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1 " It is not growing like a treeIn bulk, doth make Man better be;Or standing long an oak, three hundred year,To fall a log at last, dry, bald, and sere:A lily of a dayIs fairer far in MayAlthough it fall and die that night;It was the plant and flower of Light.In small proportions we just beauties see;And in short measures life may perfect be (Ben Jonson) "
― Aidan Chambers , Postcards from No Man's Land
2 " There is little more I can add short of dissecting the man, or going into intimate details such as the modest proportions and slight southeasterly curvature of his manhood. "
― Félix J. Palma , The Map of Time
3 " PTSD is a whole-body tragedy, an integral human event of enormous proportions with massive repercussions. "
― Susan Pease Banitt
4 " 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 , Pickman's Model
5 " She was a mimicry of a facade fashioned from the half-truths of her life. She was a beautiful abomination, patched together from the most pristine and terrible parts she could find. She was a black crystal of many cuts and facets whose dark glow suffocated and entranced those it washed over. There was a pointlessness in her eyes and apathy in her stature, and further in, past the symphonies of nightmarish screams was a blinding light. All the capability she could ever ask for kept in a place she would never reach. She chose the ice rather than the fire, shivering and hard with heat sparse, for while a flicker can exist in freeze's cold, it's heat will not radiate, no matter how bold. She took my face in hands that would make ice seem warm and whispered a blizzard into my ear, a cascading song of fear after fear. The lies she spilled, mixed with regrets and appeal, were cloaked in the inferno of her rage, the anger, the only thing that really made her real. This was her one semblance of life, a bottomless and endless void of proportions vast with a calamity of fusion and fission streaking through, a mindless hue, an emotion with a face, a darling of her race. The cracks spew darkness from within her ever so pale skin. They congregated on her curves and flesh in black and churning rivers and streams. They flooded every dip with blackness. They filled every hollow with unstable curiosity, this is her release, this is when she is free. The faces of deceit always laugh, they never wallow for their lies are a pleasure tool, her insides are contorted in laughter the same way, just as slick, just as cruel. A crude combination of fascination, of animation, of the darkest demons of them all. She was poetry written in pen, scratched and scribbled again and again. Ink splattered across the page, and within those scrawled words, those small, sharp incisions, an image can be seen, and you're left to wonder what, in the end, this all could mean... "
6 " [Y]ou are not ashamed of your sin [in committing adultery] because so many men commit it. Man's wickedness is now such that men are more ashamed of chastity than of lechery. Murderers, thieves, perjurers, false witnesses, plunderers and fraudsters are detested and hated by people generally, but whoever will sleep with his servant girl in brazen lechery is liked and admired for it, and people make light of the damage to his soul. And if any man has the nerve to say that he is chaste and faithful to his wife and this gets known, he is ashamed to mix with other men, whose behaviour is not like his, for they will mock him and despise him and say he's not a real man; for man's wickedness is now of such proportions that no one is considered a man unless he is overcome by lechery, while one who overcomes lechery and stays chaste is considered unmanly. "
― Augustine of Hippo , Sermons 1-19
7 " The younger and healthier a woman is and the more her new and glossy body seems destined for eternal freshness, the less useful is artifice; but the carnal weakness of this prey that man takes and its ominous deterioration always have to be hidden from him...In any case, the more traits and proportions of a woman seem contrived, the more she delighted the heart of man because she seemed to escape the metamorphosis of natural things. The result is this strange paradox that by desiring to grasp nature, but transfigured, in woman, man destines her to artifice. "
― Simone de Beauvoir , The Second Sex
8 " Authority, reason, experience; on these three, mixed in varying proportions all our knowledge depends. "
― C.S. Lewis , Christian Reflections
9 " The architect had not stopped to bother about columns and porticos, proportions or interiors, or any limitation upon the epic he sought to materialize; he had simply made a servant of Nature - art can go no further. "
― Lew Wallace , Ben-Hur: A Tale of the Christ
10 " Most striking about the traditional societies of the Congo was their remarkable artwork: baskets, mats, pottery, copper and ironwork, and, above all, woodcarving. It would be two decades before Europeans really noticed this art. Its discovery then had a strong influence on Braque, Matisse, and Picasso -- who subsequently kept African art objects in his studio until his death. Cubism was new only for Europeans, for it was partly inspired by specific pieces of African art, some of them from the Pende and Songye peoples, who live in the basin of the Kasai River, one of the Congo's major tributaries.It was easy to see the distinctive brilliance that so entranced Picasso and his colleagues at their first encounter with this art at an exhibit in Paris in 1907. In these central African sculptures some body parts are exaggerated, some shrunken; eyes project, cheeks sink, mouths disappear, torsos become elongated; eye sockets expand to cover almost the entire face; the human face and figure are broken apart and formed again in new ways and proportions that had previously lain beyond sight of traditional European realism.The art sprang from cultures that had, among other things, a looser sense than Islam or Christianity of the boundaries between our world and the next, as well as those between the world of humans and the world of beasts. Among the Bolia people of the Congo, for example, a king was chosen by a council of elders; by ancestors, who appeared to him in a dream; and finally by wild animals, who signaled their assent by roaring during a night when the royal candidate was left at a particular spot in the rain forest. Perhaps it was the fluidity of these boundaries that granted central Africa's artists a freedom those in Europe had not yet discovered. "
― Adam Hochschild , King Leopold's Ghost
11 " These two developments throw light on what is perhaps the most fundamental difference between the Renaissance and all previous periods of art. We have repeatedly seen that there were these circumstances which could compel the artist to make a distinction between the " technical" proportions and the " objective;" the influence of organic movement, the influence of perspective foreshortening, and the regard for the visual impression of the beholder. These three factors of variation have one thing in common: they all presuppose the artistic recognition of subjectivity. Organic movement introduces into the calculus of artistic composition the subjective will and the subjective emotions of the thing represented; foreshortening the subjective visual experience of the artist; and those " eurhythmic" adjustments which alter that which is right in favor of what seems right, the subjective visual experience of a potential beholder. And it is the Renaissance which, for the first time, not only affirms but formally legitimizes and rationalizes these three forms of subjectivity. "
12 " This beach I voyage on leads me through the earth's immortal consistencies. Each form I encounter obeys the principles of perfection and trial, a timelessness in the making. The proportions of truth are at hand. Existence is celebrated in a splinter of driftwood, worn by wind-driven sand into the shape of an arrow. The onshore waves jostle each other, busy with their eternal changing, mixing crab shells, sand grains, and fish bones together. The trim little shorebirds feeding at the water's edge are acutely aware of one another, under the light and shadow leaning and drifting over all awareness. Wither own mysteries behind their beady eyes, their quick, advantageous movements, they follow the great, unifying sea." ~ John Hay. Bird of Light. "
13 " The Golden Number is a mathematical definition of a proportional function which all of nature obeys, whether it be a mollusk shell, the leaves of plants, the proportions of the animal body, the human skeleton, or the ages of growth in man. "
― R.A. Schwaller de Lubicz , Nature Word
14 " You too can make the golden cut, relating the two poles of your being in perfect golden proportion, thus enabling the lower to resonate in tune with the higher, and the inner with the outer. In doing so, you will bring yourself to a point of total integration of all the separate parts of your being, and at the same time, you will bring yourself into resonance with the entire universe....Nonetheless the universe is divided on exactly these principles as proven by literally thousands of points of circumstantial evidence, including the size, orbital distances, orbital frequencies and other characteristics of planets in our solar system, many characteristics of the sub-atomic dimension such as the fine structure constant, the forms of many plants and the golden mean proportions of the human body, to mention just a few well known examples. However the circumstantial evidence is not that on which we rely, for we have the proof in front of us in the pure mathematical principles of the golden mean. "
― , The Lamb Slain With A Golden Cut: Spiritual Enlightenment and the Golden Mean Revelation
15 " Whenever you take an action,Decide by both your brain and heart in equal proportions .Balance them as far as possible. "
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16 " In seeking to understand this gendered difference in the perception of prisoners, it should be kept in mind that as the prison emerged and evolved as the major form of public punishment, women continued to be routinely subjected to forms of punishment that have not been acknowledged as such. For example, women have been incarcerated in psychiatric institutions in greater proportions than in prisons. 79 Studies indicating that women have been even more likely to end up in mental facilities than men suggest that while jails and prisons have been dominant institutions for the control of men, mental institutions have served a similar purpose for women. That deviant men have been constructed as criminal, while deviant women have been constructed as insane. Regimes that reflect this assumption continue to inform the women’s prison. Psychiatric drugs continue to be distributed far more extensively to imprisoned women than to their male counterparts. "
― Angela Y. Davis
17 " But other hordes would come, and other false prophets. Our feeble efforts to ameliorate man’s lot would be but vaguely continued by our successors; the seeds of error and of ruin contained even in what is good would, on the contrary, increase to monstrous proportions in the course of centuries. A world wearied of us would seek other masters; what had seemed to us wise would be pointless for them, what we had found beautiful they would abominate. Like the initiate to Mithraism the human race has need, perhaps, of a periodical bloodbath and descent into the grave. I could see the return of barbaric codes, of implacable gods, of unquestioned despotism of savage chieftains, a world broken up into enemy states and eternally prey to insecurity. Other sentinels menaced by arrows would patrol the walls of future cities; the stupid, cruel, and obscene game would go on, and the human species in growing older would doubtless add new refinements of horror. Our epoch, the faults and limitations of which I knew better than anyone else would perhaps be considered one day, by contrast, as one of the golden ages of man. "
― Marguerite Yourcenar , Memoirs of Hadrian
18 " as long as agreat number of those impressions which form character, like the nicemotions of the arm, remain absolutely independent of the will of man,though it would be the height of folly and presumption to attempt tocalculate the relative proportions of virtue and vice at the future periodsof the world, it may be safely asserted that the vices and moralweakness of mankind, taken in the mass, are invincible. "
― Thomas Robert Malthus , An Essay on the Principle of Population
19 " A naked woman was amazing.He'd never seen it this way, in full light, without half-off clothes or a beach blanket across the lap or sex in a dark car. This was her whole body naked in light, standing and lying and front and back and open and showing and then different when she walked, surer than he was, unclunky and smooth-moving, with parts that didn't bounce. She knew how to be naked. She looked like she'd been raised naked in this room, a skinny girl when she was a girl, probably, and skinny in a certain way, with a little bulgy belly and ashamed of her feet, but grown out of shyness and wrong proportions now, and being married of course, used to being seen, and she didn't have curves and swerves but was good looking naked and stuck to him when they fucked like a thing fighting for light, a great wet papery moth. "
― Don DeLillo , Underworld
20 " Optimism is a deadly vice of gigantic proportions lodged into the human psyche by Satan. It is the enemy of reality. We see a bad situation and optimism prevents us from extrapolating that. Instead we think, " Oh, it's bound to get better." So we plunge into the thicket, sure that it will thin, denied the aerial view that would show us the true, unacceptable horror of our lot. Perhaps optimism is good for prison escapees, who have no choice but to plod on. The rest of us are not well served. It poisons our judgment. "
