power of all knowledge to the mind.
1.12 - The Astral Plane, #Initiation Into Hermetics, #Franz Bardon, #Occultism
The astral plane, often designated as the fourth dimensio n, has not been created out of the four elements, but it is a density-degree of the akasa principle, consequently of all that up to now, I the material world occurred, is actually occurring and will occur, and has its origin, regulation and existence. As said before, akasa in its most subtle form is the ether, well known to all of us, in which, amongst other vibrations, electric as well as magnetic ones are propagating. Consequently this vibration-sphere is the origin of light, sound, Colour , rhythm, and life in all tings created. As akasa is the origin of all existing things, all that ever was produced, is being produced and will be produced in the future is reflected in it. Therefore, in the astral plane there is to be seen an emanation of the eternal, having neither a beginning nor an end, as it is timeless and spaceless. The adept who sees his way about this plane may find everything here, no matter if the point in question be in the past, the present or the future. How far this perception will reach depends on the degree of his perfection.
Occultists and spiritualists and most of religions name the astral pane the World beyond. However, the adept knows very well that there is no such thing as Hence and
1.12 - THE FESTIVAL AT PNIHTI, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
MASTER: "You see Her as black because you are far away from Her. Go near and you will find Her devoid of all Colour. The water of a lake appears black from a distance. Go near and take the water in your hand, and you will see that it has no Colour at all.
Similarly, the sky looks blue from a distance. But look at the atmosphere near you; it has no Colour. The nearer you come to God, the more you will realize that He has neither name nor form. If you move away from the Divine Mother, you will find Her blue, like the grass-flower. Is Syama male or female? A man once saw the image of the Divine Mother wearing a sacred thread. He said to the worshipper: 'What? You have put the sacred thread on the Mother's neck!' The worshipper said: 'Brother, I see that you have truly known the Mother. But I have not yet been able to find out whether She is male or female; that is why I have put the sacred thread on Her image.'
"That which is Syama is also Brahman. That which has form, again, is without form.
1.12 - The Left-Hand Path - The Black Brothers, #Magick Without Tears, #Aleister Crowley, #Philosophy
Remember the Fama Fraternitatis: when they opened the Vault which held the Pastos of our Father Christian Rosencreuz, "all these Colours were brilliant and flashing." That is, if one panel measured 10" x 40", the symbol (say, yellow) would occupy 200 square inches, and the background (in that case, violet) the other 200 square inches. Hence they dazzled; the limitation, restriction, demarcation, disappeared; and the result was an equable idea of form and Colour which is beyond physical understanding. (At one time Picasso tried to work out this idea on canvas.) Destroy that equilibrium by one tenmillionth of an inch, and the effect is lost. The unbalanced item stands out like a civilian in the middle of a regiment.
True, this faculty, this feeling for equilibrium must be acquired; but once you have done so, it is an unerring guide. Instant discomfort warns one; the impulse to scratch it (the analogy is too apt to reject!) is irresistible.
1.12 - The Office and Limitations of the Reason, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
This view of human life and of the process of our development, to which subjectivism readily leads us, gives us a truer vision of the place of the intellect in the human movement. We have seen that the intellect has a double working, dispassionate and interested, self-centred or subservient to movements not its own. The one is a disinterested pursuit of truth for the sake of Truth and of knowledge for the sake of Knowledge without any ulterior motive, with every consideration put away except the rule of keeping the eye on the object, on the fact under enquiry and finding out its truth, its process, its law. The other is Coloured by the passion for practice, the desire to govern life by the truth discovered or the fascination of an idea which we labour to establish as the sovereign law of our life and action. We have seen indeed that this is the superiority of reason over the other faculties of man that it is not confined to a separate absorbed action of its own, but plays upon all the others, discovers their law and truth, makes its discoveries serviceable to them and even in pursuing its own bent and end serves also their ends and arrives at a catholic utility. Man in fact does not live for knowledge alone; life in its widest sense is his principal preoccupation and he seeks knowledge for its utility to life much more than for the pure pleasure of acquiring knowledge. But it is precisely in this putting of knowledge at the service of life that the human intellect falls into that confusion and imperfection which pursues all human action. So long as we pursue knowledge for its own sake, there is nothing to be said: the reason is performing its natural function; it is exercising securely its highest right. In the work of the philosopher, the scientist, the savant labouring to add something to the stock of our ascertainable knowledge, there is as perfect a purity and satisfaction as in that of the poet and artist creating forms of beauty for the aesthetic delight of the race. Whatever individual error and limitation there may be, does not matter; for the collective and progressive knowledge of the race has gained the truth that has been discovered and may be trusted in time to get rid of the error. It is when it tries to apply ideas to life that the human intellect stumbles and finds itself at fault.
Ordinarily, this is because in concerning itself with action the intelligence of man becomes at once partial and passionate and makes itself the servant of something other than the pure truth. But even if the intellect keeps itself as impartial and disinterested as possible, and altogether impartial, altogether disinterested the human intellect cannot be unless it is content to arrive at an entire divorce from practice or a sort of large but ineffective tolerantism, eclecticism or sceptical curiosity,still the truths it discovers or the ideas it promulgates become, the moment they are applied to life, the plaything of forces over which the reason has little control. Science pursuing its cold and even way has made discoveries which have served on one side a practical humanitarianism, on the other supplied monstrous weapons to egoism and mutual destruction; it has made possible a gigantic efficiency of organisation which has been used on one side for the economic and social amelioration of the nations and on the other for turning each into a colossal battering-ram of aggression, ruin and slaughter. It has given rise on the one side to a large rationalistic and altruistic humanitarianism, on the other it has justified a godless egoism, vitalism, vulgar will to power and success. It has drawn mankind together and given it a new hope and at the same time crushed it with the burden of a monstrous commercialism. Nor is this due, as is so often asserted, to its divorce from religion or to any lack of idealism. Idealistic philosophy has been equally at the service of the powers of good and evil and provided an intellectual conviction both for reaction and for progress. Organised religion itself has often enough in the past hounded men to crime and massacre and justified obscurantism and oppression.
1.12 - The Superconscient, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
World after Coloured and ecstatic world
Climbs towards some far unseen epiphany.187
1.12 - TIME AND ETERNITY, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
Passing now from theory to historical fact, we find that the religions, whose theology has been least preoccupied with events in time and most concerned with eternity, have been consistently the least violent and the most humane in political practice. Unlike early Judaism, Christianity and Mohammedanism (all of them obsessed with time), Hinduism and Buddhism have never been persecuting faiths, have preached almost no holy wars and have refrained from that proselytizing religious imperialism, which has gone hand in hand with the political and economic oppression c the Coloured peoples. For four hundred years, from the beginning of the sixteenth century to the beginning of the twentieth, most of the Christian nations of Europe have spent a good part of their time and energy in attacking, conquering and exploiting their non-Christian neighbours in other continents. In the course of these centuries many individual churchmen did their best to mitigate the consequences of such iniquities; but none of the major Christian churches officially condemned them. The first collective protest against the slave system, introduced by the English and the Spaniards into the New World, was made in 1688 by the Quaker Meeting of Germantown. This fact is highly significant. Of all Christian sects in the seventeenth century, the Quakers were the least obsessed with history, the least addicted to the idolatry of things in time. They believed that the inner light was in all human beings and that salvation came to those who lived in conformity with that light and was not dependent on the profession of belief in historical or pseudo-historical events, nor on the performance of certain rites, nor on the support of a particular ecclesiastical organization. Moreover their eternity-philosophy preserved them from the materialistic apocalypticism of that progress-worship which in recent times has justified every kind of iniquity from war and revolution to sweated labour, slavery and the exploitation of savages and childrenhas justified them on the ground that the supreme good is in future time and that any temporal means, however intrinsically horrible, may be used to achieve that good. Because Quaker theology was a form of eternity-philosophy, Quaker political theory rejected war and persecution as means to ideal ends, denounced slavery and proclaimed racial equality. Members of other denominations had done good work for the African victims of the white mans rapacity. One thinks, for example, of St. Peter Claver at Cartagena. But this heroically charitable slave of the slaves never raised his voice against the institution of slavery or the criminal trade by which it was sustained; nor, so far as the extant documents reveal, did he ever, like John Woolman, attempt to persuade the slave-owners to free their human chattels. The reason, presumably, was that Claver was a Jesuit, vowed to perfect obedience and constrained by his theology to regard a certain political and ecclesiastical organization as being the mystical body of Christ. The heads of this organization had not pronounced against slavery or the slave trade. Who was he, Pedro Claver, to express a thought not officially approved by his superiors?
Another practical corollary of the great historical eternity-philosophies, such as Hinduism and Buddhism, is a morality inculcating kindness to animals. Judaism and orthodox Christianity taught that animals might be used as things, for the realization of mans temporal ends. Even St. Francis attitude towards the brute creation was not entirely unequivocal. True, he converted a wolf and preached sermons to birds; but when Brother Juniper hacked the feet off a living pig in order to satisfy a sick mans craving for fried trotters, the saint merely blamed his disciples intemperate zeal in damaging a valuable piece of private property. It was not until the nineteenth century, when orthodox Christianity had lost much of its power over European minds, that the idea that it might be a good thing to behave humanely towards animals began to make headway. This new morality was correlated with the new interest in Nature, which had been stimulated by the romantic poets and the men of science. Because it was not founded upon an eternity-philosophy, a doctrine of divinity dwelling in all living creatures, the modern movement in favour of kindness to animals was and is perfectly compatible with intolerance, persecution and systematic cruelty towards human beings. Young Nazis are taught to be gentle with dogs and cats, ruthless with Jews. That is because Nazism is a typical time-philosophy, which regards the ultimate good as existing, not in eternity, but in the future. Jews are, ex hypothesi, obstacles in the way of the realization of the supreme good; dogs and cats are not. The rest follows logically.
1.13 - BOOK THE THIRTEENTH, #Metamorphoses, #Ovid, #Poetry
His Colour blue; for Acis he might pass:
And Acis chang'd into a stream he was,
1.13 - Conclusion - He is here, #Twelve Years With Sri Aurobindo, #Nirodbaran, #Integral Yoga
Let us see now what have been the effects, direct and indirect, of that withdrawal. First of all, by virtue of this tremendous sacrifice the Supramental Light which had been descending into the most outward physical since 1938 but could not be fixed there, was at last fixed in the earth-consciousness. This massive descent into his own body and extending through it into all Matter was a crowning achievement of his Yoga at the expense of his body's sacrifice and an act of unparalleled self-effacement for the sake of the earth-transformation. The next step that was to follow was the great Manifestation which took place in 1956. The Mother is reported to have said after it, "Now my work is done." This means that essentially what she and Sri Aurobindo had been wanting to do was achieved, but the details had to be consciously worked out and a concentrated yoga is required to hasten the evolution. There is no doubt that the Manifestation, so soon in the wake of his departure, was the direct result of Sri Aurobindo's sacrifice. One might argue that it should have been possible without his leaving the body. Quite true, but it was getting delayed, as Sri Aurobindo complained more than once in his letters. Various internal and external circumstances were always hindering it. We have noted in the chapter on Savitri Sri Aurobindo's complaint about his real work being hampered by these factors and yet he could not ignore them. They did not leave him sufficient time for concentration which, he said, was his real work. A drastic measure to deal with all obstruction at its very root seemed called for. This measure would also create the right conditions by which the subtle sheath, free from its physical counterparts, gets its full scope and can work more dynamically from above and behind. Sri Aurobindo could now make the path clear for the Manifestation in 1956. The Mother has said in the Bulletin of Physical Education that we have no idea of the tremendous work Sri Aurobindo has done in the occult worlds as a result of which all the crucial changes are taking place in her body. It will be, therefore, not an error of perception to call his passing away a strategic retreat, nor an emotional hyperbole to call it a sacrifice, a martyrdom. The phenomenon itself that we witnessed was something stupendous, beyond all canons of Science. Whoever has heard of a dead body changing its Colour overnight, becoming charged with a gold-crimson radiance and remaining intact for five days?
The second effect whose purport will not be evident to those who are unfamiliar with Sri Aurobindo's Yoga was, to quote the Mother, "As soon as Sri Aurobindo withdrew from his body, what he had called the Mind of Light got realised here. The Supermind had descended long ago very long ago in the mind and even in the vital: it was working in the physical also, but indirectly through those intermediaries. The question now was about the direct action of the Supermind in the physical. Sri Aurobindo said it could be possible only if the physical mind received the supramental light: the physical mind was the instrument for direct action upon the most material. This physical mind receiving the supramental light Sri Aurobindo called the Mind of Light."[1] It is because the Mother as his supreme collaborator was there to receive the Light and continue his work that Sri Aurobindo could make that holocaust of himself. The holocaust has also had one effect which cannot but be regarded as being eminently in accord with Sri Aurobindo's own vision. It is clear that the Ashram "instead of dwindling after the Master's self-withdrawal has leaped gloriously forward under the Mother's leadership". Earlier Sri Aurobindo's towering personality, though in seclusion, dominated the scene. Now the picture, as I said, is entirely different. We can see that all the world is coming to the Mother and accepting her as the Divine Mother, the Shakti who rules, guides and saves. This is what Sri Aurobindo had wanted and laid down since the Mother took charge of the Ashram, as the prime desideratum of his Supramental Yoga. It has been rendered possible and quickly effective by his unprecedented sacrifice. It is also in keeping with his nature. He had admitted that temperamentally he was always prone to act from behind the veil, the way of the Supreme to move men and forces without their knowledge. His political life, except for a short period, and life in Pondicherry, bear testimony to its truth. So the final retirement was consistent with that disposition and is its highest culmination. This culmination has carried the Mother even more to the forefront. There she stands now and plays the role of Shakti and, as she has said, is doing Sri Aurobindo's work and giving his final dream, of which he has spoken in his Independence Day message, a concrete shape on this earth. Sri Aurobindo constantly helps her from behind. The Mother has said in the Bulletin, as I have stated before, what a vast amount of work Sri Aurobindo has done in the occult field in consequence of which the work of transformation of the physical has become easier. Similarly, can we have any idea of his world-action, particularly in the political field, for example his occult contribution to the liberation of Bangladesh? Let us remember Sri Aurobindo's prophetic voice, "Division must go." His Force has not ceased to act in that direction. On the contrary it is moving powerfully towards the realisation of this prophecy. These are his works on a cosmic scale that we are aware of. In our individual cases too his Presence and his dynamic action have been testified to by devotees and disciples all over India and in the West We hear his voice, get his touch, protection, active intervention. The Mother told me more than once that she always saw Sri Aurobindo working on me. I had a personal proof of his surprisingly direct intervention, saving me from a critical situation that could have otherwise put my sadhana in peril. I have mentioned another occult phenomenon in the preface of my Talks with Sri Aurobindo, Vol. I to illustrate his subtle help. A third small instance will suffice: when the Ashram was passing through a financial difficulty, the Mother reported the matter to Sri Aurobindo. He replied, "Ask Prodyot." And it is well known that Prodyot brings a lot of money for the Ashram.
1.13 - Knowledge, Error, and Probably Opinion, #The Problems of Philosophy, #Bertrand Russell, #Philosophy
Or again: Suppose we are comparing two shades of Colour, one blue and one green. We can be quite sure they are different shades of Colour; but if the green Colour is gradually altered to be more and more like the blue, becoming first a blue-green, then a greeny-blue, then blue, there will come a moment when we are doubtful whether we can see any difference, and then a moment when we know that we cannot see any difference. The same thing happens in tuning a musical instrument, or in any other case where there is a continuous gradation. Thus self-evidence of this sort is a matter of degree; and it seems plain that the higher degrees are more to be trusted than the lower degrees.
In derivative knowledge our ultimate premisses must have some degree of self-evidence, and so must their connexion with the conclusions deduced from them. Take for example a piece of reasoning in geometry. It is not enough that the axioms from which we start should be self-evident: it is necessary also that, at each step in the reasoning, the connexion of premiss and conclusion should be self-evident. In difficult reasoning, this connexion has often only a very small degree of self-evidence; hence errors of reasoning are not improbable where the difficulty is great.
1.13 - Reason and Religion, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
The former attitude has on its positive side played a powerful part in the history of human thought, has even been of a considerable utility in its own waywe shall have to note briefly hereafter how and whyto human progress and in the end even to religion; but its intolerant negations are an arrogant falsity, as the human mind has now sufficiently begun to perceive. Its mistake is like that of a foreigner who thinks everything in an alien country absurd and inferior because these things are not his own ways of acting and thinking and cannot be cut out by his own measures or suited to his own standards. So the thoroughgoing rationalist asks the religious spirit, if it is to stand, to satisfy the material reason and even to give physical proof of its truths, while the very essence of religion is the discovery of the immaterial Spirit and the play of a supraphysical consciousness. So too he tries to judge religion by his idea of its externalities, just as an ignorant and obstreperous foreigner might try to judge a civilisation by the dress, outward Colour of life and some of the most external peculiarities in the social manners of the inhabitants. That in this he errs in company with certain of the so-called religious themselves, may be his excuse, but cannot be the justification of his ignorance. The more moderate attitude of the rational mind has also played its part in the history of human thought. Its attempts to explain religion have resulted in the compilation of an immense mass of amazingly ingenious perversions, such as certain pseudo-scientific attempts to form a comparative Science of Religion. It has built up in the approved modern style immense facades of theory with stray bricks of misunderstood facts for their material. Its mild condonations of religion have led to superficial phases of thought which have passed quickly away and left no trace behind them. Its efforts at the creation of a rational religion, perfectly well-intentioned, but helpless and unconvincing, have had no appreciable effect and have failed like a dispersing cloud, chinnbhram iva nayati.
The deepest heart, the inmost essence of religion, apart from its outward machinery of creed, cult, ceremony and symbol, is the search for God and the finding of God. Its aspiration is to discover the Infinite, the Absolute, the One, the Divine, who is all these things and yet no abstraction but a Being. Its work is a sincere living out of the true and intimate relations between man and God, relations of unity, relations of difference, relations of an illuminated knowledge, an ecstatic love and delight, an absolute surrender and service, a casting of every part of our existence out of its normal status into an uprush of man towards the Divine and a descent of the Divine into man. All this has nothing to do with the realm of reason or its normal activities; its aim, its sphere, its process is suprarational. The knowledge of God is not to be gained by weighing the feeble arguments of reason for or against his existence: it is to be gained only by a self-transcending and absolute consecration, aspiration and experience. Nor does that experience proceed by anything like rational scientific experiment or rational philosophic thinking. Even in those parts of religious discipline which seem most to resemble scientific experiment, the method is a verification of things which exceed the reason and its timid scope. Even in those parts of religious knowledge which seem most to resemble intellectual operations, the illuminating faculties are not imagination, logic and rational judgment, but revelations, inspirations, intuitions, intuitive discernments that leap down to us from a plane of suprarational light. The love of God is an infinite and absolute feeling which does not admit of any rational limitation and does not use a language of rational worship and adoration; the delight in God is that peace and bliss which passes all understanding. The surrender to God is the surrender of the whole being to a suprarational light, will, power and love and his service takes no account of the compromises with life which the practical reason of man uses as the best part of its method in the ordinary conduct of mundane existence. Wherever religion really finds itself, wherever it opens itself to its own spirit,there is plenty of that sort of religious practice which is halting, imperfect, half-sincere, only half-sure of itself and in which reason can get in a word,its way is absolute and its fruits are ineffable.
1.13 - THE MASTER AND M., #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
MASTER (to M.): "Like the ka, Brahman is without any modification. It has become manifold because of akti. Again, Brahman is like fire, which itself has no Colour. The fire appears white if you throw a white substance into it, red if you throw a red, black if you throw a black. The three gunas-sattva, rajas, and tamas-belong to akti alone.
Brahman Itself is beyond the three gunas. What Brahman is cannot be described. It is beyond words. That which remains after everything is eliminated by the Vedantic process of 'Not this, not this', and which is of the nature of Bliss, is Brahman.
--
Thinking of milk, one has to think of its Colour, that is, whiteness, and thinking of the whiteness of milk, one has to think of milk itself. Or they are like water and its wetness. Thinking of water, one has to think of its wetness, and thinking of the wetness of water, one has to think of water.
"This Primal Power, Mahamaya, has covered Brahman. As soon as the covering is withdrawn, one realizes: 'I am what I was before', 'I am Thou; Thou art I'.
1.13 - The Pentacle, Lamen or Seal, #The Practice of Magical Evocation, #Franz Bardon, #Occultism
Pentacles, lamens, seals or talismans to be used for ritual purposes may be made of suitable metals analogous to the beings' sphere, to the elements, planets or signs of the zodiac and the seals or signs engraved on them, or they may be engraved on small wax-plates which the magician has made by himself from pure bee's-wax and afterwards charged. Pentacles, seals and talismans may also be made of parchment and the symbols then painted or drawn on them with the corresponding Colours in drawing ink.
The old grimoires suggest the use of virgin parchment, i. e. the paper made from the skin of a prematurely born calf. The genuine magician will not need such parchment. A piece of common parchment which, by means of his imagination, he has deoded, i. e. freed from all bad influences, will do him the same kind of service. He may also use, for his seal or pentacle, a piece of blotting paper impregnated with a fluid condenser, but, in this case, he cannot draw the symbol with liquid Colours; he must use a soft Coloured pencil, otherwise the Colours will blot when drawing the seals or signs.
The charge of the seal, pentacle, talisman or lamen is done by running the finger over the drawing, and by the help of one's imagination, impregnating it with the desired characteristic. It is clear that by doing this the magician must be in genuine contact with the Supreme, with the Deity, so that it is actually the Deity, and not the magician, who charges the seal etc. via the magician, or the magician's body. Instead of using his finger the magician may also take his magic wand and by its help charge the seal or talisman. That such a talisman etc. will then have magic power goes without doubt, for by this procedure it becomes consecrated and the magician will be quite convinced of its magic effect.
1.13 - The Wood of Thorns. The Harpies. The Violent against themselves. Suicides. Pier della Vigna. Lano and Jacopo da Sant' Andrea., #The Divine Comedy, #Dante Alighieri, #Christianity
Not foliage green, but of a dusky Colour,
Not branches smooth, but gnarled and intertangled,
1.14 - Descendants of Prithu, #Vishnu Purana, #Vyasa, #Hinduism
"We bow to him whose glory is the perpetual theme of every speech; him first, him last; the supreme lord of the boundless world; who is primeval light; who is without his like; indivisible and infinite; the origin of all existent things, movable or stationary. To that supreme being who is one with time, whose first forms, though he be without form, are day and evening and night, be adoration. Glory to him, the life of all living things, who is the same with the moon, the receptacle of ambrosia, drunk daily by the gods and progenitors: to him who is one with the sun, the cause of heat and cold and rain, who dissipates the gloom, and illuminates the sky with his radiance: to him who is one with earth, all-pervading, and the asylum of smell and other objects of sense, supporting the whole world by its solidity. We adore that form of the deity Hari which is water, the womb of the world, the seed of all living beings. Glory to the mouth of the gods, the eater of the Havya; to the eater of the Kavya, the mouth of the progenitors; to Viṣṇu, who is identical with fire; to him who is one with air, the origin of ether, existing as the five vital airs in the body, causing constant vital action; to him who is identical with the atmosphere, pure, illimitable, shapeless, separating all creatures. Glory to Kṛṣṇa, who is Brahmā in the form of sensible objects, who is ever the direction of the faculties of sense. We offer salutation to that supreme Hari who is one with the senses, both subtle and substantial, the recipient of all impressions, the root of all knowledge: to the universal soul, who, as internal intellect, delivers the impressions received by the senses to soul: to him who has the properties of Prakriti; in whom, without end, rest all things; from whom all things proceed; and who is that into which all things resolve. We worship that Puruṣottoma, the god who is pure spirit, and who, without qualities, is ignorantly considered as endowed with qualities. We adore that supreme Brahma, the ultimate condition of Viṣṇu, unproductive, unborn, pure, void of qualities, and free from accidents; who is neither high nor low, neither bulky nor minute, has neither shape, nor Colour, nor shadow, nor substance, nor affection, nor body; who is neither etherial nor susceptible of contact, smell, or taste; who has neither eyes, nor ears, nor motion, nor speech, nor breath, nor mind, nor name, nor race, nor enjoyment, nor splendour; who is without cause, without fear, without error, without fault, undecaying, immortal, free from passion, without sound, imperceptible, inactive, independent of place or time, detached from all investing properties; but (illusively) exercising irresistible might, and identified with all beings, dependent upon none. Glory to that nature of Viṣṇu which tongue can not tell, nor has eye beheld."
Thus glorifying Viṣṇu, and intent in meditation on him, the Pracetasas passed ten thousand years of austerity in the vast ocean; on which Hari, being pleased with them, appeared to them amidst the waters, of the complexion of the full-blown lotus leaf. Beholding him mounted on the king of birds, Garuḍa, the Pracetasas bowed down their heads in devout homage; when Viṣṇu said to them, "Receive the boon you have desired; for I, the giver of good, am content with you, and am present." The Pracetasas replied to him with reverence, and told him that the cause of their devotions was the command of their father to effect the multiplication of mankind. The god, having accordingly granted to them the object of their prayers, disappeared, and they came up from the water.
1.14 - INSTRUCTION TO VAISHNAVS AND BRHMOS, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
"Once a Vedantic monk came here. He used to dance at the sight of a cloud. He would go into an ecstasy of joy over a rain-storm. He would get very angry if, anyone went near him when he meditated. One day I came to him while he was meditating, and that made him very cross. He discriminated constantly, 'Brahman alone is real and the world is illusory.' Since the appearance of diversity is due to maya, he walked about with a prism from a chandelier in his hand. One sees different Colours through the prism; in reality there is no such thing as Colour. Likewise, nothing exists, in reality, except Brahman. But there is an appearance of the manifold because of maya, egoism. He would not look at an object more than once, lest he should be deluded by maya and attachment. He would discriminate, while taking his bath, at the sight of birds flying in the. sky. He knew grammar. He stayed here for three days. One day he heard the sound of a flute near the embankment and said that a man who had realized Brahman would go into samdhi at such a sound."
While talking about the monk, the Master showed his devotees the manners and movements of a paramahamsa: the gait of a child, face beaming with laughter, eyes swimming in joy, and body completely naked. Then he again took his seat on the small couch and poured out his soul-enthralling words.
--
"A certain man had a tub. People would come to him to have their clothes dyed. The tub contained a solution of dye. Whatever Colour a man wanted for his cloth, he would get by dipping the cloth in the tub. One man was amazed to see this and said to the dyer, 'Please give me the dye you have in your tub.' "
Was the Master hinting that people professing different religions would come to him and have their spiritual consciousness awakened according to their own ideals?
1.14 - The Mental Plane, #Initiation Into Hermetics, #Franz Bardon, #Occultism
From this cognition we may draw the conclusion that there are pure electric, pure magnetic, indifferent and neutral ideas from the standpoint of their effect. According to the idea, each thought in the mental sphere has its own form, Colour and vibration.
Through the tetra-polar magnet of the spirit, the thought arrives at the consciousness, from where it is forwarded to realization. Each thing created in the material world consequently has its cause in the ideal world through the thought and the spiritual consciousness, and is reflected therein. If the point in question is not exactly an abstract idea, several forms of ideas can be expressed. Such thoughts are electric or magnetic or electromagnetic, according to the elementary property of the idea.
1.14 - The Structure and Dynamics of the Self, #Aion, #Carl Jung, #Psychology
temperaments, elements, alchemical Colours, and so on. Thus,
when we come upon a quaternio among the Gnostics, we find in
--
vegetable and no fruit appears in the bud but that it hath a green Colour. Like-
wise know that the generation of this thing is green, for which reason the
1.14 - The Succesion to the Kingdom in Ancient Latium, #The Golden Bough, #James George Frazer, #Occultism
of fable, assuming fantastic shapes and gorgeous Colouring as they
passed from earth to heaven. If they were alien immigrants,
1.14 - The Suprarational Beauty, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
And for the same reason, because that which we are seeking through beauty is in the end that which we are seeking through religion, the Absolute, the Divine. The search for beauty is only in its beginning a satisfaction in the beauty of form, the beauty which appeals to the physical senses and the vital impressions, impulsions, desires. It is only in the middle a satisfaction in the beauty of the ideas seized, the emotions aroused, the perception of perfect process and harmonious combination. Behind them the soul of beauty in us desires the contact, the revelation, the uplifting delight of an absolute beauty in all things which it feels to be present, but which neither the senses and instincts by themselves can give, though they may be its channels,for it is suprasensuous,nor the reason and intelligence, though they too are a channel,for it is suprarational, supra-intellectual,but to which through all these veils the soul itself seeks to arrive. When it can get the touch of this universal, absolute beauty, this soul of beauty, this sense of its revelation in any slightest or greatest thing, the beauty of a flower, a form, the beauty and power of a character, an action, an event, a human life, an idea, a stroke of the brush or the chisel or a scintillation of the mind, the Colours of a sunset or the grandeur of the tempest, it is then that the sense of beauty in us is really, powerfully, entirely satisfied. It is in truth seeking, as in religion, for the Divine, the All-Beautiful in man, in nature, in life, in thought, in art; for God is Beauty and Delight hidden in the variation of his masks and forms. When, fulfilled in our growing sense and knowledge of beauty and delight in beauty and our power for beauty, we are able to identify ourselves in soul with this Absolute and Divine in all the forms and activities of the world and shape an image of our inner and our outer life in the highest image we can perceive and embody of the All-Beautiful, then the aesthetic being in us who was born for this end, has fulfilled himself and risen to his divine consummation. To find highest beauty is to find God; to reveal, to embody, to create, as we say, highest beauty is to bring out of our souls the living image and power of God.
***
1.15 - Index, #Aion, #Carl Jung, #Psychology
* Published 1959; 2nd edn., 1968. (Part I: 79 plates, with 29 in Colour.)
9. (continued)
1.15 - On incorruptible purity and chastity to which the corruptible attain by toil and sweat., #The Ladder of Divine Ascent, #Saint John of Climacus, #unset
Truly blessed is he who has acquired perfect insensibility to every body and Colour and beauty.
Not he who has kept his clay undefiled is pure, but he whose members are completely subject to his soul.4
1.15 - The Supramental Consciousness, #Sri Aurobindo or the Adventure of Consciousness, #Satprem, #Integral Yoga
Nothing to the supramental sense is really finite: it is founded on a feeling of all in each and of each in all: its sense definition . . . creates no walls of limitation; it is an oceanic and ethereal sense in which all particular sense knowledge and sensation is a wave or movement or spray or drop that is yet a concentration of the whole ocean and inseparable from the ocean. . . . It is as if the eye of the poet and artist had replaced the vague or trivial unseeing normal vision, but singularly spiritualized and glorified, as if indeed it were the sight of the supreme divine Poet and Artist in which we were participating and there were given to us the full seeing of his truth and intention in his design of the universe and of each thing in the universe. There is an unlimited intensity which makes all that is seen a revelation of the glory of quality and idea and form and Colour. The physical eye seems then to carry in itself a spirit and a consciousness which sees not only the physical aspect of the object but the soul of quality in it, the vibration of energy, the light and force and spiritual substance of which it is made. . . . There is at the same time a subtle change which makes the sight see in a sort of fourth dimension, the character of which is a certain internality, the seeing not only of the superficies and the outward form but of that which informs it and subtly extends around it. The material object becomes to this sight something different from what we now see, not a separate object on the background or in the environment of the rest of Nature but an indivisible part and even in a subtle way an expression of the unity of all that we see. And this unity . . . is that of the identity of the eternal,
the unity of the Spirit. For to the supramental seeing the material world and space and material objects cease to be material in the sense in which we now on the strength of the sole evidence of our limited physical organs . . . receive [them]; . . . they appear and are
1.16 - PRAYER, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
"What God is in Himself, God and his mysteries as they are in themselves the phrases have a Kantian ring. But if Kant was right and the Thing in itself is unknowable, Bourgoing, De Condren and all the other masters of the spiritual life were engaged in a wild goose chase. But Kant was right only as regards minds that have not yet come to enlightenment and deliverance. To such minds Reality, whether material, psychic or spiritual, presents itself as it is darkened, tinged and refracted by the medium of their own individual natures. But in those who are pure in heart and poor in spirit there is no distortion of Reality, because there is no separate selfhood to obscure or refract, no painted lantern slide of intellectual beliefs and hallowed imagery to give a personal and historical Colouring to the white radiance of Eternity. For such minds, as Olier says, even ideas of the saints, of the Blessed Virgin, and the sight of Jesus Christ in his humanity are impediments in the way of the sight of God in his purity. The Thing in itself can he perceived but only by one who, in himself, is no-thing.
By prayer I do not understand petition or supplication which, according to the doctrines of the schools, is exercised principally by the understanding, being a signification of what the person desires to receive from God. But prayer here specially meant is an offering and giving to God whatsoever He may justly require from us.
1.17 - Astral Journey Example, How to do it, How to Verify your Experience, #Magick Without Tears, #Aleister Crowley, #Philosophy
Then you come to a fishmonger, and notice certain crustacea, very mala chostomous. This comes under the same sign of Cancer. The next thing you notice is an amber- Coloured dress in Swan and Edgar's; amber also is the Colour of Cancer in the King's Scale. Now then you have a set of three impressions which is joined together by the fact that they all belong to the Cancer class; experience will soon teach that you can remember all three very much more clearly and accurately than you could any one of the three singly.
You have not increased the burden on your memory, but diminished it.
1.17 - Geryon. The Violent against Art. Usurers. Descent into the Abyss of Malebolge., #The Divine Comedy, #Dante Alighieri, #Christianity
With Colours more, groundwork or broidery
Never in cloth did Tartars make nor Turks,
--
Which certain Colour had, and certain blazon;
And thereupon it seems their eyes are feeding.
1.17 - Religion as the Law of Life, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
A certain pre-eminence of religion, the overshadowing or at least the Colouring of life, an overtopping of all the other instincts and fundamental ideas by the religious instinct and the religious idea is, we may note, not peculiar to Asiatic civilisations, but has always been more or less the normal state of the human mind and of human societies, or if not quite that, yet a notable and prominent part of their complex tendencies, except in certain comparatively brief periods of their history, in one of which we find ourselves today and are half turning indeed to emerge from it but have not yet emerged. We must suppose then that in this leading, this predominant part assigned to religion by the normal human collectivity there is some great need and truth of our natural being to which we must always after however long an infidelity return. On the other hand, we must recognise the fact that in a time of great activity, of high aspiration, of deep sowing, of rich fruit-bearing, such as the modern age with all its faults and errors has been, a time especially when humanity got rid of much that was cruel, evil, ignorant, dark, odious, not by the power of religion, but by the power of the awakened intelligence and of human idealism and sympathy, this predominance of religion has been violently attacked and rejected by that portion of humanity which was for that time the standard bearer of thought and progress, Europe after the Renascence, modern Europe.
This revolt in its extreme form tried to destroy religion altogether, boasted indeed of having killed the religious instinct in man,a vain and ignorant boast, as we now see, for the religious instinct in man is most of all the one instinct in him that cannot be killed, it only changes its form. In its more moderate movements the revolt put religion aside into a corner of the soul by itself and banished its intermiscence in the intellectual, aesthetic, practical life and even in the ethical; and it did this on the ground that the intermiscence of religion in science, thought, politics, society, life in general had been and must be a force for retardation, superstition, oppressive ignorance. The religionist may say that this accusation was an error and an atheistic perversity, or he may say that a religious retardation, a pious ignorance, a contented static condition or even an orderly stagnation full of holy thoughts of the Beyond is much better than a continuous endeavour after greater knowledge, greater mastery, more happiness, joy, light upon this transient earth. But the catholic thinker cannot accept such a plea; he is obliged to see that so long as man has not realised the divine and the ideal in his life, and it may well be even when he has realised it, since the divine is the infinite,progress and not unmoving status is the necessary and desirable law of his life,not indeed any breathless rush after novelties, but a constant motion towards a greater and greater truth of the spirit, the thought and the life not only in the individual, but in the collectivity, in the communal endeavour, in the turn, ideals, temperament, make of the society, in its strivings towards perfection. And he is obliged too to see that the indictment against religion, not in its conclusion, but in its premiss had something, had even much to justify it,not that religion in itself must be, but that historically and as a matter of fact the accredited religions and their hierarchs and exponents have too often been a force for retardation, have too often thrown their weight on the side of darkness, oppression and ignorance, and that it has needed a denial, a revolt of the oppressed human mind and heart to correct these errors and set religion right. And why should this have been if religion is the true and sufficient guide and regulator of all human activities and the whole of human life?
1.17 - SUFFERING, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
I saw a mass of matter of a dull gloomy Colour between the North and the East, and was informed that this mass was human beings, in as great misery as they could be, and live; and that I was mixed up with them and henceforth I must not consider myself as a distinct or separate being.
John Woolman
1.17 - The Divine Soul, #The Life Divine, #Sri Aurobindo, #Integral Yoga
1:BY THE conception we have formed of the Supermind, by its opposition to the mentality on which our human existence is based, we are able not only to form a precise instead of a vague idea of divinity and the divine life, - expressions which we are otherwise condemned to use with looseness and as the vague wording of a large but almost impalpable aspiration, - but also to give these ideas a firm basis of philosophical reasoning, to put them into a clear relation with the humanity and the human life which is all we at present enjoy and to justify our hope and aspiration by the very nature of the world and of our own cosmic antecedents and the inevitable future of our evolution. We begin to grasp intellectually what is the Divine, the eternal Reality, and to understand how out of it the world has come. We begin also to perceive how inevitably that which has come out of the Divine must return to the Divine. We may now ask with profit and a chance of clearer reply how we must change and what we must become in order to arrive there in our nature and our life and our relations with others and not only through a solitary and ecstatic realisation in the profundities of our being. Certainly, there is still a defect in our premisses; for we have so far been striving to define for ourselves what the Divine is in its descent towards limited Nature, whereas what we ourselves actually are is the Divine in the individual ascending back out of limited Nature to its own proper divinity. This difference of movement must involve a difference between the life of the gods who have never known the fall and the life of man redeemed, conqueror of the lost godhead and bearing within him the experience and it may be the new riches gathered by him from his acceptance of the utter descent. Nevertheless, there can be no difference of essential characteristics, but only of mould and Colouring. We can already ascertain on the basis of the conclusions at which we have arrived the essential nature of the divine life towards which we aspire.
2:What then would be the existence of a divine soul, not descended into the ignorance by the fall of Spirit into Matter and the eclipse of soul by material Nature? What would be its consciousness, living in the original Truth of things, in the inalienable unity, in the world of its own infinite being, like the Divine Existence itself, but able by the play of the Divine Maya and by the distinction of the comprehending and apprehending Truth-Consciousness to enjoy also difference from God at the same time as unity with Him and to embrace difference and yet oneness with other divine souls in the infinite play of the self-multiplied Identical?
1.18 - Evocation, #The Practice of Magical Evocation, #Franz Bardon, #Occultism
1. If he intends to call a spirit being of a certain sphere into his sphere, no matter whether he calls it into the triangle, the mirror, or into a fluid condenser, he must bear in mind that the being is only able to move about in an atmosphere appropriate to its own sphere. He therefore must artifically create the spheric atmosphere by accumulating the light, the material of the sphere, either into the triangle, or preferably into the whole room in which he is working. If working with a magic mirror it has to be impregnated or condensed respectively with the according light material of the sphere. When operating in the open air, the impregnation must be kept within such limits that the beings or powers that are to manifest themselves have sufficient room to move about. The accumulated or impregnated light must have a Colour which is in accordance with the Colour-law of the individual planet. I have already given the reader and student a detailed information on this question of impregnating or accumulating light in space in "Initiation into Hermetics" in the chapter dealing with space-impregnation. If, for instance, a being of the Moon-sphere is evoked outside oneself, the light, or rather the material to be accumulated, must be of a silvery white Colour; in the case of a being of Mercury the light-material must be opalescent; beings from Venus must have a green, beings from the Sun a golden yellow, from Mars a red, from Jupiter a blue, from Saturn a violet light, etc.
If, for instance, the magician calls a being of the earth-element, he must get the element of the earth into the magic triangle or the magic mirror by the help of his imagination. If he wants to call to him a being from the Moon, he must create the vibration of the Moon sphere. No being is able to dwell in a sphere not appropriate to it. If, in case of citation, this principle is not adhered to, a being might be forced to come to our physical sphere, but it would, in such a case, have to create, by itself, the necessary spheric vibration. The magician would, in this case, lose his control over the being, and his authority, too, would suffer from such a failure, for the being would consider the magician as not perfect and would therefore not pay him respect and would refuse to obey him. Strictly adhering to and acting according to this principle is most important when evocations are carried out, and this must never be forgotten by a true magician.
1.18 - The Eighth Circle, Malebolge The Fraudulent and the Malicious. The First Bolgia Seducers and Panders. Venedico Caccianimico. Jason. The Second Bolgia Flatterers. Allessio Interminelli. Thais., #The Divine Comedy, #Dante Alighieri, #Christianity
Wholly of stone and of an iron Colour,
As is the circle that around it turns.
1.18 - The Perils of the Soul, #The Golden Bough, #James George Frazer, #Occultism
accident happened, and there strews rice, which has been Coloured
yellow, while she utters the words, "Cluck! cluck! soul! So-and-so
--
fantastic Colours or giving moustaches to a sleeping woman. For when
the soul returns it will not know its own body, and the person will
1.19 - Dialogue between Prahlada and his father, #Vishnu Purana, #Vyasa, #Hinduism
On hearing this, Hiraṇyakaśipu started up from his throne in a fury, and spurned his son on the breast with his foot. Burning with rage, he wrung his hands, and exclaimed, "Ho Viprachitti! ho Rāhu! ho Bali[2]! bind him with strong bands[3], and cast him into the ocean, or all the regions, the Daityas and Dānavas, will become converts to the doctrines of this silly wretch. Repeatedly prohibited by us, he still persists in the praise of our enemies. Death is the just retribution of the disobedient." The Daityas accordingly bound the prince with strong bands, as their lord had commanded, and threw him into the sea. As he floated on the waters, the ocean was convulsed throughout its whole extent, and rose in mighty undulations, threatening to submerge the earth. This when Hiraṇyakaśipu observed, he commanded the Daityas to hurl rocks into the sea, and pile them closely on one another, burying beneath their iñcumbent mass him whom fire would not burn, nor weapons pierce, nor serpents bite; whom the pestilential gale could not blast, nor poison nor magic spirits nor incantations destroy; who fell from the loftiest heights unhurt; who foiled the elephants of the spheres: a son of depraved heart, whose life was a perpetual curse. "Here," he cried, "since he cannot die, here let him live for thousands of years at the bottom of the ocean, overwhelmed by mountains. Accordingly the Daityas and Dānavas hurled upon Prahlāda, whilst in the great ocean, ponderous rocks, and piled them over him for many thousand miles: but he, still with mind undisturbed, thus offered daily praise to Viṣṇu, lying at the bottom of the sea, under the mountain heap. "Glory to thee, god of the lotus eye: glory to thee, most excellent of spiritual things: glory to thee, soul of all worlds: glory to thee, wielder of the sharp discus: glory to the best of Brahmans; to the friend of Brahmans and of kine; to Kṛṣṇa, the preserver of the world: to Govinda be glory. To him who, as Brahmā, creates the universe; who in its existence is its preserver; be praise. To thee, who at the end of the Kalpa takest the form of Rudra; to thee, who art triform; be adoration. Thou, Achyuta, art the gods, Yakṣas, demons, saints, serpents, choristers and dancers of heaven, goblins, evil spirits, men, animals, birds, insects, reptiles, plants, and stones, earth, water, fire, sky, wind, sound, touch, taste, Colour, flavour, mind, intellect, soul, time, and the qualities of nature: thou art all these, and the chief object of them all. Thou art knowledge and ignorance, truth and falsehood, poison and ambrosia. Thou art the performance and discontinuance of acts[4]: thou art the acts which the Vedas enjoin: thou art the enjoyer of the fruit of all acts, and the means by which they are accomplished. Thou, Viṣṇu, who art the soul of all, art the fruit of all acts of piety. Thy universal diffusion, indicating might and goodness, is in me, in others, in all creatures, in all worlds. Holy ascetics meditate on thee: pious priests sacrifice to thee. Thou alone, identical with the gods and the fathers of mankind, receivest burnt-offerings and oblations[5]. The universe is thy intellectual form[6]; whence proceeded thy subtile form, this world: thence art thou all subtile elements and elementary beings, and the subtile principle, that is called soul, within them. Hence the supreme soul of all objects, distinguished as subtile or gross, which is imperceptible, and which cannot be conceived, is even a form of thee. Glory be to thee, Puruṣottama; and glory to that imperishable form which, soul of all, is another manifestation[7] of thy might, the asylum of all qualities, existing in all creatures. I salute her, the supreme goddess, who is beyond the senses; whom the mind, the tongue, cannot define; who is to be distinguished alone by the wisdom of the truly wise. Om! salutation to Vāsudeva: to him who is the eternal lord; he from whom nothing is distinct; he who is distinct from all. Glory be to the great spirit again and again: to him who is without name or shape; who sole is to be known by adoration; whom, in the forms manifested in his descents upon earth, the dwellers in heaven adore; for they behold not his inscrutable nature. I glorify the supreme deity Viṣṇu, the universal witness, who seated internally, beholds the good and ill of all. Glory to that Viṣṇu from whom this world is not distinct. May he, ever to be meditated upon as the beginning of the universe, have compassion upon me: may he, the supporter of all, in whom every thing is warped and woven[8], undecaying, imperishable, have compassion upon me. Glory, again and again, to that being to whom all returns, from whom all proceeds; who is all, and in whom all things are: to him whom I also am; for he is every where; and through whom all things are from me. I am all things: all things are in me, who am everlasting. I am undecayable, ever enduring, the receptacle of the spirit of the supreme. Brahma is my name; the supreme soul, that is before all things, that is after the end of all. ootnotes and references:
[1]: These are the four Upāyas, 'means of success,' specified in the Amera-koṣa.
1.19 - GOD IS NOT MOCKED, #The Perennial Philosophy, #Aldous Huxley, #Philosophy
The Colour of his jewel grows less and less.
Jalal-uddin Rumi
1.19 - On Talking, #unset, #Arthur C Clarke, #Fiction
When the Colour is forgotten and the vessel is no more.
1.19 - The Practice of Magical Evocation, #The Practice of Magical Evocation, #Franz Bardon, #Occultism
Venus-intelligence called HAGIEL. The magician will, of course, proceed in the same manner in respect of any other spirit being or intelligence; however, he will always have to take into consideration the laws of analogy effective in each individual sphere in respect of the accumulation of Coloured light.
Before the magician begins the actual evocation he must know in advance exactly, apart from having worked out a precise plan, from which plane or sphere he intends to call a being, or intelligence, and what he indends to ask from it. In part two of this book, dealing with the hierarchy of beings, the magician will find a number of good, (i. e. positive) beings of various individual spheres, a large selection, enabling him to choose the being, according to his wish, which will help him to realize his plans. It must be understood, however, that this book by no means gives the reader complete information on all beings and intelligences, for there are thousands of them in each plane and sphere. But the intelligences mentioned will be, in general, sufficient for practical work.
--
Finally you put round your head your magus-band or put on the magic headgear with a feeling of true relationship to God, and that not you as a magician, but that God is actually carrying through the whole operation. You must unite yourself with the divine principle inside you in such a way that you have the feeling that you are the deity itself. Having done all this, you are able to go a further step in your operation. You light the magic lamp, which, in our case, must fill the room with a lightgreen light. Set the magic lamp in a place round which you will be able to draw the magic circle or hang it up in the centre of the room. This does not mean that the lamp must be exactly in the centre of the room though it would have the advantage that the whole room gets an equal light. Your next task will be the setting up and impregnation of the magic mirror, if you like, of two magic mirrors. In this example instructions are given for the use of two mirrors. One mirror is to bring about the materialization of Hagiel in the physical world, the other is to keep off unwanted influences. Being conscious of the fact that not you, but the deity is carrying out the procedure, you create, by the help of the imagination, a great sea of light in a wonderful emerald Colour, which, also by imagination, you accumulate from the whole universe into the mirror in a manner that the whole surface of the mirror is taken up by this Colour. The power of illumination of the condensed green light must be so strong as to illuminate completely the room in which you work. At that moment you must have the imaginative impression that this accumulated light is actually a power matrix, a fluid, which can almost be seen by the physical eye. In any case you must have the permanent impression that you are moving about in the room in an oscillation of green light. This is the way to prepare, magically, the room for the being to be evoked, and in a room like this there will be no more obstacles for the being and it will feel the atmosphere of its own sphere. Already at the moment you accumulate the light you concentrate on the idea that the purpose of this accumulation is to condense the evoked spirit being in a manner that you can see it with your physical eyes and hear it with your physical ears. The stronger your imagination, belief, will and conviction, the better condensed and truer Hagiel will appear to you. When impregnating the room, do not forget to include that you wish the accumulated planetary light-power to remain in the mirror and in the room until you dissolve it again by force of your imagination.
Similar examples are given in "Initiation into Hermetics" in the chapter dealing with room-impregnation and here you find the evidence that all the exercises and magic operations of that first work have their special purpose. You will also see that when carrying out further magical operations you will not be able to do without any of these practices. If you have not actively gone through the exercises of the first book you are unable to get into conscious contact with any spirit being outside you, or of materialising such a being.
Now you start impregnating the other mirror by charging it with the Akasha-principle. Project, by force of imagination, into the surface of the mirror, which previously has been covered with a fluid condenser, the desire that not any disturbing being, not any unwanted power or the like will penetrate into your workroom, into your evocational operating-room. This has been the second step of your evocation. The room in which you work is now appropriately impregnated. However, you have yet another possibility: you can impregnate the mirror that you intend to use for keeping off unwanted influences with the wish that the being you want to evoke must appear in it. This impregnation, of course, must have accumulated light in the relevant planetary Colour. In our case it must be green.
Now take a piece of blotting paper and cut into the shape of a heptagon. * In its middle draw with green ink, or what is even better, with a green Coloured pencil, the seal of Hagiel. (See picture below**). Symbolically redraw the seal with your magic wand or with the finger, concentrating into the seal Hagiel's qualities, which are luck, love, friendship etc. Before the operation you can let the blotting paper soak in a fluid condenser and get dry again.
Moreover you must concentrate on the idea that this intelligence is allied to the sign and will react to it at any time and be always willing to perform that which you, the magician, want it to perform. You must be aware of the fact that it is not you who draws the afore-mentioned sign, but God, and that therefore the intelligence will render absolute obedience to God. With this meditative attitude in mind, a failure is quite impossible. Your
1.19 - The Victory of the Fathers, #The Secret Of The Veda, #Sri Aurobindo, #Integral Yoga
Bull milks the pure shining teat." The symbolic opposition between the shining white purity of the One who is the source, seat, foundation and the variegated Colouring of the Life manifested
210
1.200-1.224 Talks, #Talks, #Sri Ramana Maharshi, #Hinduism
The yogis are said to see photisms of Colours and lights preliminary to Self-Realisation by the practice of yoga.
Once before Goddess Parvati practised austerities for realising the
1.201 - Socrates, #Symposium, #Plato, #Philosophy
211e suppose it would be like, she said, for someone actually to see the beautiful itself, separate, clear and pure, unsullied by the flesh or by Colour or by the rest of our mortal dross, but to perceive the beautiful itself, single in substance and divine? Do you think, she continued,
212a that a person who directs his gaze to that object and contemplates it with that faculty by which it has to be viewed,201 and stays close to it, has a poor life? Do you not reflect, she went on, that it is there alone, when he sees the beautiful with that by which it has to be viewed, that he will give birth to true virtue? He will give birth not to mere images of virtue but to true virtue, because it is not an image that he is grasping but the truth. When he has given birth to and nurtured true virtue it is possible for him to be loved by the gods and to become, if any human can, immortal himself.
1.2.01 - The Call and the Capacity, #Letters On Yoga II, #Sri Aurobindo, #Integral Yoga
What you write [about the urge of the soul] is quite accurate about the true soul, the psychic being. But people mean different things when they speak of the soul. Sometimes it is what I have called in the Arya the desire soul, - that is the vital with its mixed aspirations, desires, hungers of all kinds good and bad, its emotions, finer and grosser, or sensational urges crossed by the mind's idealisings and psychic stresses. But sometimes it is also the mind and vital under the stress of a psychic urge. The psychic so long as it is veiled must express itself through the mind and vital and its aspirations are mixed and Coloured there by the vital and mental stuff. Thus the veiled psychic urge may express itself in the mind by a hunger in the thought for the knowledge of the Divine, what the Europeans call the intellectual love of God.
In the vital it may express itself as a hunger or hankering after the Divine. This can bring much suffering because of the nature of the vital, its unquiet passions, desires, ardours, troubled emotions, cloudings, depressions, despairs. The psychic can have a psychic sorrow when things go against its diviner yearnings, but this sorrow has in it no touch of torment, depression or despair. Nevertheless all cannot approach, at least cannot at once approach the Divine in the pure psychic way - the mental and vital approaches are often necessary beginnings and better from the spiritual point of view than an insensitiveness to the
Divine. It is in both cases a call of the soul, the soul's urge - it only takes a form or Colour due to the stress of the mind or vital nature.
The Call and the Capacity
12.01 - The Return to Earth, #Savitri, #Sri Aurobindo, #Integral Yoga
As if a Coloured wave upon the eye
The brilliant strenuous crowded days of man.
12.07 - The Double Trinity, #Collected Works of Nolini Kanta Gupta - Vol 04, #Nolini Kanta Gupta, #Integral Yoga
Behind this physical person figured in physical body there is the subtle person and it expresses itself in a subtle body. The subtle body, because it is subtle, does not mean that it is formless. This too has a form which has not the rigidity of the material body, is not bound like the physical body in a contour of fixed unchangeable unchanging lineament. The form, supple and flexible, changes in shape and Colourlike a mass of cloud according to the nature of its movements and activities and yet maintains its identity and is recognisable as a distinct person from others. Here the movements are free and almost unchecked and one can go far in the direction of the bad and the wrong as also towards the good and the beneficent. It is difficult for this person to make the choice. In the physical body such a choice is made by the mental will, in the subtle body the mental will if it remains intact is one among many forces of equal strength.
But the saving grace lies in the third person which is the Divine Person, man's true person and real identity. This is composed of true consciousness, true force, and the supreme truth of being, the delight and immortality. This is as we call it man's psychic being or soul.
1.20 - Talismans - The Lamen - The Pantacle, #Magick Without Tears, #Aleister Crowley, #Philosophy
I used often to make the background of my Talismans of four concentric circles, painting then, the first (inmost) in the King (or Knight) scale, the second in the Queen, the third in the Prince, and the outermost in the Princess scale, of the Sign, Planet, or Element to which I was devoting it. On this, preferably in the "flashing" Colours, I would paint the appropriate Names and Figures.
Lastly, the Talisman may be surrounded with a band inscribed with a suit- able "versicle" chosen from some Holy book, or devised by the Magician to suit the case.
1.21 - Tabooed Things, #The Golden Bough, #James George Frazer, #Occultism
on each of three strings of different Colours. So an Arab maiden,
who had lost her heart to a certain man, tried to gain his love and
1.22 - ADVICE TO AN ACTOR, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
MASTER (to the actor): "You asked me about Self-realization. Longing is the means of realizing tman. A man must strive to attain God with all his body, with all his mind, and with all his speech. Because of an excess of bile one gets jaundice. Then one sees everything as yellow; one perceives no Colour but yellow. Among you actors, those who take only the roles of women acquire the nature of a woman; by thinking of woman your ways and thoughts become womanly. Just so, by thinking day and night of God one acquires the nature of God.
"The mind is like white linen just returned from the laundry. It takes on the Colour you dip it in."
ACTOR: "But it must first be sent to the laundry."
MASTER: "Yes. First is the purification of the mind. Afterwards, if you direct the mind to the contemplation of God, it will be Coloured by God-Consciousness. Again, if you direct the mind to worldly duties, such as the acting of a play, it will be Coloured by worldliness."
Sri Ramakrishna had rested on his bed only a few minutes when Hari, Narayan, Narendra Bannerji, and other devotees arrived from Calcutta and saluted him. Narendra Bannerji was the son of the professor of Sanskrit at the Presidency College of Calcutta.
1.22 - Tabooed Words, #The Golden Bough, #James George Frazer, #Occultism
quality, such as a bird, a beast, a tree, a plant, a Colour, and so
on. Now, whenever one of these common words forms the name or part
1.23 - FESTIVAL AT SURENDRAS HOUSE, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
Black is the Colour that I love.
From earliest childhood I have loved it.
1.23 - Improvising a Temple, #Magick Without Tears, #Aleister Crowley, #Philosophy
This should then be painted in the correct Colours on the floor: the Kether Square to the North, your "East."
The Altar must fit exactly the square of Tiphareth; it is best made as a cupboard; of oak or acacia, by preference. It can then be used to hold reserves of incense and other requisites.
1.240 - 1.300 Talks, #Talks, #Sri Ramana Maharshi, #Hinduism
D.: There are, say, beautiful Colours. It is a pleasure to watch them.
We can see God in them.
--
D.: There are more than Colours. I mentioned Colours only as an example.
M.: They are also similarly mental.
1.240 - Talks 2, #Talks, #Sri Ramana Maharshi, #Hinduism
D.: There are, say, beautiful Colours. It is a pleasure to watch them.
We can see God in them.
--
D.: There are more than Colours. I mentioned Colours only as an example.
M.: They are also similarly mental.
--
Jnani. The ego is simply wrong identity of the Self with the non-self, as in the case of a Colourless crystal and its Coloured background. The crystal though Colourless appears red because of its background. If the background is removed the crystal shines in its original purity. So it is with the Self and the antahkaranas.
Still again the illustration is not quite appropriate. For the ego has its source from the Self and is not separate like the background from the crystal. Having its source from the Self, the ego must only be retraced in order that it might merge in its source.
1.24 - The Advent and Progress of the Spiritual Age, #The Human Cycle, #Sri Aurobindo, #Integral Yoga
For the way that humanity deals with an ideal is to be satisfied with it as an aspiration which is for the most part left only as an aspiration, accepted only as a partial influence. The ideal is not allowed to mould the whole life, but only more or less to Colour it; it is often used even as a cover and a plea for things that are diametrically opposed to its real spirit. Institutions are created which are supposed, but too lightly supposed to embody that spirit and the fact that the ideal is held, the fact that men live under its institutions is treated as sufficient. The holding of an ideal becomes almost an excuse for not living according to the ideal; the existence of its institutions is sufficient to abrogate the need of insisting on the spirit that made the institutions. But spirituality is in its very nature a thing subjective and not mechanical; it is nothing if it is not lived inwardly and if the outward life does not flow out of this inward living. Symbols, types, conventions, ideas are not sufficient. A spiritual symbol is only a meaningless ticket, unless the thing symbolised is realised in the spirit. A spiritual convention may lose or expel its spirit and become a falsehood. A spiritual type may be a temporary mould into which spiritual living may flow, but it is also a limitation and may become a prison in which it fossilises and perishes. A spiritual idea is a power, but only when it is both inwardly and outwardly creative. Here we have to enlarge and to deepen the pragmatic principle that truth is what we create, and in this sense first, that it is what we create within us, in other words, what we become. Undoubtedly, spiritual truth exists eternally beyond independent of us in the heavens of the spirit; but it is of no avail for humanity here, it does not become truth of earth, truth of life until it is lived. The divine perfection is always there above us; but for man to become divine in consciousness and act and to live inwardly and outwardly the divine life is what is meant by spirituality; all lesser meanings given to the word are inadequate fumblings or impostures.
This, as the subjective religions recognise, can only be brought about by an individual change in each human life. The collective soul is there only as a great half-subconscient source of the individual existence; if it is to take on a definite psychological form or a new kind of collective life, that can only come by the shaping growth of its individuals. As will be the spirit and life of the individuals constituting it, so will be the realised spirit of the collectivity and the true power of its life. A society that lives not by its men but by its institutions, is not a collective soul, but a machine; its life becomes a mechanical product and ceases to be a living growth. Therefore the coming of a spiritual age must be preceded by the appearance of an increasing number of individuals who are no longer satisfied with the normal intellectual, vital and physical existence of man, but perceive that a greater evolution is the real goal of humanity and attempt to effect it in themselves, to lead others to it and to make it the recognised goal of the race. In proportion as they succeed and to the degree to which they carry this evolution, the yet unrealised potentiality which they represent will become an actual possibility of the future.
1.25 - ADVICE TO PUNDIT SHASHADHAR, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
"Listen to a story. Once a woman went to see her weaver friend. The weaver, who had been spinning different kinds of silk thread, was very happy to see her friend and said to her: 'Friend, I can't tell you how happy I am to see you. Let me get you some refreshments.' She left the room. The woman looked at the threads of different Colours and was tempted. She hid a bundle of thread under one arm. The weaver returned presently with the refreshments and began to feed her guest with great enthusiasm. But, looking at the thread, she realized that her friend had taken a bundle. Hitting upon a plan to get it back, she said: 'Friend, it is so long since I have seen you. This is a day of great joy for me. I feel very much like asking you to dance with me.' The friend said, 'Sister, I am feeling very happy too.' So the two friends began to dance together. When the weaver saw that her friend danced without raising her hands, she said: 'Friend, let us dance with both hands raised. This is a day of great joy.' But the guest pressed one arm to her side and danced raising only the other. The weaver said: 'How is this, friend?
Why should you dance with only one hand raised? Dance with me raising both hands.
--
MASTER (with a laugh): "No! No! It is brown as a cockroach. Just the right Colour."
HAZRA: "The sweetmeat is well cooked. It has become spongy. Now it will soak up the syrup nicely."
1.25 - Fascinations, Invisibility, Levitation, Transmutations, Kinks in Time, #Magick Without Tears, #Aleister Crowley, #Philosophy
In certain types of animal there appears, if tradition have any weight, to be a curious quality of sympathy? I doubt if that be the word, but can think of none better which enables them to assume at times the human form. No. 1 and the rest are also rans is the seal. There is a whole body of literature about this. Then come wolves, hyaenas, large dogs of the hunting type; occasionally leopards. Tales of cats and serpents are usually the other way round; it is the human (nearly always female) that assumes these shapes by witchcraft. But in ancient Egypt they literally doted on this sort of thing. The papyri are full of formulas for operating such transmutations. But I think that this was mostly to afford some relaxation for the spirit of the dead man; he nipped out of his sarcophagus, and painted the town all the Colours of the rainbow in one animal shape or another.
The only experience I have of anything of this sort was when I was in Pacific waters, mostly at Honolulu or in Nippon. I was practising Astral projection. A sister of the Order who lived in Hong Kong helped me. I was to visit her, and the token of perfect success was to be that I should knock a vase off the mantel-piece. We appointed certain days and hours with some awkwardness, as my time-distance from her was constantly growing shorter for me to pay my visit. We got some remarkable results; our records of the interview used to tally with surprising accuracy; but the vase remained intact!
1.25 - Vanni Fucci's Punishment. Agnello Brunelleschi, Buoso degli Abati, Puccio Sciancato, Cianfa de' Donati, and Guercio Cavalcanti., #The Divine Comedy, #Dante Alighieri, #Christianity
They had been made, and intermixed their Colour;
Nor one nor other seemed now what he was;
--
Upward along the paper a brown Colour,
Which is not black as yet, and the white dies.
--
With a new Colour, and engenders hair
On one of them and depilates the other,
1.26 - On discernment of thoughts, passions and virtues, #The Ladder of Divine Ascent, #Saint John of Climacus, #unset
Just as eyes have different Coloured lights in them, so in the soul many different overshadowings of the spiritual Sun occur. One kind comes through bodily tears, another through the tears of the soul; one kind through what is contemplated by the bodily eyes, another through the spiritual. One kind comes from hearing words, another is the joy that spontaneously springs up in the soul; also there is one kind that comes from silence, and another which by rapture ineffably and unexpectedly transports the mind in spiritual light to Christ.
There are virtues, and there are mothers of virtues. So a wise man strives rather to obtain the latter. The Teacher of the mother-virtues is God Himself through His own action, while there are plenty of teachers for the daughter-virtues.
1.27 - AT DAKSHINESWAR, #The Gospel of Sri Ramakrishna, #Sri Ramakrishna, #Hinduism
"Mere dry knowledge is like an ordinary rocket: it bursts into a few sparks and then dies out. But the Knowledge of sages like Nrada and Sukadeva is like a good rocket: for a while it showers balls of different Colours, and then it stops; again it throws out new balls, and again it stops; and thus it goes on. Those sages had prema for God. Prema is the rope by which one can reach Satchidananda."
The Master finished his midday meal and rested a few minutes. Bhavanath, M., the Mukherji brothers, Hazra, and several other devotees sat down under the bakul-tree and began to converse. The Master stopped there awhile on his way to the pine-grove.
1.27 - Structure of Mind Based on that of Body, #Magick Without Tears, #Aleister Crowley, #Philosophy
This is a case where "clean thinking" is most absolutely helpful. The truth is of exquisite texture; it blazons the escutcheon of the Unity of Nature in such delicate yet forceful Colours that the Postulant may well come thereby to the Opening of the Trance of Wonder; yet religious theories and personal pernicketiness have erected against its impact the very stoutest of their hedgehogs of prejudice.
Who shall help us here? Not the sonorous Vedas, not the Upanishads, Not Apollonius, Plotinus, Ruysbroeck, Molinos; not any gleaner in the field of priori; no, a mere devotee of natural history and biology: Ernst Haeckel.
1.28 - Supermind, Mind and the Overmind Maya, #The Life Divine, #Sri Aurobindo, #Integral Yoga
3:But if such intervening gradations exist, it is clear that they must be superconscient to human mind which does not seem to have in its normal state any entry into these higher grades of being. Man is limited in his consciousness by mind and even by a given range or scale of mind: what is below his mind, submental or mental but nether to his scale, readily seems to him subconscious or not distinguishable from complete inconscience; what is above it is to him superconscious and he is almost inclined to regard it as void of awareness, a sort of luminous Inconscience. Just as he is limited to a certain scale of sounds or of Colours and what is above or below that scale is to him inaudible and invisible or at least indistinguishable, so is it with his scale of mental consciousness, confined at either extremity by an incapacity which marks his upper and his nether limit. He has no sufficient means of communication even with the animal who is his mental congener, though not his equal, and he is even capable of denying mind or real consciousness to it because its modes are other and narrower than those with which in himself and his kind he is familiar; he can observe submental being from outside but cannot at all communicate with it or enter intimately into its nature. Equally the superconscious is to him a closed book which may well be filled only with empty pages. At first sight, then, it would appear as if he had no means of contact with these higher gradations of consciousness: if so, they cannot act as links or bridges and his evolution must cease with his accomplished mental range and cannot exceed it; Nature in drawing these limits has written finis to his upward endeavour.
4:But when we look more closely, we perceive that this normality is deceptive and that in fact there are several directions in which human mind reaches beyond itself, tends towards selfexceeding; these are precisely the necessary lines of contact or veiled or half-veiled passages which connect it with higher grades of consciousness of the self-manifesting Spirit. First, we have noted the place Intuition occupies in the human means of knowledge, and Intuition is in its very nature a projection of the characteristic action of these higher grades into the mind of Ignorance. It is true that in human mind its action is largely hidden by the interventions of our normal intelligence; a pure intuition is a rare occurrence in our mental activity: for what we call by the name is usually a point of direct knowledge which is immediately caught and coated over with mental stuff, so that it serves only as an invisible or a very tiny nucleus of a crystallisation which is in its mass intellectual or otherwise mental in character; or else the flash of intuition is quickly replaced or intercepted, before it has a chance of manifesting itself, by a rapid imitative mental movement, insight or quick perception or some swift-leaping process of thought which owes its appearance to the stimulus of the coming intuition but obstructs its entry or covers it with a substituted mental suggestion true or erroneous but in either case not the au thentic intuitive movement. Nevertheless, the fact of this intervention from above, the fact that behind all our original thinking or au thentic perception of things there is a veiled, a halfveiled or a swift unveiled intuitive element is enough to establish a connection between mind and what is above it; it opens a passage of communication and of entry into the superior spiritranges. There is also the reaching out of mind to exceed the personal ego limitation, to see things in a certain impersonality and universality. Impersonality is the first character of cosmic self; universality, non-limitation by the single or limiting point of view, is the character of cosmic perception and knowledge: this tendency is therefore a widening, however rudimentary, of these restricted mind areas towards cosmicity, towards a quality which is the very character of the higher mental planes, - towards that superconscient cosmic Mind which, we have suggested, must in the nature of things be the original mind-action of which ours is only a derivative and inferior process. Again, there is not an entire absence of penetration from above into our mental limits. The phenomena of genius are really the result of such a penetration, - veiled no doubt, because the light of the superior consciousness not only acts within narrow limits, usually in a special field, without any regulated separate organisation of its characteristic energies, often indeed quite fitfully, erratically and with a supernormal or abnormal irresponsible governance, but also in entering the mind it subdues and adapts itself to mind substance so that it is only a modified or diminished dynamis that reaches us, not all the original divine luminosity of what might be called the overhead consciousness beyond us.
1.28 - The Killing of the Tree-Spirit, #The Golden Bough, #James George Frazer, #Occultism
decked with Coloured handkerchiefs and ribbons it is entrusted to a
special "May-bearer." The cavalcade then returns with music and song
--
marine, and a coat of many Colours embellished with strange devices,
adorn the outward man of this stately personage. His left hand rests
1.29 - What is Certainty?, #Magick Without Tears, #Aleister Crowley, #Philosophy
"Oh, don't gas away like this! I want to know what to do about it. Am I to accept this cauerwauling Gamut, and enlarge my Mind, and call it an Initiation? Or am I to nail my own of-all-Truth Tonic Solfa to the Mast, and go down into the Maelstrom of Insanity with Colours flying? Do you really need Massed Bands to lull Baby to sleep?
The Master of the Temple deals very simply and efficiently with problems of this kind. "The Mind" (says he) of this Party of the First Part, hereinafter referred to as Frater N (or whatever his 8 = 3 motto may be) is so constructed that the interval from C to C is most harmoniously divided into n notes; that of the Party of the Second Part hereinafter referred to as not a Heretic, an Atheist, a Bolshie, ad Die-hard, a Schismatic, an Anarchist, a Black Magician, a Friend of Aleister Crowley, or whatever may be the current term of abuse Mr. A, Lord B, the Duke of C, Mrs. X, or whatever he or she may chance to be called into five. The Structure called of-all-Truth in neither of us is affected in the least, any more than in the reading of a Thermometer with Fahrenheit on one side and Centigrade on the other.
1.300 - 1.400 Talks, #Talks, #Sri Ramana Maharshi, #Hinduism
Jnani. The ego is simply wrong identity of the Self with the non-self, as in the case of a Colourless crystal and its Coloured background. The crystal though Colourless appears red because of its background. If the background is removed the crystal shines in its original purity. So it is with the Self and the antahkaranas.
381
1.32 - The Ritual of Adonis, #The Golden Bough, #James George Frazer, #Occultism
and so opened a passage for the babe. A faint rationalistic Colour
was given to the legend by saying that his mother was a woman named
--
resurrection of nature would be Coloured by their views of the death
and resurrection of man, by their personal sorrows and hopes and
1.33 - The Gardens of Adonis, #The Golden Bough, #James George Frazer, #Occultism
round the Karma-tree, which is decked with strips of Coloured cloth
and sham bracelets and necklets of plaited straw. As a preparation
--
unfold of a pale-yellow or primrose Colour. On the day of the
festival the girls take up these blades and carry them in baskets to
--
ribbons of various Colours. On each of the pots they used formerly
to place a statuette or cloth doll dressed as a woman, or a
1.38 - Woman - Her Magical Formula, #Magick Without Tears, #Aleister Crowley, #Philosophy
My number is 11, as all their numbers who are of us. The Five Pointed Star, with a Circle in the Middle, & the circle is Red. My Colour is black to the blind, but the blue & gold are seen of the seeing. Also I have a secret glory for them that love me.
But to love me is better than all things: if under the night-stars in the desert thou presently burnest mine incense before me, invoking me with a pure heart, and the Serpent flame therein, thou shalt come a little to lie in my bosom. ...
14.05 - The Golden Rule, #Collected Works of Nolini Kanta Gupta - Vol 05, #Nolini Kanta Gupta, #Integral Yoga
Now if you follow this simple rule sincerely and persistently you will see the change miraculously happening in you, you will become the golden child of the golden Mother. You will find your thoughts, your words, your feelings, your impulses putting on a new Colour, even your body will take a new glow of health and beauty. Normally our brain is made of mud, our thoughts are uncleanwe have wrong thoughts, dark thoughts, our tongue also is made of mud or clay, we speak wrong things, impure things, our heart too is made of the same substance, giving out wrong feelings and unclean feelings; lower down in our nature in the vital region our impulses are also wrong and muddy and unclean, finally, the body is mud itself, it is made of diseases and weaknesses and incapacities. We are, as it were, a container containing this ugly and unclean mixture. What we have to do is to pour into it the golden liquid, molten gold that will wash away all that impurity and filth, clean the vessel and fill it with its own radiant substance, the molten gold which is the Mother's presence.
This process has been beautifully described by Sri Aurobindo in one of his poems. I conclude by reading out those magnificent lines:
1.40 - Coincidence, #Magick Without Tears, #Aleister Crowley, #Philosophy
"But --- but" (you stammer when spirits of hartshorn have revived you) "in the whole history of the tables a Colour has never turned up more than 24 times running!"
My poor friend, what has that got to do with it? True, from the start it is countless millions to 1 that there will not be a run of 24 on the red or the black; but the probability on any single spin (ignoring zero) is always one to one. The black compartments do not contract because the ball has fallen into any one of them.
1.41 - Isis, #The Golden Bough, #James George Frazer, #Occultism
are "Creatress of green things," "Green goddess, whose green Colour
is like unto the greenness of the earth," "Lady of Bread," "Lady of
1.439, #Talks, #Sri Ramana Maharshi, #Hinduism
M.: Quite so. You see the Colours of the spectrum. Together they form the white light. But seven Colours are seen through the prism.
Similarly, the one Self resolves itself into so many phases, mind, world, body, etc. The Self is seen as the mind, the body or the world.
--
After about fifteen days, I opened one of the hives. All the grubs had united into a white mass of wasp-like form. It dropped down and was stunned by the fall. After a few minutes, it began to crawl. Its Colour was gradually changing. In a short time, there were two little specks on its sides which grew into wings as I watched and the full-grown wasp flew away from the ground.
4. When I was in the Mango-Tree Cave I noticed a caterpillar-like worm crawl up a wall. It stopped in one place and fixed two spots which it later connected up with a thin filament from its body. It held the filament with its mouth and rested its tail end on the wall. It remained so several days. I was watching it. It shrivelled up in course of time. I wondered if
1.450 - 1.500 Talks, #Talks, #Sri Ramana Maharshi, #Hinduism
M.: Quite so. You see the Colours of the spectrum. Together they form the white light. But seven Colours are seen through the prism.
Similarly, the one Self resolves itself into so many phases, mind, world, body, etc. The Self is seen as the mind, the body or the world.
1.47 - Lityerses, #The Golden Bough, #James George Frazer, #Occultism
could not have a deep red Colour without the shedding of blood. The
victim or Meriah, as he was called, was acceptable to the goddess
--
unconsciously Colour and warp their descriptions of savage rites.
The same custom of killing the representative of a god, of which
--
her face painted red and yellow in token of the Colours of the corn,
and she wore a pasteboard mitre surmounted by waving plumes in
1.49 - Ancient Deities of Vegetation as Animals, #The Golden Bough, #James George Frazer, #Occultism
necromancer. The Colours of the paper prognosticate the character of
the coming year; if red prevails, there will be many fires; if
white, there will be floods and rain; and so with the other Colours.
The mandarins walk slowly round the ox, beating it severely at each
1.50 - Eating the God, #The Golden Bough, #James George Frazer, #Occultism
after another, with their veils of diverse Colours and works, every
one according to his dignity and office, having garlands upon their
1.51 - How to Recognise Masters, Angels, etc., and how they Work, #Magick Without Tears, #Aleister Crowley, #Philosophy
Consider now: the Work whereby I am a Magus began in Cairo (1904) with the discovery of the Stl of Ankh-f-n-Khonsu, in which the principal object is the Body of our Lady Nuit. It is reproduced in Colours in the Equinox, Vol. I, No. 7. Jane Chron has a copy of this book. On Friday afternoon, then, I was in her apartment. I had attained none of my objectives in calling on her, and was about to depart. She detained me to show me this "something." She went and took a folded cloth from a drawer. "Shut your eyes," she said.
When I opened them they saw a cloth four feet or more in length, on which was a magnificent copy, mostly in applique silk, of the Stl. She then told me that in February 1917, she and her young man had gone to the South of France to get cured of the opium habit. In such cases insomnia is frequent. One night, however, he had gone to sleep, and on waking in the morning found the she, wakeful, had drawn a copy of the Stl on a great sheet of paper.
1.53 - The Propitation of Wild Animals By Hunters, #The Golden Bough, #James George Frazer, #Occultism
There the women deck the carcase with feathers of many Colours, put
bracelets on its legs, and weep over it, saying, "I pray thee not to
1.550 - 1.600 Talks, #Talks, #Sri Ramana Maharshi, #Hinduism
After about fifteen days, I opened one of the hives. All the grubs had united into a white mass of wasp-like form. It dropped down and was stunned by the fall. After a few minutes, it began to crawl. Its Colour was gradually changing. In a short time, there were two little specks on its sides which grew into wings as I watched and the full-grown wasp flew away from the ground.
4. When I was in the Mango-Tree Cave I noticed a caterpillar-like worm crawl up a wall. It stopped in one place and fixed two spots which it later connected up with a thin filament from its body. It held the filament with its mouth and rested its tail end on the wall. It remained so several days. I was watching it. It shrivelled up in course of time. I wondered if
1.56 - The Public Expulsion of Evils, #The Golden Bough, #James George Frazer, #Occultism
with his body whitened by pipeclay, his head and face Coloured with
lines of red and yellow, and a tuft of feathers fixed by means of a
--
flying Colours and all the pomp of war, "the general beginneth then
to offer meat offerings to the criminal devils and malevolent
1.62 - The Fire-Festivals of Europe, #The Golden Bough, #James George Frazer, #Occultism
Easter Sunday by the women, who gave him Coloured eggs at the church
door. The object of the whole ceremony was to keep off the hail. At
1.63 - Fear, a Bad Astral Vision, #Magick Without Tears, #Aleister Crowley, #Philosophy
Well I do know them though I call them black no, I shall not quarrel about the Colour.
To me they come almost every day. When I see the maid dust my mantelpiece which I pay her to do I want not merely to slay her in the extremity of torment; I want to abolish her, to annihilate her and the mantelpiece too and everything on it! I can hardly keep from roaring at her to get out and never darken my door again. This is not because she is doing it badly; doing it at all is a token of the unspeakable horror of existence. The actual feeling is that she is somewhat disturbing my aura, which I had got so nice and clean and quiet after the nuisance of "getting up." I feel as if I were being pushed about in a crowd of swarming insect-citizens.
1.67 - The External Soul in Folk-Custom, #The Golden Bough, #James George Frazer, #Occultism
something that appeared both in shape and Colour like a small bean,
at the young man, which seemed to enter his mouth, and he instantly
1.68 - The Golden Bough, #The Golden Bough, #James George Frazer, #Occultism
The yellow Colour of the withered bough may partly explain why the
mistletoe has been sometimes supposed to possess the property of
1.69 - Farewell to Nemi, #The Golden Bough, #James George Frazer, #Occultism
gradually changing Colour the farther it is unrolled, the state of
modern thought, with all its divergent aims and conflicting
--
our parable, what will be the Colour of the web which the Fates are
now weaving on the humming loom of time? will it be white or red? We
1.72 - Education, #Magick Without Tears, #Aleister Crowley, #Philosophy
Now, concerning the first Foundation of Thy Mind I will say somewhat. Thou shalt study with Diligence in the Mathematics, because thereby shall be revealed unto thee the Laws of thine own Reason and the Limitations thereof. This Science manifesteth unto thee thy true Nature in respect of the Machinery whereby it worketh, and showeth in pure Nakedness, without Clothing of Personality or Desire, the Anatomy of thy conscious Self. Furthermore, by this thou mayst understand the Essence of the Relations between all Things, and the Nature of Necessity, and come to the Knowledge of Form. For this Mathematics is as it were the last Veil before the Image of Truth, so that there is no Way better than our Holy Qabalah, which analyseth all Things soever, and reduceth them to pure Number; and thus their Natures being no longer Coloured and confused, they may be regulated and formulated in Simplicity by the Operation of Pure Reason, to their great Comfort in the Work of our Transcendental Art, whereby the Many become One.
SEQUITUR (2) CLASSICA[145]
1.74 - Obstacles on the Path, #Magick Without Tears, #Aleister Crowley, #Philosophy
That seems to cover your question more or less; but don't forget that it depends on yourself how much of the dramatic quality Colours your Path. I suppose I have been lucky to have had the use of all the traditional trappings; but it is always possible to make a "coat of many Colours" out of a heap of rags. To show you that you have had Chaucer and John Bunyan yes, and Laurence Sterne: to bring up the rear, James Thomson (B.V.) to say nothing of Conrad and Hardy. Nor let me forget The Cream of the Jest and The Rivet in Grandfa ther's Neck of my friend, James Branch Cabell.
So now, fair damozel, bestride thy palfrey, and away to the Mountains of Magick!
1.78 - Sore Spots, #Magick Without Tears, #Aleister Crowley, #Philosophy
We tend to see the myriad flashing Colours of the humming bird; the bird itself does not; it has no apparatus of Colour-sense; to him all appears a neutral tint, varying only in degrees of brightness.
Such were some of the fundamental facts that directed the course of my research, whose results you may read in "The Psychology of Hashish", by Oliver Haddo in The Equinox, Vol. I, No. 2. The general basis of this Essay is Sankhara; it shows how very striking are the analogies between, (1) the results obtained by Mystics this includes the Ecstasy of Sexual Feeling, as you may read in pretty nearly all of them, from St. Augustine to St. Teresa and the Nun Gertrude. The stages recounted by the Buddha in his psychological analyses correspond with almost incredible accuracy. (2) The phenomena observed by those who use opium, hashish, and some other "drugs" (3) The phenomena of various forms of insanity.
--
Corresponding to, and the poison bacillus of, that centre of infection, is a Trinity of pure Evil, the total abnegation of Thelema. Well known to the psycho-analyst: the name thereof Shame Guilt Fear. The Anglo-Saxon or bourgeois mentality is soaked therein; and his remedy so far from our exploratory-disinfection method, is to hide the gan- grened mass with dirty poultices. He has always a text of Scripture or some other authority to paint his foulest acts in glowing Colours; and if he wants a glass of beer, he hates the stuff, but doctor's orders, my boy, doctor's orders.
There is really nothing new to be said about hypocrisy; it has been analysed, exposed, lashed by every great Artist; quite without effect. It gets worse as the socialistic idea thrives, as the individual leans ever harder on the moral support of the herd.*[AC54]
18.05 - Ashram Poets, #Collected Works of Nolini Kanta Gupta - Vol 05, #Nolini Kanta Gupta, #Integral Yoga
The sky has not begun yet its festival of Colours,
the fair has not assembled yet.
19.04 - The Flowers, #Collected Works of Nolini Kanta Gupta - Vol 05, #Nolini Kanta Gupta, #Integral Yoga
The wise one will move on from door to door in a village, even like a bee that collects honey from flower to flower hurting neither their Colour nor their fragrance.
[7]
--
Even like a flower with beauty and Colour but without fragrance, a word well spoken is barren unless it is acted upon.
[9]
Even like a flower with beauty and Colour and with fragrance, a word well spoken is fruitful when acted upon.
[10]
19.13 - Of the World, #Collected Works of Nolini Kanta Gupta - Vol 05, #Nolini Kanta Gupta, #Integral Yoga
Come, contemplate the world as the Colourful chariot of a king. Only fools are attracted by it, the wise have no attraction for it.
[6]
1914 02 22p, #Prayers And Meditations, #The Mother, #Integral Yoga
When I was a child of about thirteen, for nearly a year every night as soon as I had gone to bed it seemed to me that I went out of my body and rose straight up above the house, then above the city, very high above. Then I used to see myself clad in a magnificent golden robe, much longer than myself; and as I rose higher, the robe would stretch, spreading out in a circle around me to form a kind of immense roof over the city. Then I would see men, women, children, old men, the sick, the unfortunate coming out from every side; they would gather under the outspread robe, begging for help, telling of their miseries, their suffering, their hardships. In reply, the robe, supple and alive, would extend towards each one of them individually, and as soon as they had touched it, they were comforted or healed, and went back into their bodies happier and stronger than they had come out of them. Nothing seemed more beautiful to me, nothing could make me happier; and all the activities of the day seemed dull and Colourless and without any real life, beside this activity of the night which was the true life for me. Often while I was rising up in this way, I used to see at my left an old man, silent and still, who looked at me with kindly affection and encouraged me by his presence. This old man, dressed in a long dark purple robe, was the personificationas I came to know laterof him who is called the Man of Sorrows.
Now that deep experience, that almost inexpressible reality, is translated in my mind by other ideas which I may describe in this way:
1914 05 25p, #Prayers And Meditations, #The Mother, #Integral Yoga
Oh, to be the pure flawless crystal which lets Thy divine ray pass without obscuring, Colouring or distorting it!not from a desire for perfection but so that Thy work may be done as perfectly as possible.
And when I ask Thee this, the I which speaks to Thee is the entire Earth, aspiring to be this pure diamond, a perfect reflector of Thy supreme light. All the hearts of men beat within my heart, all their thoughts vibrate in my thought, the slightest aspiration of a docile animal or a modest plant unites with my formidable aspiration, and all this rises towards Thee, for the conquest of Thy love and light, scaling the summits of Being to attain Thee, ravish Thee from Thy motionless beatitude and make Thee penetrate the darkness of suffering to transform it into divine Joy, into sovereign Peace. And this violence is made of an infinite love which gives itself and a trustful serenity which smiles with the certitude of Thy perfect Unity.
1916 12 05p, #Prayers And Meditations, #The Mother, #Integral Yoga
Turn towards the earth. The usual injunction was heard in the silence of the immutable identification. Then the consciousness became that of the One in all. Everywhere and in all those in whom thou canst see the One, there will awake the consciousness of this identity with the Divine. Look. It was a Japanese street brilliantly illuminated by gay lanterns picturesquely adorned with vivid Colours. And as gradually what was conscious moved on down the street, the Divine appeared, visible in everyone and everything. One of the lightly-built houses became transparent, revealing a woman seated on a tatami in a sumptuous violet kimono embroidered with gold and bright Colours. The woman was beautiful and must have been between thirty-five and forty. She was playing a golden samisen. At her feet lay a little child. And in the woman too the Divine was visible.
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1918 07 12p, #Prayers And Meditations, #The Mother, #Integral Yoga
Thou hast made me know the supreme, the sublime joy of a perfect confidence, an absolute serenity, a surrender total and without reserve or Colouring, free from effort or constraint.
Joyous like a child I have smiled and wept at once before Thee, O my Well-Beloved!]3
1929-04-28 - Offering, general and detailed - Integral Yoga - Remembrance of the Divine - Reading and Yoga - Necessity, predetermination - Freedom - Miracles - Aim of creation, #Questions And Answers 1929-1931, #The Mother, #Integral Yoga
No, the universe is a movement that is eternally unrolling itself. There is nothing which you can fix upon as the end and one aim. But for the sake of action we have to section the movement, which is itself unending, and to say that this or that is the goal, for in action we need something upon which we can fix our aim. In a picture you need a definite scheme of composition and Colour; you have to set a limit, to put the whole thing within a fixed framework; but the limit is illusory, the frame is a mere convention. There is a constant continuation of the picture that stretches beyond any particular frame, and each continuation can be drawn in the same conditions in an unending series of frames. Our aim is this or that, we say, but we know that it is only the beginning of another aim beyond it, and that in its turn leads to yet another; the series develop always and never stop.
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1929-06-02 - Divine love and its manifestation - Part of the vital being in Divine love, #Questions And Answers 1929-1931, #The Mother, #Integral Yoga
Great beings have taken birth in this world who came to bring down here something of the sovereign purity and power of Divine love. The Divine love has thrown itself into a personal form in them that its realisation upon earth may be at once more easy and more perfect. Divine love, when manifested in a personal being, is easier to realise; it is more difficult when it is unmanifested or impersonal in its movement. A human being, awakened by this personal touch, with this personal intensity, to the consciousness of the Divine love, will find his work and change made more easy; the union for which he seeks becomes more natural and close. And the union, the realisation will become for him, too, more full, more perfect; for the wide uniformity of a universal and impersonal Love will be lit up and vivified with the Colour and beauty of all possible relations with the Divine.
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1951-02-24 - Psychic being and entity - dimensions - in the atom - Death - exteriorisation - unconsciousness - Past lives - progress upon earth - choice of birth - Consecration to divine Work - psychic memories - Individualisation - progress, #Questions And Answers 1950-1951, #The Mother, #Integral Yoga
There is such a strong suggestion here [in India] that to live the spiritual life, one must take up the life of a sannyasin, that this perhaps is the cause of your pictures. In any case, if it was really a previous life, it was not the last one. You have surely had intermediary lives, for rarely is a being born in the same country several times consecutivelyit would not be very profitable. If it had been the ascetic life of the time of the first Christians, for instance, you would have noticed certain details: the different Colour of your skin, a dress, etc., whereas you probably saw the usual pictures of Indian life. Everything is possible, of course. The universe is constituted in such a way that all the possibilities can be realised there: but, as I said, it is rare for one to be born several times in the same country unless it be to accomplish a special work, with a special end in view; and then it is very rare for one not to know it, for this means that the psychic being is fully formed and has itself chosen to come back to the same country to do a special work or to continue what it had already begun.
Many have had a previous ascetic life, for the collective suggestion is very strong here. It is very rare for a person not to think that to perfect oneself and to live a spiritual life one must leave the world.
1951-03-01 - Universe and the Divine - Freedom and determinism - Grace - Time and Creation- in the Supermind - Work and its results - The psychic being - beauty and love - Flowers- beauty and significance - Choice of reincarnating psychic being, #Questions And Answers 1950-1951, #The Mother, #Integral Yoga
In a picture you need a definite scheme of composition and Colour; you have to set a limit, to put the whole thing within a fixed framework; but the limit is illusory, the frame is a mere convention. There is a constant continuation of the picture that stretches beyond any particular frame, and each continuation can be drawn in the same conditions in an unending series of frames. Our aim is this or that, we say, but we know that it is only the beginning of another aim beyond it, and that in its turn leads to yet another.
Questions and Answers 1929 (28 April)
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Yes. Perhaps not the highest sense of beauty, but in the vital one finds a complete sense of beauty and harmony. The beauty which is fundamental, profound, universal, constant belongs only to the psychic, but the sense of the beauty of form, of appearance, of Colour, the educated, refined vital fully possesses.
And not love?
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As soon as there is organic life, the vital element comes in, and it is this vital element which gives to flowers the sense of beauty. It is not perhaps individualised in the sense we understand it, but it is a sense of the species and the species always tries to realise it. I have noticed a first rudiment of the psychic presence and vibration in vegetable life, and truly this blossoming one calls a flower is the first manifestation of the psychic presence. The psychic is individualised only in man, but it was there before him; but it is not the same kind of individualisation as in man, it is more fluid: it manifests as force, as consciousness rather than as individuality. Take the rose, for example; its great perfection of form, Colour, scent expresses an aspiration and a psychic giving. Look at a rose opening in the morning at the first touch of the sun, it is a magnificent self-giving in aspiration.
Each flower has its special significance, hasnt it?
1951-03-05 - Disasters- the forces of Nature - Story of the charity Bazar - Liberation and law - Dealing with the mind and vital- methods, #Questions And Answers 1950-1951, #The Mother, #Integral Yoga
Yes, surely, because in this way nothing will change, it is only the rhythm which will change. It is like those Colour-wheels: sometimes one sees one Colour, sometimes another, and if one waits long enough one sees the red, blue, white, red, blue, white indefinitely. There are people who have a pretty little theory like that, which I have often heard; they say that ones vital should never be repressed, it must be allowed to do all it wants, it will get tired and be cured! This is the height of stupidity! First, because the vital by its very nature is never satisfied, and if a certain kind of activity becomes insipid, it will double the dose: if its stupidities bore it, it will increase its stupidities and its excesses, and if that tires it, as soon as it has rested it will start again. For it will not be changed. Others say that if you sit upon your vital it will be suppressed and, one day, it will shoot up like a steam-jet and this is true. Hence, to repress the vital is not a solution. To let it do what it likes is not a solution either, and generally this brings on fairly serious disorders. There must be a third solution.
To aspire that the light from above may come and purify it?
1951-04-09 - Modern Art - Trend of art in Europe in the twentieth century - Effect of the Wars - descent of vital worlds - Formation of character - If there is another war, #Questions And Answers 1950-1951, #The Mother, #Integral Yoga
I have known artists who were great artists, who had worked hard and produced remarkable things, classical, that is, not ultramodern. But they were not in fashion because, precisely, one had not to be classical. When a brush was put in the hands of an individual who had never touched a brush, and when a brush was put on a palette of Colours and the man had never touched a palette before, then if this individual had in front of him a bit of canvas on an easel and he had never done a picture before, naturally he daubed anything at all; he took the Colours and threw them in a haphazard way; then everybody cried out Admirable, Marvellous, It is the expression of your soul, How well this reveals the truth of things, etc! This was the fashion and people who knew nothing were very successful. The poor men who had worked, who knew their art well, were not asked for their pictures any longer; people said, Oh! This is old-fashioned, you will never find customers for such things. But, after all, they were hungry, you see, they had to pay their rent and buy their Colours and all the rest, and that is costly. Then what could they do? When they had received rebuffs from the picture dealers who all told them the same thing, But try to be modern, my friend; look here, you are behind the times, as they were very hungry, what could they do? I knew a painter, a disciple of Gustav Moreau; he was truly a very fine artist, he knew his work quite well, and then he was starving, he did not know how to make both ends meet and he used to lament. One day, a friend intending to help him, sent a picture-dealer to see him. When the merchant entered his studio, this poor man told himself, At last! Heres my chance, and he showed him all the best work he had done. The art dealer made a face, looked around, turned over things and began rummaging in all the corners; and suddenly he found. Ah! I must explain this to you, you are not familiar with these things: a painter, after his days work has at times some mixed Colours left on his palette; he cannot keep them, they dry up in a day; so he always has with him some pieces of canvas which are not well prepared and which he daubs with what are called the scrapings of palettes (with supple knives he scrapes all the Colours from the palette and applies them on the canvases) and as there are many mixed Colours, this makes unexpected designs. There was in a corner a canvas like that on which he used to put his palette-scrapings. The merchant suddenly falls upon that and exclaims, Here you are! My friend, you are a genius, this is a miracle, it is this you should show! Look at this richness of tones, this variety of forms, and what an imagination! And this poor man who was starving said shyly, But sir, these are my palette-scrapings! And the art-dealer caught hold of him: Silly fool, this is not to be told! Then he said, Give me this, I undertake to sell it. Give me as many of these as you like; ten, twenty, thirty a month, I shall sell them all for you and I shall make you famous. Then, as I told you, his stomach was protesting; he was not happy, but he said, All right, take it, I shall see. Then the landlord comes to demand his rent, the Colour-man comes demanding payment of the old bill; the purse is quite empty, and what is to be done? So though he did not make pictures with palette-scrapings, he did something which gave the imagination free play, where the forms were not too precise, the Colours were all mixed and brilliant, and one could not know overmuch what one was seeing; and as people did not know very much what they saw, those who understood nothing about it exclaimed, How beautiful it is! And he supplied this to his art-dealer. He never made a name for himself with his real painting, which was truly very fine (it was really very fine, he was a very good painter), but he won a world reputation with these horrors! And this was just at the beginning of modern painting, this goes back to the Universal Exhibition of 1900; if I were to tell you his name, you would all recognise it. Now, of course, they have gone far beyond, they have done much better. However, he had the sense of harmony and beauty and his Colours were beautiful. But at present, as soon as there is the least beauty, it wont do at all, it has to be outrageously ugly, then that, that is modern!
The story began with the man who used to do still-life and whose plates were never round Czanne! It was he who began it; he said that if plates were painted round that would not be living; that when one looks at things spontaneously, never does one see plates round: one sees them like this (gesture). I dont know why, but he said that it is only the mind that makes us see plates as round, because one knows they are round, otherwise one does not see them round. It is he who began. He painted a still-life which was truly a very beautiful thing, note that; a very beautiful thing, with an impression of Colour and form truly surprising (I could show you reproductions one day, I must be having them, but they are not Colour reproductions unfortunately; the beauty is really in the Colour). But, of course, his plate was not round. He had friends who told him just this, But after all, why dont you make your plate round? He replied, My dear fellow, you are altogether mental, you are not an artist; it is because you think that you make your plates round: if you only see, you will do it like this (gesture). It is in accordance with the impression that the plate ought to be painted; it gives you an impact, you translate the impact, and it is this which is truly artistic. It is like this that modern art began. And note that he was right. His plates were not round, but he was right in principle.
What has made art what it is (do you want me to tell you this, psychologically?) is photography. Photographers did not know their job and gave you hideous things, frightfully ugly; it was mechanical, it had no soul, it had no art, it was horrible. All the first attempts of photography until not very long ago, were like that. It is about fifty years ago that it became tolerable, and now with gradual improvement it has become something good; but it must be said that the process is absolutely different. In those days, when your portrait was taken, you sat in a comfortable chair, you had to sit leaning nicely and facing an enormous thing with a black cloth, which opened like this towards you. And the man ordered, Dont move! Steady! That, of course, was the end of the old painting. When the painter made something lifelike, a lifelike portrait, his friends said, Why now, this is photography!
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I think so. Recently I saw some pictures which truly showed something other than ugliness and indecency. It is not yet art, it is very far from being beautiful, but there are signs that we are going up again. You will see, fifty years hence we shall perhaps have beautiful things to see. I felt this some days ago, that truly we had come to the end of the descending curvewe are still very low down, but are beginning to climb up. There is a kind of anguish and there is still a complete lack of understanding of what beauty can and should be, but one finds an aspiration towards something which will not be sordidly material. For a time art had wanted to wallow in the mire, to be what they called realistic. They had chosen as real what was most repulsive in the world, most ugly: all deformities, all filth, all ugliness, all the horrors, all the incoherences of Colour and form; well, I believe this is behind us now. I had this feeling very strongly these last few days (not through seeing pictures, for we do not have a chance to see much here, but by sensing the atmosphere). And even in the reproductions we are shown, there is some aspiration towards something which would be a little higher. It will need about fifty years; then Unless there is another war, another catastrophe; because certainly, to a large extent, what is responsible for this taste for the sordid are the wars and the horrors of war. People were compelled to put aside all refined sensibility, the love of harmony, the need for beauty, to be able to undergo all that; otherwise, I believe, they would really have died of horror. It was so unspeakably foul that it could not be tolerated, so it perverted mens taste everywhere and when the war was over (admitting that it ever ended), they wanted only one thing, to forget, forget, forget. To seek distraction, not to think of all the horror they had suffered. Now there, one goes very low. The whole vital atmosphere is completely vitiated and the physical atmosphere is terribly obscure.
Hence, if we can escape another world war Because war is there, it has never stopped. It has been there from almost the beginning of this century; it began with China, Turkey, Tripolitania, Moroccoyou are following?the Balkans, it has never stopped, it has become worse, but each time it has become a world war, it has assumed altogether sordid proportions. All you my children, you have been born after the war (I am speaking of the First [World] War), so you do not know much about this, and then you have been born here, in a country which has been truly privileged. But the children born in Europe, latterly, these little ones, who were children of the war, carry something in them which will be very difficult to efface, a kind of horror, a fright. One could not have been mixed up with that without knowing what horror is. The first war was perhaps worse than the second. The second was so atrocious that all was lost. But the first, oh! I dont know. The last months I spent in Paris were truly fantastic. And it cant be told. The life in the trenches, for example, is something that cannot be told. The new generations do not know. But, you see, the children born now will not even know if this was true, all these horrors which are related to them. What happened in the conquered countries, in Czechoslovakia, in Poland, in France the frightful things, unbelievable, unthinkable, which took placeunless one has been very close by, has seen, one cannot believe it. It was I was saying the other day that the vital world is a world of horrors; well, all the horrors of the vital world had descended upon earth, and upon earth they are still more horrible than in the vital world, because in the vital world, if you have an inner power, if you have the knowledge, if you have strength, you act upon themyou act, you can subdue them, you can show yourself stronger. But all your knowledge, all your power, all your strength is nothing in this material world when you are subjected to the horrors of a war. And this acts in the terrestrial atmosphere in such a way that it is very, very difficult to efface it.
1951-04-12 - Japan, its art, landscapes, life, etc - Fairy-lore of Japan - Culture- its spiral movement - Indian and European- the spiritual life - Art and Truth, #Questions And Answers 1950-1951, #The Mother, #Integral Yoga
And in that country, for each season there are known sites. For instance, in autumn leaves become red; they have large numbers of maple-trees (the leaves of the maple turn into all the shades of the most vivid red in autumn, it is absolutely marvellous), so they arrange a place near a temple, for instance, on the top of a hill, and the entire hill is covered with maples. There is a stairway which climbs straight up, almost like a ladder, from the base to the top, and it is so steep that one cannot see what is at the top, one gets the feeling of a ladder rising to the skiesa stone stairway, very well made, rising steeply and seeming to lose itself in the skyclouds pass, and both the sides of the hill are covered with maples, and these maples have the most magnificent Colours you could ever imagine. Well, an artist who goes there will experience an emotion of absolutely exceptional, marvellous beauty. But one sees very small children, families even, with a baby on the shoulder, going there in groups. In autumn they will go there. In springtime they will go elsewhere.
There is a garden quite close to Tokyo where irises are grown, a garden with very tiny rivulets, and along the rivulets, irisesirises of all possible Coloursand it is arranged according to Colour, organised in such a way that on entering one is dazzled, there is a blaze of Colour from all these flowers standing upright; and there are heaps and heaps of them, as far as the eye can reach. At another time, just at the beginning of spring (it is a slightly early spring there), there are the first cherry-trees. These cherry-trees never give fruit, they are grown only for the flowers. They range from white to pink, to a rather vivid pink. There are long avenues all bordered with cherry-trees, all pink; they are huge trees which have turned all pink. There are entire mountains covered with these cherry-trees, and on the little rivulets bridges have been built which too are all red: you see these bridges of red lacquer among all these pink flowers and, below, a great river flowing and a mountain which seems to scale the sky, and they go to this place in springtime. For each season there are flowers and for each flower there are gardens.
And people travel by train as easily as one goes from house to house; they have a small packet like this which they carry; in it they have a change of clothes, thats quite enough for them; on their feet they wear rope or fibre sandals; when these get worn out they throw them away and take others, for they costs nothing at all. All their life is like that. They have paper handkerchiefs, when they have used them they get rid of them, and so onthey dont burden themselves with anything. When they go by train, at the stations small meals are sold in boxes (it is quite clean, quite neat), small meals in boxes of white wood with little chop-sticks for eating; then, as all this has no value, when one has finished, one puts them aside, doesnt bother about them or encumber oneself. They live like that. When they have a garden or a park, they plant trees, and they plant them just at the place where when the tree has grown it will create a landscape, will fit into a landscape. And as they want the tree to have a particular shape, they trim it, cut it, they manage to give it all the shapes they want. You have trees with fantastic forms; they have cut off the unnecessary branches, fostered others, contrived things as they liked. Then you come to a place and you see a house which seems to be altogether a part of the landscape; it has exactly the right Colour, it is made of the right materials; it is not like a blow in your face, as are all those European buildings which spoil the whole landscape. It is just there where it should be, hidden under the trees; then you see a creeper and suddenly a wonderful tree: it is there at the right place, it has the right form. I had everything to learn in Japan. For four years, from an artistic point of view, I lived from wonder to wonder.
And in the cities, a city like Tokyo, for example, which is the biggest city in the world, bigger than London, and which extends far, far (now the houses are modernised, the whole centre of the city is very unpleasant, but when I was there, it was still good), in the outlying parts of the city, those which are not business quarters, every house has at the most two storeys and a garden there is always a garden, there are always one or two trees which are quite lovely. And then, if you go for a walkit is very difficult to find your way in Tokyo; there are no straight streets with houses on either side according to the number, and you lose your way easily. Then you go wandering aroundalways one wanders at random in that countryyou go wandering and all of a sudden you turn the corner of a street and come to a kind of paradise: there are magnificent trees, a temple as beautiful as everything else, you see nothing of the city any longer, no more traffic, no tramways; a corner, a corner of trees with magnificent Colours, and it is beautiful, beautiful like everything else. You do not know how you have reached there, you seem to have come by luck. And then you turn, you seek your way, you wander off again and go elsewhere. And some days later you want to come back to this very place, but it is impossible, it is as though it had disappeared. And this is so frequent, this is so true that such stories are often told in Japan. Their literature is full of fairy-lore. They tell you a story in which the hero comes suddenly to an enchanted place: he sees fairies, he sees marvellous beings, he spends exquisite hours among flowers, music; all is splendid. The next day he is obliged to leave; it is the law of the place, he goes away. He tries to come back, but never does. He can no longer find the place: it was there, it has disappeared! And everything in this city, in this country, from beginning to end, gives you the impression of impermanence, of the unexpected, the exceptional. You always come to things you did not expect; you want to find them again and they are lostthey have made something else which is equally charming. From the artistic point of view, the point of view of beauty, I dont think there is a country as beautiful as that.
Now, I ought to say, to complete my picture, that the four years I was there I found a dearth of spirituality as entire as could be. These people have a wonderful morality, live according to quite strict moral rules, they have a mental construction even in the least detail of life: one must eat in a certain way and not another, one must bow in a certain way and not another, one must say certain words but not all; when addressing certain people one must express oneself in a certain way; when speaking with others, one must express oneself in another. If you go to buy something in a shop, you must say a particular sentence; if you dont say it, you are not served: they look at you quizzically and do not move! But if you say the word, they wait upon you with full attention and bring, if necessary, a cushion for you to sit upon and a cup of tea to drink. And everything is like that. However, not once do you have the feeling that you are in contact with something other than a marvellously organised mental-physical domain. And what energy they have! Their whole vital being is turned into energy. They have an extraordinary endurance but no direct aspiration: one must obey the rule, one is obliged. If one does not submit oneself to rules there, one may live as Europeans do, who are considered barbarians and looked upon altogether as intruders, but if you want to live a Japanese life among the Japanese you must do as they do, otherwise you make them so unhappy that you cant even have any relation with them. In their house you must live in a particular way, when you meet them you must greet them in a particular way. I think I have already told you the story of that Japanese who was an intimate friend of ours, and whom I helped to come into contact with his soul and who ran away. He was in the countryside with us and I had put him in touch with his psychic being; he had the experience, a revelation, the contact, the dazzling inner contact. And the next morning, he was no longer there, he had taken flight! Later, when I saw him again in town after the holidays, I asked him, But what happened to you, why did you go away?Oh! You understand, I discovered my soul and saw that my soul was more powerful than my faith in the country and the Mikado; I would have had to obey my soul and I would no longer have been a faithful subject of my emperor. I had to go away. There you are! All this is au thentically true.
1951-04-26 - Irrevocable transformation - The divine Shakti - glad submission - Rejection, integral - Consecration - total self-forgetfulness - work, #Questions And Answers 1950-1951, #The Mother, #Integral Yoga
Take someone who is writing a book, for instance. If he looks at himself writing the book, you cant imagine how dull the book will become; it smells immediately of the small human personality which is there and it loses all its value. When a painter paints a picture, if he observes himself painting the picture, the picture will never be good, it will always be a kind of projection of the painters personality; it will be without life, without force, without beauty. But if, all of a sudden, he becomes the thing he wants to express, if he becomes the brushes, the painting, the canvas, the subject, the image, the Colours, the value, the whole thing, and is entirely inside it and lives it, he will make something magnificent.
For everything, everything, it is the same. There is nothing which cannot be a yogic discipline if one does it properly. And if it is not done properly, even tapasya will be of no use and will lead you nowhere. For it is the same thing, if you do your tapasya, all the time observing yourself doing it and telling yourself, Am I making any progress, is this going to be better, am I going to succeed?, then it is your ego, you know, which becomes more and more enormous and occupies the whole place, and there is no room for anything else. And we said the other day that the spiritual ego is the worst of all, for it is altogether unconscious of its inferiority, it is convinced it is something very superior, if not absolutely divine!
1951-05-03 - Money and its use for the divine work - problems - Mastery over desire- individual and collective change, #Questions And Answers 1950-1951, #The Mother, #Integral Yoga
Sri Aurobindo has answered this question. He says that money in itself is an impersonal force: the way in which you acquire money concerns you alone personally. It may do you great harm, it may harm others also, but it does not in any way change the nature of the money which is an altogether impersonal force: money has no Colour, no taste, no psychological consciousness. It is a force. It is like saying that the air breathed out by a scoundrel is more tainted than that breathed out by an honest man I dont think so. I think the result is the same. One may for reasons of a practical nature refuse money which has been stolen, but that is for altogether practical reasons, it is not because of divine reasons. This is a purely human idea. One may from a practical point of view say, Ah! No, the way in which you have acquired this money is disgusting and so I dont want to offer it to the Divine, because one has a human consciousness. But if you take someone (let us suppose the worst) who has killed and acquired money by the murder; if all of a sudden he is seized by terrible scruples and remorse and tells himself, I have only one thing to do with this money, give it where it can be utilised for the best, in the most impersonal way, it seems to me that this movement is preferable to utilising it for ones own satisfaction. I said that the reasons which could prevent one from receiving ill-gotten money may be reasons of a purely practical kind, but there may also be more profound reasons, of a (I do not want to say moral but) spiritual nature, from the point of view of tapasya; one may tell somebody, No, you cannot truly acquire merit with this fortune which you have obtained in such a terrible way; what you can do is to restore it, one may feel that a restitution, for instance, will help one to make more progress than simply passing the money on to any work whatever. One may see things in this wayone cant make rules. This is what I never stop telling you: it is impossible to make a rule. In every case it is different. But you must not think that the money is affected; money as a terrestrial force is not affected by the way in which it is obtained, that can in no way affect it. Money remains the same, your note remains the same, your piece of gold remains the same, and as it carries its force, its force remains there. It harms only the person who has done wrong, that is evident. Then the question remains: in what state of mind and for what reasons does your dishonest man want to pass on his money to a work he considers divine? Is it as a measure of safety, through prudence or to lay his heart at rest? Evidently this is not a very good motive and it cannot be encouraged, but if he feels a kind of repentance and regret for what he has done and the feeling that there is but one thing to do and that is precisely to deprive himself of what he has wrongly acquired and utilise it for the general good as much as possible, then there is nothing to say against that. One cannot decide in a general wayit depends upon the instance. Only, if I understand well what you mean, if one knows that a man has acquired money by the most unnamable means, obviously, it would not be good to go and ask him for money for some divine work, because that would be like rehabilitating his way of gaining money. One cannot ask, that is not possible. If, spontaneously, for some reason, he gives it, there is no reason to refuse it. But it is quite impossible to go and ask him for it, because it is as though one legitimised his manner of acquiring money. That makes a great difference.
And generally, in these cases, those who go and ask money from rascals use means of intimidation: they frighten them, not physically but about their future life, about what may happen to them, they give them a fright. It is not very nice. These are procedures one ought not to use.
1953-05-13, #Questions And Answers 1953, #The Mother, #Integral Yoga
But the will is something altogether different. It is the capacity to concentrate on everything one does, do it as best one can and not stop doing it unless one receives a very precise intimation that it is finished. It is difficult to explain it to you. But suppose, for example, through a concurrence of circumstances, a work comes into your hands. Take an artist who has in one way or another got an inspiration and resolved to paint a picture. He knows very well that if he has no inspiration and is not sustained by forces other than his own, he will do nothing much. It will look more like a daub than a painting. He knows this. But it has been settled, the painting is to be done; there may be many reasons for that, but the painting has to be done. Then if he had the passive attitude, well, he would place his palette, his Colours, his brushes, his canvas and then sit down in front of it and say to the Divine: Now you are going to paint. But the Divine does not do things this way. The painter himself must take up everything and arrange everything, concentrate on his subject, find the forms, the Colours that will express it and put his whole will for a more and more perfect execution. His will must be there all the time. But he has to keep the sense that he must be open to the inspiration, he will not forget that in spite of all his knowledge of the technique, in spite of the care he takes to arrange, organise and prepare his Colours, his forms, his design, in spite of all that, if he has no inspiration, it will be one picture among a million others and it will not be very interesting. He does not forget. He attempts, he tries to see, to feel what he wants his painting to express and in what way it should be expressed. He has his Colours, he has his brushes, he has his model, he has made his sketch which he will enlarge and make into a picture, he calls his inspiration. There are even some who manage to have a clear, precise vision of what is to be done. But then, day after day, hour after hour, they have this will to work, to study, to do with care all that must be done until they reproduce as perfectly as they can the first inspiration. That person has worked for the Divine, in communion with Him, but not in a passive way, not with a passive surrender; it is with an active surrender, a dynamic will. The result generally is something very good. Well, the example of the painter is interesting, because a painter who is truly an artist is able to see what he is going to do, he is able to connect himself to the divine Power that is beyond all expression and inspires all expression. For the poet, the writer, it is the same thing and for all people who do something, it is the same.
If you tried that for your lessons, dont you think it would succeed?
1953-06-17, #Questions And Answers 1953, #The Mother, #Integral Yoga
Have you ever seen a tree growing, a palm tree? There is one in the Ashram courtyard, in the Samadhi courtyard, quite close to the door by which you come up every day, have you never seen how it grows? This tree, you know, is some forty, forty-five or fifty years old perhaps. You see how small it is. These trees can become even much taller than the building. They can live several hundred years, easily, in their natural state, if there is no accident. Have you never seen what it does? I see it from above. It is quite pretty. It happens once a year. At first, you see a kind of small brown ball. Then this small brown ball begins to grow and becomes slightly lighter in Colour, less deep. Little by little, you see that it is made of a mass of somewhat complex small lines, with their tips bent inward, as though turned back upon themselves; and that begins to grow, it comes out, becomes more and more limpid, until it begins to turn green, a little pale yellowish green and it takes the form of the bishops cross. Then you see it multiplying and separating; it is yet a little brown, a little queer (almost like you), something like a caterpillar. And suddenly, it is as though it sprang out, it leaps forth. It is pale green; it is frail. It has a delightful Colour. It leng thens out. This lasts for a day or two; and then on the following day there are leaves. These leaves I have never counted, I do not know how many they are. Every time there is a new range of leaves. They remain very pale; they are exquisite. They are like a little child, with that something tender, pretty and graceful a child has. And you have still the feeling that it is fragile; and indeed, if it receives a blow, it is spoilt for life. It is very frail, but it is delightfully tender. It has its charm and you say: But why does not Nature remain like that? The following morning pluff! they are separated, they are bright green, they look wonderful with all the strength and force of youth, a magnificent brilliant green. It should stop therenot at all. It continues. Then comes the dust, the deterioration from people who pass by. So it begins to fall, to become yellowish, another kind of yellow, the yellow of dryness until it is completely withered and falls away. It is replaced by the trunk. Every year the trunk increases a little. And it will take several hundred years to reach the end. But every year, it repeats the same thing, passes through all the stages of beauty, charm, attractiveness and you say: But why does it not stop there? And the next minute, it is something else. You cannot say it is better, but it is different. And so it passes from one thing to another through all the stages of flowering. Then the accidents begin; with the accidents comes deterioration, and with deterioration there is death.
It is like that. But accidents are not indispensable. And even what looks like death helps in the growth of the tree. One sheds off something, but its in order to grow again and have something more. One must be able to keep the harmony and the beauty till the end. There is no reason why one should have a body which has no longer any purpose in being, in existing; because it would no longer be good for anything. To be no longer good for anything, that is exactly what makes it disappear. One could have a body that grows from perfection to perfection. There are many things in the body that make you say: Ah, if it were like that! Ah, I would like it to be thus! (I am not speaking of your character, for there are so many things that need changing; I am speaking only of your physical appearance). You see some disharmony somewhere and you say: If this disharmony disappeared, how much better would it be! But why dont you think that it could be done? If you look at yourself in quite an objective waynot with that sort of attachment one has for ones little person, but quite objectively, you look at yourself as you would look at another person and tell yourself: But this thing is not altogether in harmony with that, and if you look yet more closely, it becomes very interesting: you discover that this disharmony is the expression of a defect in your character. It is because in your character there is something a bit twisted, not quite harmonious, and in your body this is reproduced somewhere. You try to arrange it in your body and you find out that to get back to the source of this physical disharmony, you have to find out the defect in your inner being. And then you begin to work and the result is obtained.
1953-07-15, #Questions And Answers 1953, #The Mother, #Integral Yoga
There is only one thing that can truly save you, it is to have a contact, even the slightest, with your psychic beingto have felt the solidity of that contact. Then whatever comes to you from this person or that circumstance you place in front of that and see whether it is all right or not. Even if you are satisfiedin every wayeven if you say to yourself: At last I have found the friend I wanted to have. I am in the best circumstances of my life, etc., then put that before this little contact with your psychic being, you will see whether it keeps its bright Colour or suddenly there comes a little uneasiness, not much, nothing making a great noise, but just a little uneasiness. You are no longer so sure that it was as you thought! Then you know: yes, it is that small voice which one must listen to always. It is that which is the truth and the other cant trouble you any longer.
If you come to the spiritual life with a sincere aspiration, sometimes an avalanche of unpleasant things falls upon you: you quarrel with your best friends, your family kicks you out of the house, you lose what you thought you had gained. I knew someone who had come to India with a great aspiration and after a very long effort towards knowledge and even towards Yoga. That was long long ago. At that time, people used to put on watch-chains and trinkets. This gentleman had a golden pencil which his grandmo ther had given him to which he was attached as the most precious thing in the world. It was fixed to his chain. When he landed at one of these portsat Pondicherry or perhaps elsewhere in India or at Colombo, I believe it was at Colombo they used to get into small boats and the boats took you ashore. And so this gentleman had to jump from the gangway of the ship into the boat. He missed his step, somehow got back his balance, but he made a sudden movement and the little gold pencil dropped into the sea and went straight down into the depths. He was at first very much aggrieved, but he told himself: Why, that is the effect of India: I am freed from my attachments. It is for very sincere people that the thing takes such a form. Fundamentally, the avalanche of troubles is always for sincere people. Those who are not sincere receive things with the most beautiful bright Colours just to deceive them, and then in the end to enable them to find out that they are mistaken! But when someone has big troubles, it proves that he has reached a certain degree of sincerity.
Here you say: When you come to the Divine, you must abandon all mental conceptions; but, instead of doing that, you throw your conceptions upon the Divine and want the Divine to obey them.
1953-10-21, #Questions And Answers 1953, #The Mother, #Integral Yoga
For instance, there were in the Middle Agesthere still are today, but they were already there in the Middle Agesmen who made stained-glass windows, designs with pieces of Coloured glass and in various forms. In the churches, in cathedrals, there were always stained-glass windows. Instead of ordinary windows, there were these Coloured panes which made designs. It is a wonderful material, for there is the sun behind (in any case the full light), and these glasses were transparent; so they gave out a Colour which was as though self-luminous, and these men made designs, made pictures with these Coloured glasses cut out, you know, in special forms and painted in different Colours. And that indeed was art. In all the cathedrals, the big churches, there were stained-glass windows; some of them were quite marvellous. And they expressed, for instance, the life of a saint or scenes from the life of Christ or all kinds of things like that.
So, what is your question? Put it clearly.
--
Whether one can express the Divine himself in art? But in what can one express Him? I mean, what exactly do you call expressing the Divine? In words? In teachings? In books, finally? Or how else? Who has expressed the Divine completely in the material world? It is only when the material world is transformed that it will be possible to express the Divine in his purity. And I dont see what difference there can be between art and any other activity. It is something which has the capacity to become fused, but not entirely, and it remains (how to put it?) an instrument for giving a form. And I dont see what difference this makes, whatever may be the form. If one can express the Divine with words, one can express Him with Colours, express Him with sounds, express Him with forms. But in none of these instances is the expression perfect, for the union is not perfect. But when the world is transformed and the Divine is able to manifest Himself without being deformed, the expression will be perfect. But for the moment all expressions are on the same plane. None of them is better than any other. One mode of expression (I mean in itself) is not better than another. There is always something of the human personality, the being in form, which is there to give a limitation or deformation to what has to be expressed.
Art is just one activity like all others. Truly speaking, I was too polite to tell that lady1 this, but I thought: Why do you make distinctions like that, all this is the same thing. Do you catch what I mean?
1953-10-28, #Questions And Answers 1953, #The Mother, #Integral Yoga
There is even a considerable number of spirals intersecting and giving the impression of contradiction. If one could follow in its totality the movement of universal progress, one would see that there is such a great number of spirals which intersect, that finally one does not know at all whether one is advancing or going back. For, at the same moment some things are going up and others falling back into the darkness, and all these are not absolutely independent of one another. There is a kind of coordination, so that instead of imagining a spiral like that, we should have to think of spherical spirals. If this could be described, all these spirals taken together would form an immense globe. And it is at the intersection of these spirals that there are moments of progress. But before the progress is coherent, total, there must be an inner organisation of life, different from that of Nature, arranged in accordance with a plan. For Natureher plan is only made with an aspiration, a decision and a goal. And the road seems quite fantastic, following the impulses of every minutetrials, set-backs, contradictions, progress and demolition of what has already been done; and it is such a chaos that one can understand nothing there. She has the air of somebody doing things impulsivelygiving out certain impulses and destroying them, beginning others again, and going on and on like that. She makes and unmakes, she remakes and again demolishes, she mixes, destroys, constructs and all this at the same time. It is incomprehensible. And yet, she evidently has a plan, and herself goes towards a certain goal which is very clear to her but quite veiled to human consciousness. It is very interesting. If one could construct something like that, it would give an idea: a globe made of intersecting spirals of different Colours, and each representing one aspect of Natures creation. And these aspects are made to complete one another but so far they are rather in competition than collaboration, and it seems she is always obliged to destroy something in order to make another, which makes for a terrible wastage, and a still greater disorder. But if all this were seen in its totality, it would be extremely interesting. For it is an extremely complex criss-crossing, in all possible directions, of a spiralling ascent.
Now, for your question, there could be another answer. What I have said just now is also exactly the same for art, it also follows an evolution and at a certain moment seems to drift away from its goal and at others it draws close to a greater height. But there is something else, that is a social point of view: there is a period, like the Age of Louis XIV for example, in which what predominated was the sense of artistic creation, and this sense seems to have given a certain perception of beauty at that moment; but afterwards social evolution brought in other needs and other ideas, and now, for more than a century it is commercialism which is uppermost in the world, and there is nothing more in contradiction with art than commerce. For it is precisely the vulgarisation of something which ought to be exceptional. It is putting within everybodys range something which could be understood only by an elite. And as we are in an age of mechanisation and commercialism, it is a time altogether uncongenial for a blossoming of art. And probably this is why art, not finding the conditions necessary for its full flowering, tries to seek another outlet and enters the mental and vital field for its expression. That is the reason. When the time comes to shake off, so to say, to reject this mercantilism and to wake up to a more beautiful reality, then art too will be reborn in a greater consciousness of harmony.
1953-11-04, #Questions And Answers 1953, #The Mother, #Integral Yoga
What you have done there makes it flat, the way it is done. It is flat. As I saw it, the edge was touched by a section of the curve. Each curve has one part of the edge as section. And the Colours were seen distinctly and one could see right through. I think you could do this geometrically. The whole surface is taken up by one section of the curve of the spiral.
Pavitra: Are these spirals on the surface of the sphere or inside?
--
The whole inside was naturally full of spirals, But as there was no substance (there were only spirals), one could see through. They were not so joined up as to make an opaque mass. And one could follow: the Colours were brilliant, they were luminous. One could follow the line inside. And so it should be inferred that they were countless.
Were they drawing closer inwards forming smaller and smaller curves?
--
Mother, what do the Colours represent?
Here you have three greens and only one blue. That one is blue, but greenish blue. Then there are two browns, one black and one grey, two reds These Colours are dead Colours, arent they? They can be given a particular meaning.
There was no black.
1954-05-26 - Symbolic dreams - Psychic sorrow - Dreams, one is rarely conscious, #Questions And Answers 1954, #The Mother, #Integral Yoga
It was an afternoon after a storm and I was on the seashore. The sea had receded very far and there was a village where I saw horses of stone. There were four horses, perhaps, in black stone, and above them there was a white horse, in marble perhaps, and this one was shining with many Colours.
It was when the sea had receded?
--- Overview of noun colour
The noun colour has 8 senses (no senses from tagged texts)
1. coloring material, colouring material, color, colour ::: (any material used for its color; "she used a different color for the trim")
2. color, colour, people of color, people of colour ::: (a race with skin pigmentation different from the white race (especially Blacks))
3. color, colour ::: ((physics) the characteristic of quarks that determines their role in the strong interaction; "each flavor of quarks comes in three colors")
4. color, colour, vividness ::: (interest and variety and intensity; "the Puritan Period was lacking in color"; "the characters were delineated with exceptional vividness")
5. color, colour, coloration, colouration ::: (the timbre of a musical sound; "the recording fails to capture the true color of the original music")
6. color, colour, coloring, colouring ::: (a visual attribute of things that results from the light they emit or transmit or reflect; "a white color is made up of many different wavelengths of light")
7. semblance, gloss, color, colour ::: (an outward or token appearance or form that is deliberately misleading; "he hoped his claims would have a semblance of authenticity"; "he tried to give his falsehood the gloss of moral sanction"; "the situation soon took on a different color")
8. color, colour ::: (the appearance of objects (or light sources) described in terms of a person's perception of their hue and lightness (or brightness) and saturation)
--- Overview of verb colour
The verb colour has 6 senses (no senses from tagged texts)
1. color, colour ::: (modify or bias; "His political ideas color his lectures")
2. color, colour, emblazon ::: (decorate with colors; "color the walls with paint in warm tones")
3. color, colour, gloss ::: (give a deceptive explanation or excuse for; "color a lie")
4. tinge, color, colour, distort ::: (affect as in thought or feeling; "My personal feelings color my judgment in this case"; "The sadness tinged his life")
5. color, colorize, colorise, colourise, colourize, colour, color in, colour in ::: (add color to; "The child colored the drawings"; "Fall colored the trees"; "colorize black and white film")
6. discolor, discolour, colour, color ::: (change color, often in an undesired manner; "The shirts discolored")
--- Overview of adj colour
The adj colour has 1 sense (first 1 from tagged texts)
1. (1) color, colour ::: (having or capable of producing colors; "color film"; "he rented a color television"; "marvelous color illustrations")
--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun colour
8 senses of colour
Sense 1
coloring material, colouring material, color, colour
=> material, stuff
=> substance
=> matter
=> physical entity
=> entity
=> part, portion, component part, component, constituent
=> relation
=> abstraction, abstract entity
=> entity
Sense 2
color, colour, people of color, people of colour
=> race
=> group, grouping
=> abstraction, abstract entity
=> entity
Sense 3
color, colour
=> kind, sort, form, variety
=> category
=> concept, conception, construct
=> idea, thought
=> content, cognitive content, mental object
=> cognition, knowledge, noesis
=> psychological feature
=> abstraction, abstract entity
=> entity
Sense 4
color, colour, vividness
=> interest, interestingness
=> power, powerfulness
=> quality
=> attribute
=> abstraction, abstract entity
=> entity
Sense 5
color, colour, coloration, colouration
=> timbre, timber, quality, tone
=> sound property
=> property
=> attribute
=> abstraction, abstract entity
=> entity
Sense 6
color, colour, coloring, colouring
=> visual property
=> property
=> attribute
=> abstraction, abstract entity
=> entity
Sense 7
semblance, gloss, color, colour
=> appearance, visual aspect
=> quality
=> attribute
=> abstraction, abstract entity
=> entity
Sense 8
color, colour
=> appearance, visual aspect
=> quality
=> attribute
=> abstraction, abstract entity
=> entity
--- Hyponyms of noun colour
3 of 8 senses of colour
Sense 1
coloring material, colouring material, color, colour
=> paint, pigment
=> indicator
=> mordant
=> dye, dyestuff
=> tincture
=> hematochrome
=> pigment
=> pigment
=> stain
Sense 6
color, colour, coloring, colouring
=> primary color, primary colour
=> heather mixture, heather
=> mottle
=> shade, tint, tincture, tone
=> chromatic color, chromatic colour, spectral color, spectral colour
=> achromatic color, achromatic colour
=> coloration, colouration
=> complexion, skin color, skin colour
=> nonsolid color, nonsolid colour, dithered color, dithered colour
Sense 7
semblance, gloss, color, colour
=> color of law, colour of law
=> simulacrum
=> face value
=> guise, pretense, pretence, pretext
=> disguise, camouflage
=> verisimilitude
--- Synonyms/Hypernyms (Ordered by Estimated Frequency) of noun colour
8 senses of colour
Sense 1
coloring material, colouring material, color, colour
=> material, stuff
Sense 2
color, colour, people of color, people of colour
=> race
Sense 3
color, colour
=> kind, sort, form, variety
Sense 4
color, colour, vividness
=> interest, interestingness
Sense 5
color, colour, coloration, colouration
=> timbre, timber, quality, tone
Sense 6
color, colour, coloring, colouring
=> visual property
Sense 7
semblance, gloss, color, colour
=> appearance, visual aspect
Sense 8
color, colour
=> appearance, visual aspect
--- Similarity of adj colour
1 sense of colour
Sense 1
color (vs. black-and-white), colour
--- Antonyms of adj colour
1 sense of colour
Sense 1
color (vs. black-and-white), colour
--- Coordinate Terms (sisters) of noun colour
8 senses of colour
Sense 1
coloring material, colouring material, color, colour
-> material, stuff
=> ballast
=> bedding material, bedding, litter
=> rind
=> precursor
=> atom, molecule, particle, corpuscle, mote, speck
=> ammunition
=> floccule, floc
=> HAZMAT
=> aggregate
=> raw material, staple
=> sorbate
=> sorbent, sorbent material
=> diamagnet
=> mineral
=> rock, stone
=> adhesive material, adhesive agent, adhesive
=> sealing material
=> animal material
=> fluff
=> bimetal
=> abrasive, abradant, abrasive material
=> chemical, chemical substance
=> composite material
=> conductor
=> insulator, dielectric, nonconductor
=> contaminant, contamination
=> particulate, particulate matter
=> dust
=> elastomer
=> earth, ground
=> discharge, emission
=> detritus
=> waste, waste material, waste matter, waste product
=> fiber, fibre
=> filling, fill
=> foam
=> homogenate
=> humate
=> impregnation
=> paper
=> packing material, packing, wadding
=> coloring material, colouring material, color, colour
=> plant material, plant substance
=> radioactive material
=> thickening, thickener
=> toner
=> transparent substance, translucent substance
=> undercut
=> builder, detergent builder
=> vernix, vernix caseosa
=> wad
Sense 2
color, colour, people of color, people of colour
-> race
=> color, colour, people of color, people of colour
=> master race, Herrenvolk
=> Black race, Negroid race, Negro race
=> White race, White people, Caucasoid race, Caucasian race
=> Yellow race, Mongoloid race, Mongolian race
=> Indian race, Amerindian race
=> Indian race
=> Slavic people, Slavic race
Sense 3
color, colour
-> kind, sort, form, variety
=> description
=> type
=> antitype
=> art form
=> style
=> flavor, flavour
=> color, colour
=> species
=> genus
=> brand, make
=> genre
=> like, ilk
=> manner
=> model
=> stripe
=> like, the like, the likes of
Sense 4
color, colour, vividness
-> interest, interestingness
=> charisma, personal appeal, personal magnetism
=> newsworthiness, news
=> topicality
=> color, colour, vividness
=> shrillness
Sense 5
color, colour, coloration, colouration
-> timbre, timber, quality, tone
=> harmonic
=> resonance
=> color, colour, coloration, colouration
=> nasality
=> plangency, resonance, reverberance, ringing, sonorousness, sonority, vibrancy
=> shrillness, stridence, stridency
=> register
Sense 6
color, colour, coloring, colouring
-> visual property
=> texture
=> light, lightness
=> dullness
=> softness
=> color, colour, coloring, colouring
=> colorlessness, colourlessness, achromatism, achromaticity
=> color property
Sense 7
semblance, gloss, color, colour
-> appearance, visual aspect
=> agerasia
=> look
=> view
=> color, colour
=> complexion
=> impression, effect
=> perspective, linear perspective
=> phase
=> vanishing point
=> superficies
=> format
=> form, shape, cast
=> persona, image
=> semblance, gloss, color, colour
=> face
=> countenance, visage
=> hairiness, pilosity
=> hairlessness
=> beauty
=> ugliness
=> disfigurement, disfiguration, deformity
=> homeliness, plainness
=> blemish, defect, mar
=> stain, discoloration, discolouration
=> plainness
=> ornateness, elaborateness
=> decorativeness
=> etiolation
=> sleekness
Sense 8
color, colour
-> appearance, visual aspect
=> agerasia
=> look
=> view
=> color, colour
=> complexion
=> impression, effect
=> perspective, linear perspective
=> phase
=> vanishing point
=> superficies
=> format
=> form, shape, cast
=> persona, image
=> semblance, gloss, color, colour
=> face
=> countenance, visage
=> hairiness, pilosity
=> hairlessness
=> beauty
=> ugliness
=> disfigurement, disfiguration, deformity
=> homeliness, plainness
=> blemish, defect, mar
=> stain, discoloration, discolouration
=> plainness
=> ornateness, elaborateness
=> decorativeness
=> etiolation
=> sleekness
--- Pertainyms of adj colour
1 sense of colour
Sense 1
color (vs. black-and-white), colour
--- Derived Forms of adj colour
--- Grep of noun colour
achromatic colour
basic colour
chromatic colour
colour
colour bar
colour blindness
colour constancy
colour line
colour of law
colour scheme
colour supplement
colour television
colour television system
colour television tube
colour tube
colour tv
colour tv tube
colour vision deficiency
colour wash
colouration
colourcast
colouring
colouring material
colourlessness
colours
dithered colour
food colour
nonsolid colour
oil colour
people of colour
person of colour
poster colour
primary colour
primary colour for light
primary colour for pigments
primary subtractive colour for light
red-green colour blindness
skin colour
snuff-colour
spectral colour
tricolour
water-colour
watercolour
Wikipedia - 5 Colours in Her Hair -- 2004 single by McFly
Wikipedia - Abraham-Louis-Rodolphe Ducros -- Swiss painter, watercolourist and engraver
Wikipedia - A Colour Box -- Animated film by Len Lye
Wikipedia - All the Colours of Darkness -- Novel by Peter Robinson
Wikipedia - Anna May-Rychter -- German painter, watercolourist (1864-1955)
Wikipedia - Arthur Henry Knighton-Hammond -- English watercolour painter
Wikipedia - Assortative mating -- Preferential mating pattern between individuals with similar phenotypes (e.g., size, colour)
Wikipedia - Away colours -- Choice of coloured clothing used in team sports
Wikipedia - Better Day (song) -- 1997 single by Ocean Colour Scene
Wikipedia - Black panther -- Melanistic colour variant of any of several species of larger cat
Wikipedia - Blue iceberg -- iceberg with a blue colour, often due to very low air content
Wikipedia - Blue Is the Warmest Colour -- 2013 film
Wikipedia - Bonteheuwel -- A former Coloured township in Cape Town
Wikipedia - Bouquet of Small Chrysanthemums (Leon Bonvin) -- Mid 19th century still life watercolour
Wikipedia - Break the Night with Colour -- 2006 single by Richard Ashcroft
Wikipedia - Bring Me Your Love (album) -- 2008 studio album by City and Colour
Wikipedia - Buff (colour) -- yellow-brown colour of the un-dyed leather of several animals
Wikipedia - Cambridge Blue (colour) -- Colour commonly used by sports teams from the University of Cambridge
Wikipedia - Camouflage -- Concealment in plain sight by any means e.g. colour, pattern, shape
Wikipedia - Cape Coloureds
Wikipedia - Carbon monoxide -- Colourless, odourless, tasteless and toxic gas
Wikipedia - Category:English watercolourists
Wikipedia - Catlinite -- A metamorphosed mudstone, usually brownish red in colour
Wikipedia - Chernozem -- Soil type; very fertile, black-coloured soil containing a high percentage of humus
Wikipedia - China girl (filmmaking) -- Colour test image for movie film
Wikipedia - Chromolithography -- Method for making multi-colour prints
Wikipedia - Clare Cryan -- Irish watercolour artist and teacher
Wikipedia - Clearwater river (river type) -- River classification based on chemistry, sediments and water colour
Wikipedia - Color blindness -- Inability or decreased ability to see colour or colour differences
Wikipedia - Colour banding -- Inaccuracy in computer graphics
Wikipedia - Colourblind (Darius Campbell song) -- 2002 single by Darius
Wikipedia - Colour blindness
Wikipedia - Colour cast
Wikipedia - Coloured Book protocols
Wikipedia - Coloured Canyon -- Canyon in Egypt
Wikipedia - Coloured Persons Communal Reserves Act, 1961
Wikipedia - Coloured Persons Representative Council
Wikipedia - Coloured Petri nets
Wikipedia - Coloured Petri net
Wikipedia - Coloureds -- Multiracial ethnic group of Southern Africa
Wikipedia - Coloured-vote constitutional crisis
Wikipedia - Coloured vote constitutional crisis -- 1950s constitutional crisis in South Africa
Wikipedia - Coloured
Wikipedia - Colour fastness -- Property of colored materials such as textiles to resist fading and running when exposed to various agencies such as washing, rubbing, daylight, etc.
Wikipedia - Colourful (film) -- 2006 Malayalam language film
Wikipedia - Colour guard -- Type of military unit
Wikipedia - Colour Me Kubrick -- 2006 film
Wikipedia - Colour organ
Wikipedia - Colour Photo -- 2020 Indian film directed by Sandeep Raj
Wikipedia - Colour piece -- Section of a publication that focuses mainly on impressions or descriptions of the subject matter
Wikipedia - ColourPop Cosmetics -- Cosmetics brand
Wikipedia - Colour supplement -- Magazine with full-colour printing packaged with a newspaper
Wikipedia - Colour the World -- 1999 single by Sash!
Wikipedia - Colour Vision -- French-bred Thoroughbred racehorse
Wikipedia - Colour -- redirects to color
Wikipedia - Congenital sensorineural deafness in cats -- High rates of congenital deafness in white cats with light-coloured eyes
Wikipedia - Crooked Colours -- Alternative dance group from Perth, Western Australia
Wikipedia - Cyr/The Colour of Love -- The Smashing Pumpkins single
Wikipedia - Daniel Fowler -- Canadian watercolour painter
Wikipedia - Distant Colours -- Song by Manic Street Preachers
Wikipedia - Dorothy Lockwood -- British artist known for her watercolour paintings
Wikipedia - Drambuie -- Sweet, golden coloured liqueur made from Scotch whisky
Wikipedia - DSatur -- Graph colouring algorithm by Daniel Brelaz
Wikipedia - Elmer Plummer -- American water colour painter
Wikipedia - Emily Acland -- New Zealand settler and watercolourist
Wikipedia - Evolution of color vision in primates -- The loss and regain of colour vision during the evolution of primates
Wikipedia - Evolution of color vision -- The origin and variation of colour vision across various lineages through geologic time
Wikipedia - Evolution of human colour vision -- Overview of the evolution of human colour vision
Wikipedia - False Colours -- 1963 book by Georgette Heyer
Wikipedia - Fanny Currey -- Irish horticulturalist and watercolour painter
Wikipedia - Foidolite -- A rare coarse-grained intrusive igneous rock in which more than 60% of light-coloured minerals are feldspathoids
Wikipedia - Forel-Ule scale -- A method to approximately determine the color of bodies of water using a standard colour scale
Wikipedia - Foundation (cosmetics) -- Skin coloured cosmetic applied to the face
Wikipedia - Francis William Topham -- English watercolour-painter and engraver
Wikipedia - Free My Name -- 2005 single by Ocean Colour Scene
Wikipedia - Gandhi cap -- White coloured sidecap, pointed in front and back and having a wide band, worn in India
Wikipedia - George Shalders -- English watercolour painter
Wikipedia - Glamour Boys (song) -- 1988 single by Living Colour
Wikipedia - Hapshash and the Coloured Coat -- Band that plays psychedelic rock
Wikipedia - Harriet Jane Moore -- Watercolour artist
Wikipedia - Hazardous Materials Identification System -- A numerical hazard rating using colour coded labels
Wikipedia - Helen Sophia O'Hara -- Irish watercolour artist
Wikipedia - Help:Using colours
Wikipedia - Herbert Menzies Marshall -- English cricketer and watercolour painter/illustrator
Wikipedia - Holi -- Hindu spring festival of colours
Wikipedia - Homage to Chagall: The Colours of Love -- 1977 film
Wikipedia - Hundred Mile High City -- 1997 single by Ocean Colour Scene
Wikipedia - Ian Weatherhead -- English watercolour artist
Wikipedia - International Colour Association
Wikipedia - International Colour Authority
Wikipedia - J. M. W. Turner -- 18th and 19th-century British painter, water-colourist, and printmaker
Wikipedia - John Boyne (artist) -- Irish water-colour painter
Wikipedia - John Crowther -- British watercolourist
Wikipedia - Josiah Wood Whymper -- English wood-engraver, book illustrator and watercolourist.
Wikipedia - Jubilee Diamond -- Colourless, cushion-shaped diamond weighing 245.35 carats
Wikipedia - July (Ocean Colour Scene song) -- 2000 single by Ocean Colour Scene
Wikipedia - Kanthan - The Lover of Colour -- 2018 Malayalam-language film
Wikipedia - Kempe chain -- Method used in proof of the four-colour theorem
Wikipedia - Kumkuma -- Kumkuma is a red colour powder used for social and religious markings in India
Wikipedia - Leslie Charlotte Benenson -- An English artist who worked in sculpture, oils, watercolours, ceramics and calligraphy
Wikipedia - List of accolades received by Blue Is the Warmest Colour -- Wikipedia list article
Wikipedia - List of chicken colours -- Wikipedia list article
Wikipedia - List of early colour TV shows in the UK -- Wikipedia list article
Wikipedia - List of international auto racing colours -- Wikipedia list article
Wikipedia - Liturgical colours
Wikipedia - Living Colour -- American rock band
Wikipedia - Louis Haghe -- Belgian lithographer, watercolourist
Wikipedia - Love Sees No Colour -- 1993 single by U96
Wikipedia - Magdalena Furstin -- German artist and hand-colourist
Wikipedia - Mariquita Jenny Moberly -- English artist, working in oil and watercolour
Wikipedia - Mary Gedye -- 19th Century Australian watercolourist
Wikipedia - Mauve -- Pale purple colour
Wikipedia - M-CM-^@ la poupM-CM-)e -- Inking method in colour printmaking
Wikipedia - Medieval stained glass -- Coloured and painted glass of medieval Europe
Wikipedia - Milky spots -- Very small white-coloured areas of lymphoid tissue, found in the peritoneal, pleural and pericardial cavities
Wikipedia - Mountbatten pink -- Naval camouflage colour
Wikipedia - Murrey -- In heraldry, purple colour
Wikipedia - Myles Birket Foster -- English illustrator, watercolour artist and engraver (1825-1899)
Wikipedia - National colours of Italy
Wikipedia - National colours of Ukraine
Wikipedia - National colours
Wikipedia - Nelson Chequer -- Colour scheme adopted by vessels of the British Royal Navy
Wikipedia - Neocolours -- Filipino vocal group
Wikipedia - Nitrous oxide -- Colourless gas with the formula N2O
Wikipedia - Ocean color -- Explanation of the colour of oceans and ocean colour radiometry
Wikipedia - Ocean Colour Scene -- English rock band
Wikipedia - On Vision and Colours
Wikipedia - Orange (colour) -- Colour, located between red and yellow in the spectrum of light
Wikipedia - Oxford Blue (colour) -- Shade of blue used by Oxford University
Wikipedia - PAL -- Colour encoding system for analogue television
Wikipedia - Pan-African flag -- Flag using the Pan-African colours
Wikipedia - Pantone 448 C -- Colour in the Pantone colour system
Wikipedia - Pauline Prochazka -- Founder of the Water Colour Society of Ireland.
Wikipedia - P-Cresol -- Colourless solid that is widely used intermediate in the production of other chemicals. It is a derivative of phenol
Wikipedia - Pepper LaBeija -- American trans woman of colour and fashion designer.
Wikipedia - Persian blue -- A blue colour associated with Persian pottery
Wikipedia - Peter Doherty (comics) -- British comic book artist and colourist
Wikipedia - Pinkerton's Assorted Colours -- Band that plays pop music
Wikipedia - Political colour -- Colours used to represent a political ideology, movement or party
Wikipedia - Polychrome brickwork -- Use of bricks of different colours for decoration
Wikipedia - Posting the Colours -- Traditional American ceremony
Wikipedia - Presentation of Colours -- Traditional British ceremony
Wikipedia - Pumice -- Light coloured highly vesicular volcanic rock
Wikipedia - Race Relations Act 1976 -- Act of the Parliament of the United Kingdom outlawing discrimination on the grounds of race, colour, nationality and ethnic origin
Wikipedia - Rainbow Without Colours -- 2015 Vietnamese movie
Wikipedia - Rangoli -- Traditional art form of India, in which coloured patterns are created on the ground
Wikipedia - Remarks on Colour
Wikipedia - Richard Bellhouse -- English cricketer, watercolourist, and architect
Wikipedia - Robert Wade (watercolour artist) -- Australian artist
Wikipedia - Robert Walker Macbeth -- Scottish painter, etcher and watercolourist
Wikipedia - Sand-coloured nighthawk -- Species of bird
Wikipedia - Sand mandala -- Tibetan Buddhist tradition involving the creation and destruction of mandalas made from coloured sand
Wikipedia - Sapropel -- Dark-coloured sediments rich in organic matter
Wikipedia - Shades of black -- Colours that differ only slightly from pure black
Wikipedia - Springbok colours -- Green and gold blazers awarded to members of the South Africa national rugby union team
Wikipedia - Stained glass -- Coloured glass and the works that are made from it
Wikipedia - Straw-coloured fruit bat -- Species of mammal
Wikipedia - Structural coloration -- Colour in living creatures caused by interference effects
Wikipedia - Susanna Roope Dockery -- English watercolour painter living in Portugal
Wikipedia - The Colourful Dream -- 1952 film
Wikipedia - The Colour Group -- British organisation
Wikipedia - The Colour of Magic
Wikipedia - The Colour of My Love
Wikipedia - The Colour of the Chameleon -- 2012 film
Wikipedia - The Colour of Your Lips -- 2018 film
Wikipedia - The Colour Out of Space -- Short story written by American horror author H. P. Lovecraft
Wikipedia - The Colours of My Father: A Portrait of Sam Borenstein -- 1992 film
Wikipedia - The Dame in Colour -- 1985 film
Wikipedia - The Day We Caught the Train -- 1996 single by Ocean Colour Scene
Wikipedia - The dress -- Optical illusion regarding the colour of a dress
Wikipedia - Theory of Colours -- 1810 book by Johann Wolfgang von Goethe
Wikipedia - The Riverboat Song -- 1996 single by Ocean Colour Scene
Wikipedia - Three Beauties of the Present Day -- Colour woodblock print c. 1793 by Kitagawa Utamaro
Wikipedia - Tiger's eye -- A chatoyant gemstone that is usually a metamorphic rock with a golden to red-brown colour and a silky lustre
Wikipedia - Tincture (heraldry) -- A metal, colour, or fur used in heraldic design
Wikipedia - Toni Onley -- Canadian watercolour painter
Wikipedia - Too Colourful for the League -- 2001 film by Mila Aung-Thwin, Daniel Cross
Wikipedia - Tooth whitening -- Process to lighten the colour of teeth
Wikipedia - Triband (flag) -- Flag with three bands (bends or pales), not necessarily in three colours
Wikipedia - Tricking -- Method for indicating the tinctures (colours) used in a coat of arms
Wikipedia - Two-coloured thick-toed gecko -- Species of reptile
Wikipedia - UK Black Pride -- Queer pride in UK aiming towards people of colour
Wikipedia - Variegated yarn -- Yarn dyed with more than one colour
Wikipedia - Vetkoek -- A traditional coloured fried dough bread
Wikipedia - Wash (visual arts) -- A background in an artwork created by applying dilute colour
Wikipedia - Watercolour
Wikipedia - Whinstone -- Quarrying term for any hard dark-coloured rock
Wikipedia - Wikipedia:Manual of Style/Accessibility/Colors -- Table of colours which are WCAG AAA compatible for 14 different hues
Wikipedia - Zag and the Coloured Beads -- English experimental rock band
https://www.goodreads.com/book/show/1022376.The_Colour
https://www.goodreads.com/book/show/10365980-an-apology-for-the-colouring-of-the-greek-court-in-the-crystal-palace
https://www.goodreads.com/book/show/1220063.The_Colour_Of_Heaven
https://www.goodreads.com/book/show/1251054.The_Colour_Out_of_Space_and_others
https://www.goodreads.com/book/show/1256703.The_Colour_of_Blood
https://www.goodreads.com/book/show/12708182-tales-in-colour
https://www.goodreads.com/book/show/12883503-the-colour-of-my-mind
https://www.goodreads.com/book/show/13367369-seeing-a-colour-blind-future
https://www.goodreads.com/book/show/1498974.The_Colour_of_Love
https://www.goodreads.com/book/show/157099.Colour_After_Klein
https://www.goodreads.com/book/show/170131.Remarks_on_Colour
https://www.goodreads.com/book/show/17261634-colour-wielders
https://www.goodreads.com/book/show/1831347.Silver_Surfers_Colour_Guide_to_the_Internet
https://www.goodreads.com/book/show/18584326-severed-colours
https://www.goodreads.com/book/show/1862493.Her_Native_Colours
https://www.goodreads.com/book/show/1868585.Colour_Vision
https://www.goodreads.com/book/show/18715332-colours-of-gold
https://www.goodreads.com/book/show/19020705-all-the-colours-of-the-town
https://www.goodreads.com/book/show/19132922-the-colourblind-chameleon
https://www.goodreads.com/book/show/19944233-cookery-in-colour---a-picture-encyclopedia-for-every-occasion
https://www.goodreads.com/book/show/20987479-the-midnight-colouring-book
https://www.goodreads.com/book/show/21047580-watercolour-troubleshooter
https://www.goodreads.com/book/show/21073269-handbook-of-foreign-birds-in-colour
https://www.goodreads.com/book/show/21105567-a-duffer-s-guide-to-painting-watercolour-landscapes
https://www.goodreads.com/book/show/2156403.The_Colour_of_Nothingness
https://www.goodreads.com/book/show/21919292-the-secret-language-of-colour-cards
https://www.goodreads.com/book/show/2192745.Its_Colours_They_Are_Fine
https://www.goodreads.com/book/show/2207658.False_Colours
https://www.goodreads.com/book/show/22743742.Colour_of_Magic___Disc_world__1
https://www.goodreads.com/book/show/22797209-a-brush-full-of-colour
https://www.goodreads.com/book/show/22856886-the-colour-of-life-and-other-stories
https://www.goodreads.com/book/show/23310162-flesh-coloured-dominoes
https://www.goodreads.com/book/show/23340377-the-colour-of-life-and-other-stories
https://www.goodreads.com/book/show/23499242-fire-colour-one
https://www.goodreads.com/book/show/2353030.The_Woman_of_Colour
https://www.goodreads.com/book/show/24403781-the-colour-of-love
https://www.goodreads.com/book/show/25064555-the-magic-colouring-book
https://www.goodreads.com/book/show/2511345.Coloured
https://www.goodreads.com/book/show/25316749-white-is-the-coldest-colour
https://www.goodreads.com/book/show/25521994-elements-of-colour
https://www.goodreads.com/book/show/26141816-colour-my-ugly
https://www.goodreads.com/book/show/26632956-nature-sings---colourart-by-emila-yusof
https://www.goodreads.com/book/show/26726843-draw-it-colour-it-creatures
https://www.goodreads.com/book/show/26736403-the-dyer-and-colour-maker-s-companion
https://www.goodreads.com/book/show/26871357-don-harrison-s-top-watercolour-techniques
https://www.goodreads.com/book/show/28232837-colour-me-zen
https://www.goodreads.com/book/show/28937899-watercolour-smile
https://www.goodreads.com/book/show/29462958.The_Colours_of_Our_Petals
https://www.goodreads.com/book/show/30401966-corgis-rule-a-dog-lover-s-colouring-book
https://www.goodreads.com/book/show/30420436-creative-clarity---colouring-with-inspiring-text
https://www.goodreads.com/book/show/31081028-adult-colouring-book-just-add-color-and-have-fun-vol-4
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https://www.goodreads.com/book/show/32104.False_Colours
https://www.goodreads.com/book/show/32894521-british-airways-colouring-book
https://www.goodreads.com/book/show/338404.Colours_in_the_Steel
https://www.goodreads.com/book/show/338404.Colours_in_the_Steel__Fencer_Trilogy___1_
https://www.goodreads.com/book/show/34328346-leaving-is-my-colour
https://www.goodreads.com/book/show/34661346-the-many-colours-of-us
https://www.goodreads.com/book/show/35340156-yellow-is-the-colour-of-longing
https://www.goodreads.com/book/show/35478989-the-colour-of-bee-larkham-s-murder
https://www.goodreads.com/book/show/35566610-all-the-colours-in-between
https://www.goodreads.com/book/show/35606772-the-colours-of-my-heart
https://www.goodreads.com/book/show/36013215-all-the-colours-in-between
https://www.goodreads.com/book/show/36271679-watercolour-smile
https://www.goodreads.com/book/show/36622860-turtles-and-tortoises-in-colour-2018-2022
https://www.goodreads.com/book/show/37559079-the-colour-of-time
https://www.goodreads.com/book/show/377587.Dr_Sketchy_s_Official_Rainy_Day_Colouring_Book
https://www.goodreads.com/book/show/37758969-the-astonishing-colour-of-after
https://www.goodreads.com/book/show/378639.The_Many_Coloured_Land
https://www.goodreads.com/book/show/380466.Rose_Coloured_Love
https://www.goodreads.com/book/show/38476212-vibrant-watercolours
https://www.goodreads.com/book/show/38521476-white-is-the-coldest-colour
https://www.goodreads.com/book/show/39218358-the-colour-of-the-sun
https://www.goodreads.com/book/show/39287703-angie-scarr-s-colour-book
https://www.goodreads.com/book/show/40691324-handbook-of-foreign-birds-in-colour
https://www.goodreads.com/book/show/40693588-forex-trading-using-volume-price-analysis---full-colour-edition
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https://www.goodreads.com/book/show/4483360-computer-generated-colour
https://www.goodreads.com/book/show/4560221-a-colour-atlas-of-rupture-of-the-rotator-cuff
https://www.goodreads.com/book/show/463153.The_Autobiography_of_an_Ex_Coloured_Man
https://www.goodreads.com/book/show/597204.The_Emperor_s_Coloured_Coat
https://www.goodreads.com/book/show/601238.The_Colour_of_Magic__Discworld___1_
https://www.goodreads.com/book/show/6041050-true-colours
https://www.goodreads.com/book/show/6323460-colours-of-the-vanishing-tribes
https://www.goodreads.com/book/show/645818.Coloured_Lights
https://www.goodreads.com/book/show/6617865-all-the-colours-of-the-town
https://www.goodreads.com/book/show/6853070-budgerigars-in-colour
https://www.goodreads.com/book/show/6920994-a-colour-atlas-of-clinical-orthopaedics
https://www.goodreads.com/book/show/708330.Like_Colour_to_the_Blind
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https://www.goodreads.com/book/show/90952.Flying_Colours
https://www.goodreads.com/book/show/9280652-thinking-hats-and-coloured-turbans
https://www.goodreads.com/book/show/9346488-colouring-book
https://www.goodreads.com/author/show/13948044.Colour_Sergeant_Thomas_Faughnan
https://military.wikia.org/wiki/File:ElizabethIItroopingcolour_crop.jpg
https://military.wikia.org/wiki/File:Soldiers_Trooping_the_Colour,_16th_June_2007.jpg
https://military.wikia.org/wiki/Trooping_the_Colour
https://religion.wikia.org/wiki/Liturgical_colours
https://religion.wikia.org/wiki/Liturgical_colours#1960_form
https://religion.wikia.org/wiki/Liturgical_colours#Anglicanism
https://religion.wikia.org/wiki/Liturgical_colours#Before_1960
https://religion.wikia.org/wiki/Liturgical_colours#Byzantine_Rite
https://religion.wikia.org/wiki/Liturgical_colours#Coptic_and_Ethiopic_Rites
https://religion.wikia.org/wiki/Liturgical_colours#External_links
https://religion.wikia.org/wiki/Liturgical_colours#Lutheranism
https://religion.wikia.org/wiki/Liturgical_colours#Protestantism
https://religion.wikia.org/wiki/Liturgical_colours#References
https://religion.wikia.org/wiki/Liturgical_colours#Regional_and_situational_exceptions
https://religion.wikia.org/wiki/Liturgical_colours#Russian_Liturgical_Colours
https://religion.wikia.org/wiki/Liturgical_colours#The_Roman_Rite
https://religion.wikia.org/wiki/Saint_George#Colours_and_flag
https://religion.wikia.org/wiki/Talk:Liturgical_colours
selforum - gold is colour of love
https://thoughtsandvisions-searle88.blogspot.com/2014/09/colours-of-aura.html
https://thoughtsandvisions-searle88.blogspot.com/2015/08/philosophy-of-colour-or-color.html
dedroidify.blogspot - colour-of-magic
https://esotericotherworlds.blogspot.com/2012/12/on-colours-from-spiritual-science.html
https://esotericotherworlds.blogspot.com/2012/12/on-colours-from-spiritual-science.html?showComment=1420540259394#c2930826523428993897
wiki.auroville - The_Colours_of_Nature
https://tvtropes.org/pmwiki/pmwiki.php/Anime/IrodukuTheWorldInColours
https://tvtropes.org/pmwiki/pmwiki.php/Characters/PersonaShallowColour
https://tvtropes.org/pmwiki/pmwiki.php/ColourCodedForYourConvenience/RealLife
https://tvtropes.org/pmwiki/pmwiki.php/Es/ColourCodedForYourConvenience
https://tvtropes.org/pmwiki/pmwiki.php/Film/ColourOfTheTruth
https://tvtropes.org/pmwiki/pmwiki.php/Fr/ColourCodedForYourConvenience
https://tvtropes.org/pmwiki/pmwiki.php/Laconic/ColourCodedForYourConvenience
https://tvtropes.org/pmwiki/pmwiki.php/Literature/TheColourOfMagic
https://tvtropes.org/pmwiki/pmwiki.php/Literature/TheColourOutOfSpace
https://tvtropes.org/pmwiki/pmwiki.php/Literature/WeAreNotAllMadeOfColour
https://tvtropes.org/pmwiki/pmwiki.php/Main/AmazingTechnicolourPopulation
https://tvtropes.org/pmwiki/pmwiki.php/Main/ColourCodedCharacters
https://tvtropes.org/pmwiki/pmwiki.php/Main/ColourCodedEmotions
https://tvtropes.org/pmwiki/pmwiki.php/Main/ColourCodedForYourConvenience
https://tvtropes.org/pmwiki/pmwiki.php/Main/ColourCodedPatrician
https://tvtropes.org/pmwiki/pmwiki.php/Main/ColourCodedTimestop
https://tvtropes.org/pmwiki/pmwiki.php/Main/ColourfulThemeNaming
https://tvtropes.org/pmwiki/pmwiki.php/Main/EyeColourChange
https://tvtropes.org/pmwiki/pmwiki.php/Main/FictionalColour
https://tvtropes.org/pmwiki/pmwiki.php/Main/HorseOfADifferentColour
https://tvtropes.org/pmwiki/pmwiki.php/Main/MulticolouredHair
https://tvtropes.org/pmwiki/pmwiki.php/Main/ShadingColourDissonance
https://tvtropes.org/pmwiki/pmwiki.php/Main/SuddenEyeColour
https://tvtropes.org/pmwiki/pmwiki.php/Music/CityAndColour
https://tvtropes.org/pmwiki/pmwiki.php/Music/ColourByNumbers
https://tvtropes.org/pmwiki/pmwiki.php/Music/LivingColour
https://tvtropes.org/pmwiki/pmwiki.php/Music/Neocolours
https://tvtropes.org/pmwiki/pmwiki.php/Music/TheColourAndTheShape
https://tvtropes.org/pmwiki/pmwiki.php/Pantheon/Colours
https://tvtropes.org/pmwiki/pmwiki.php/PlayingWith/ColourCodedForYourConvenience
https://tvtropes.org/pmwiki/pmwiki.php/Quotes/ColourCodedForYourConvenience
https://tvtropes.org/pmwiki/pmwiki.php/VideoExamples/ColourCodedForYourConvenience
https://tvtropes.org/pmwiki/pmwiki.php/VideoGame/ColourfulHell
https://tvtropes.org/pmwiki/pmwiki.php/VideoGame/ColourMySeries
https://tvtropes.org/pmwiki/pmwiki.php/Webcomic/ColourWheel
http://tvtropes.org/pmwiki/pmwiki.php/Tropers/PrimaryColour
https://en.wikiquote.org/wiki/Category:Colours
https://en.wikiquote.org/wiki/Colour
https://en.wikiquote.org/wiki/Colours
https://en.wikiquote.org/wiki/File:Blue_rose-artificially_coloured.jpg
https://en.wikiquote.org/wiki/File:Charlotte_Bronte_coloured_drawing.png
https://en.wikiquote.org/wiki/File:Irish_Naval_Service_Colour.svg
https://en.wikiquote.org/wiki/File:LordEllenboroughColour.jpg
Robot Wars (1997 - 2003) - In each heat, six robots knock several different colours of engine oil out of each other in order to find a winner to go forward to the finals. To do this, two robots are eliminated in the first two rounds and the other three are knocked out individually, leaving one left who is the winner.
Swap Shop (1976 - 1981) - At 9.30am on Saturday, 2 October 1976, the face of Saturday morning television changed forever as the BBC launched The Multi-Coloured Swap Shop.
Spiral: The Bonds of Reasoning (2002 - 2003) - a twenty-five episode anime television series broadcast on TV Tokyo from October 1, 2002 until March 25, 2003. The anime is licensed in Region 1 by Funimation, who released it on DVD and broadcast it on the Funimation Channel, along with the programming block on Colours TV in 2006. The series was al...
Sunny day (2017 - Current) - a Canadian-British animated children's television series produced by Silvergate Media. The series revolves around Sunny (voiced by Lilla Crawford), a hairdresser who runs her own salon with the help of her talking dog Doodle (Rob Morrison), hair colourist Rox (lan Luz Rivera), and receptionist Blai...
Allsorts (1991 - 1994) - Allsorts (also named Gigglish Allsorts) was a Childrens television show that was broadcasted from 1991 to 1994 on CITV, made by Granada Television. It consitied of five main characters, who live in a brightly decorated house with everything in a different colour. It had a worktop, a main sofa and co...
Simon in the Land of Chalk Drawings (2002 - 2003) - The magical adventures of a six-year-old boy with a vivid imagination and a unique talent: everything he draws comes to life in the Land of Chalk Drawings - a colourful world of his own creation! After Simon draws something on his chalkboard, he climbs a ladder and jumps over a fence into the Land o...
Trooping the Colour (1951 - Current) - Every year since 1951, BBC1 in the UK has been televising live coverage of Britian's Trooping the Colour: the British Queen's Birthday Parade.
The Eggs (2004 - 2008) - The Eggs follows the colourful adventures of the four anthropomorphic egg college graduates as they continue their mission through the Loonyverse to search out valuable new sounds for their music-loving home planet of Kazoo.
Pirates of the Caribbean: At World's End(2007) - To control the oceans for E. I. Co., Lord Cutler Beckett executes anyone associated with piracy and uses Davy Jones to destroy all pirate ships on the seas. Condemned prisoners sing "Hoist the Colours" to prompt the nine pirate lords of the Brethren Court to convene at Shipwreck Cove; however, the l...
https://myanimelist.net/manga/105125/Tsurezure_Nichijou_Ekotoba_Colourful_Bleach
Blue Is the Warmest Colour (2013) ::: 7.7/10 -- La vie d'Adle (original title) -- Blue Is the Warmest Colour Poster -- Adle's life is changed when she meets Emma, a young woman with blue hair, who will allow her to discover desire and to assert herself as a woman and as an adult. In front of others, Adle grows, seeks herself, loses herself, and ultimately finds herself through love and loss. Director: Abdellatif Kechiche
Colourful (2010) ::: 7.4/10 -- Karafuru (original title) -- Colourful Poster A sinful spirit is granted the opportunity to prove worthy for rebirth, inhabiting the body of a student who killed himself. Director: Keiichi Hara Writers: Eto Mori (novel), Miho Maruo (screenplay) Stars:
The Colours of Infinity (1995) ::: 7.7/10 -- Not Rated | 52min | Documentary | TV Movie -- Arthur C. Clarke presents this unusual documentary on the mathematical discovery of the Mandelbrot Set (M-Set) in the visually spectacular world of fractal geometry. This show relates the ... S Director: Nigel Lesmoir-Gordon Writers: Arthur C. Clarke, Nigel Lesmoir-Gordon Stars:
https://chelseafc.fandom.com/wiki/Blue_is_the_Colour
https://confan.fandom.com/wiki/Valerian/Colours
https://deblob.fandom.com/wiki/Colour_Underground
https://dreamfiction.fandom.com/wiki/Colourbox
https://dreamfiction.fandom.com/wiki/Colour_TV_(song)
https://dreamfiction.fandom.com/wiki/Colourz
https://elliegoulding.fandom.com/wiki/Tasting_Colour_(song)
https://goodhockey.fandom.com/wiki/Hexadecimal_colour_chart
https://guildopedia.fandom.com/wiki/Riot_of_Colour
https://logos.fandom.com/wiki/Colours
https://lovecraft.fandom.com/wiki/Colour_Out_of_Space
https://lpw.fandom.com/wiki/ColourBlind
https://mori-king.fandom.com/wiki/Colour_Pages
https://naruto.fandom.com/wiki/Three_Coloured_Pills
https://nitrome.fandom.com/wiki/Colourblind
https://punk.fandom.com/wiki/Coloured_Balls
https://rubiks.fandom.com/wiki/Cube_Colour_Experiment
https://starwars.fandom.com/wiki/Solo:_A_Star_Wars_Story_Colouring_Book
https://tardis.fandom.com/wiki/Burgundy_(colour)
https://tardis.fandom.com/wiki/Colour
https://tardis.fandom.com/wiki/Colourist
https://tardis.fandom.com/wiki/Colour_separation_overlay
https://tardis.fandom.com/wiki/Colour_Silurian_Overlay_(documentary)
https://tardis.fandom.com/wiki/Cream_(colour)
https://tardis.fandom.com/wiki/Do_You_Dream_in_Colour?_(short_story)
https://tardis.fandom.com/wiki/DWM_colourised_comic_reprints
https://tardis.fandom.com/wiki/Monster_(The_Colour_of_Monsters)
https://tardis.fandom.com/wiki/Navy_(colour)
https://tardis.fandom.com/wiki/Orange_(colour)
https://tardis.fandom.com/wiki/Property:Colourist
https://tardis.fandom.com/wiki/Silver_(colour)
https://tardis.fandom.com/wiki/Skin_colour
https://tardis.fandom.com/wiki/The_Colour_of_Darkness_(novel)
https://tardis.fandom.com/wiki/The_Colour_of_Monsters_(short_story)
https://tardis.fandom.com/wiki/The_Colour_Scheme_(short_story)
https://tibia.fandom.com/wiki/Coloured_Egg
Kangaeru Renshuu -- -- - -- 1 ep -- Original -- Dementia -- Kangaeru Renshuu Kangaeru Renshuu -- The description of Suwami Nogami's minimalistic line drawing piece, Imagination Practice, calls it an unending "thought loop". It depicts an artist sitting in front of a window with a self-portrait, like a miniature mirror image, on the desk in front of him. The window frame and the blue sky filled with moving clouds are in colour, but the figure of the artist is not coloured in. The soundtrack sounds like a skipping record that is punctuated by humourous springing noises (a la Bugs Bunny) as the image 'bounces' in an unending loop from the establishing shot into the "drawing." A philosophical piece, Imagination Practice considers the circular dialogue between an artist and his work. -- -- (Source: Midnight Eye) -- Movie - ??? ??, 2003 -- 483 4.27
Omoi, Omoware, Furi, Furare -- -- A-1 Pictures -- 1 ep -- Manga -- Drama Romance School Shoujo -- Omoi, Omoware, Furi, Furare Omoi, Omoware, Furi, Furare -- Yuna and Akari are two high school girls with very different views on love: Yuna dreams about romance through rose-coloured glasses, while Akari is down-to-earth and practical. Meanwhile, high school boys Kazuomi and Rio also have different views on love: Kazuomi is an airhead who can't grasp the concept of love, while Rio grabs onto any confession as an opportunity—so long as the girl looks cute. Will these four classmates end up leading a youthful romance that meets their expectations? -- -- (Source: MAL News) -- Movie - Sep 18, 2020 -- 27,231 6.72
https://commons.wikimedia.org/wiki/Category:Landscapes_by_colour
https://commons.wikimedia.org/wiki/File:58_Percent_Moon_in_Full_Colour_with_Earthshine.jpg
https://commons.wikimedia.org/wiki/File:5th_Neapolitan_Infantry_Regimental_Colour.png
https://commons.wikimedia.org/wiki/File:95Thesen_facsimile_colour.png
https://commons.wikimedia.org/wiki/File:BD-propagande_colour_en.jpg
https://commons.wikimedia.org/wiki/File:Colourimeter.jpg
https://commons.wikimedia.org/wiki/File:Colouring_pencils.jpg
https://commons.wikimedia.org/wiki/File:Colours_in_Irish.png
https://commons.wikimedia.org/wiki/File:Colour_Split_1.jpg
https://commons.wikimedia.org/wiki/File:Continents_by_colour.png
https://commons.wikimedia.org/wiki/File:ESO-comet-linear-false-colours-phot-18b-01-normal.jpg
https://commons.wikimedia.org/wiki/File:Ford_Madox_Brown_-_Chaucer_at_the_Court_of_Edward_III_-_Watercolour_Version_-_Google_Art_Project.jpg
https://commons.wikimedia.org/wiki/File:Ford.madox.brown.last.watercolour.tate.jpg
https://commons.wikimedia.org/wiki/File:Lion_snot_is_shiny_and_the_colour_of_blood..jpg
https://commons.wikimedia.org/wiki/File:Multi-coloured_kukuri-zaru_talismans_at_Kongoji_Yasaka_Koshin-do_temple,_Kyoto,_Japan_(2).jpg
https://commons.wikimedia.org/wiki/File:Roberth_Maximus_A9_in_true_colour_taken_by_Fishwick_Explorer.png
https://commons.wikimedia.org/wiki/File:Romeo_and_Juliet_(watercolour)_by_Ford_Maddox_Brown.jpg
https://commons.wikimedia.org/wiki/File:The_Coat_of_Many_Colours.jpg
https://commons.wikimedia.org/wiki/File:Watercolour_painting_on_paper_of_Rava
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20-pair colour code (Australia)
3 Colours Red
5 Colours in Her Hair
A Colour Symphony
A Flash Flood of Colour
A Flash Flood of Colour World Tour
A Guidance from Colour
A Limousine the Colour of Midsummer's Eve
All the Colours of Darkness
A Million Colours
And Now in Colour
Any Colour You Like
Australian Army unit colour patches
Away colours
Basics of blue flower colouration
Basics of white flower colouration
Bleu de France (colour)
Blue colour works
Blue Is the Colour
Blue Is the Colour (song)
Blue Is the Warmest Colour
Break the Night with Colour
British Colour Council
Budgerigar colour genetics
Buff (colour)
Cambridge Blue (colour)
Canadian Society of Painters in Water Colour
Cape Coloureds
Car colour popularity
Chamois Coloured goat
Citrine (colour)
Cockatiel colour genetics
Colourant
Colour banding
Colourblind (Darius Campbell song)
Colour blind (disambiguation)
Colour Blind (Seaway album)
Colour Blossoms
Colourbox (1983 album)
Colourbox (1985 album)
Colour by Numbers
Colour by Numbers (art installation)
Colour cast
Colour Catcher
Colour centre
Colour Club
Colour Coding
Colour Collection
Colour Collection (Frank Duval album)
Colour co-site sampling
Colour Cross
Coloured (album)
Coloured Book protocols
Coloured Canyon
Coloured Kisses
Coloured people in Namibia
Coloured Persons Communal Reserves Act, 1961
Coloured Persons Representative Council
Coloured Petri net
Coloureds
Coloured squadrons of the Royal Navy
Coloured Stone
Coloured vote constitutional crisis
Colour Experience
Colour fastness
Colour Genie
Colour guard
Colour Index International
Colour It In
Colourless
Colour Me Free!
Colourmeinkindness
Colour Me Kubrick
Colour Moving and Still
Colour My World
Colour My World (album)
Colour My World (Chicago song)
Colour My World (Petula Clark song)
Colour of Life
Colour of Love
Colour of My Soul
Colour of right
Colour of the Trap
Colour of Your Dreams
Colour Photo
Colour piece
Colourpoint
Colourpoint cat
Colourpoint Longhair
ColourPop Cosmetics
Colour recovery
Colour retention agent
Colour Revolt
Colour Revolt (EP)
Colour revolution
Colours (1972 Donovan album)
Colours (1987 Donovan album)
Colours (1991 Donovan album)
Colours (Blue album)
Colourscape
Colours (Donovan song)
Colours (EP)
Colour sergeant
Colours (film)
Colours (Graffiti6 album)
Colours (Hot Chip song)
Colour-sided
Colours in the Dark
Colours in the Dark (album)
Colours (Michael Learns to Rock album)
Colours of a New Day
Colours of Innocence
Colours of Light
Colours of One
Colours of Ostrava
Colours of Wind
Colour sorter
Colours (solitaire)
Colour supplement
Colour the Small One
Colour the World
Colour trade mark
Colour TV case
Colour Vision
Colour Yellow Productions
Corps colours
Corps colours of the German Army (19351945)
Corps colours of the Luftwaffe (19351945)
Corps colours of the Sturmabteilung
Corps colours (Waffen-SS)
Costly colours
Cream (colour)
Cream-coloured giant squirrel
Crooked Colours
Cyr/The Colour of Love
Divas of Colour International Women's Awards
Doctrine of colourability
Dream of Colours
Dreams in Colour
Drown in Colour
Drums and Colours
Dull-coloured grassquit
Earliest colour films in South India
Edward Hull (watercolourist)
Elachista colouratella
Emerge: The Best of Neocolours
Evolution of human colour vision
Facing colour
Fawn (colour)
Fawn-coloured lark
Find the Colour
Finlay colour process
Fire-coloured beetle
Flying Colours Airlines
Flying Colours (Bliss n Eso album)
Flying Colours (novel)
Forbidden Colours
George Palmer (colour theorist)
Hand-colouring of photographs
Help:Using colours
Historical colours, standards and guidons
Hold Your Colour
Hold Your Colour (song)
Homage to Chagall: The Colours of Love
Horse racing colours in Great Britain
Hull Colour Pages
In Ghost Colours
Interference colour chart
International Colour Association
Isabelline (colour)
ISO Standards for colour ink jet printers
It's a Beautiful Thing (Ocean Colour Scene song)
I Told You So (Ocean Colour Scene song)
Joly colour screen
Kanthan The Lover of Colour
Knigsberg Colour-head Tumbler
Labrador Retriever coat colour genetics
Life and Colour
Life in Full Colour
Light and Colour (Goethe's Theory) The Morning after the Deluge Moses Writing the Book of Genesis
Like Colour to the Blind
List of accolades received by Blue Is the Warmest Colour
List of chicken colours
List of early colour TV shows in the UK
List of international auto racing colours
List of student boilersuit colours in Sweden
List of Trooping the Colour by event from 1890
Liturgical colours
Live (City and Colour album)
Living Colour
Local Colour: Travels in the Other Australia
Man of Colours
Meghdhanushya The Colour of Life
Military colours, standards and guidons
Mobile multi-coloured composite
Mouse-coloured penduline tit
Mouse-coloured tapaculo
Multicoloured sea fan
Multi-Coloured Swap Shop
Multicoloured tanager
Multi-coloured tree frog
National colours
National colours of Australia
National colours of Canada
National colours of Germany
National colours of New Zealand
National colours of Serbia
National colours of the Czech Republic
National colours of the United Kingdom
Nene Valley Colour Coated Ware
Neocolours
Newfoundland Tricolour
Nine-Colour Cube
No Colour Bar
No Colours Records
Numbers and Colours
Ocean Colour Scene
Ocean Colour Scene (album)
Ocean Colour Scene discography
Ochre Coloured Pottery culture
Of the Blue Colour of the Sky
On Vision and Colours
Orange (colour)
Oriental bicolour
Oxford Blue (colour)
Palatinate (colour)
Pan-African colours
Parti-coloured bat
Paul Greene & The Other Colours
Pinkerton's Assorted Colours
Political colour
Preservation of Coloured Areas Act, 1961
President's Colour Award
Primary Colours (Magic! album)
Primary Colours (The Horrors album)
Pure (3 Colours Red album)
Queen's Colour Squadron
RAL colour standard
Recording a Tape the Colour of the Light
Robert Wade (watercolour artist)
Rosy-faced lovebird colour genetics
Royal Institute of Painters in Water Colours
Royal Scottish Society of Painters in Watercolour
Royal Watercolour Society
Royal Watercolour Society of Wales
RWS/Sunday Times Watercolour Competition
Sand-coloured nighthawk
Saturday (Ocean Colour Scene album)
Saxon Colour pigeons
Scottish Colourists
Secret Garden: An Inky Treasure Hunt and Colouring Book
Serbian Tricolour Hound
Seven Coloured Earths
Shade (Living Colour album)
Single colour reflectometry
Slate-coloured grosbeak
Slate-coloured seedeater
Society of Dyers and Colourists
Splash of colour
Sporting colours
Springbok colours
Straw (colour)
Straw-coloured fruit bat
Synesthesia I Think in Colours
Take Off Your Colours
Tattoo Colour
Terry Pratchett's The Colour of Magic
The Adventure of the Retired Colourman
The Colour
The Colour and the Shape
The Colourfield
The Colourful Dream
The Colour Group
The Colour Identification Guide to Moths of the British Isles
The Colour in Anything
The Colourist
The Colourist (album)
The Colour of Darkness
The Colour of Love (The Reese Project song)
The Colour of Magic
The Colour of Magic (video game)
The Colour of Money (game show)
The Colour of My Dreams
The Colour of My Love
The Colour of Spring
The Colour of the Chameleon
The Colour of Your Lips
The Colour Out of Space
The Colours Match
The Colours of Animals
The Colours of Chlo
The Colours of My Father: A Portrait of Sam Borenstein
The Colours of Zoth Ommog
The Dame in Colour
Theory of Colours
The Picador (watercolour painting)
The RightTricolour Flame
The Secret Lives of Colour
The Strange Colour of Your Body's Tears
Three-coloured harlequin toad
Three Colours: Blue
Three Colours: Red
Three Colours trilogy
Three Colours: White
Through Glass Coloured Roses: The Best of the Green Pajamas
Thuringian Colour pigeons
Time's Up (Living Colour album)
Trade test colour films
Tricolour Citizens' Movement
Tricolour Day
Tri Coloured Dutch
Tricoloured horse
Tricoloured munia
Tricolour (flag)
Tricolour Flame
Trooping the Colour
True Colours (High Contrast album)
True Colours (Level 42 album)
True Colours (Split Enz album)
Two-coloured caecilian
Two-coloured thick-toed gecko
Two Colours
Two Colours (EP)
Until the Colours Run
User:Nasirkhan/WikiProject Colours of Bangladesh
Vivid (Living Colour album)
Watercolour Challenge
Water Colour Society of Ireland
Watercolour (song)
Werner's Nomenclature of Colours
William Evans (watercolourist)
With flying colours
Words in Colour
World War 1 in Colour
World War II in HD Colour
Zag and the Coloured Beads
Zschopenthal Blue Colour Works
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