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Symbolism Quotes

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Symbolism Quotes

“She bent and placed a single daisy upon the grave. A simple white daisy. The plainest of flowers, perhaps the purest, Elspeth thought. It had cost next to nothing at all, and perhaps that was the point. She wasn’t being cheap. She was being symbolic. In her mind, Andrea deserved only the unstained purity of the simplest of daisies, a daisy that was unsoiled by a wealth that couldn’t find the money to have claimed her soul.”

LifeSoulDeathWealthSimpleMoneyChildhoodPuritySymbolismGraveCheapDaisy
Author:J.R. Tompkins
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“THE NINE PLANTS OF DESIRE ~ Gloxinia--The mythical plant of love at first sight. ~ Mexican cycad--The plant of immortality. A living dinosaur straight from the Jurassic period. ~ Cacao--The chocolate tree of food and fortune. ~ Moonflower--Bringer of fertility and procreation. ~ Cannabis sativa in the form of sinsemilla--The plant of female sexuality. ~ Lily of the valley--Delivers life force. In a pinch, this beautiful plant can replace digitalis as medication for an ailing heart. ~ Mandrake--According to both William Shakespeare and the Holy Bible, this is the plant of magic. ~ Chicory--The plant of freedom. Offering invisibility to those who dare to ingest its bitter, milky juice. ~ Datura--The plant of mind travel and high adventure. Bringer of visions and dreams of the future.”

DesireNineSymbolismPlants
Book:Hothouse Flower and the Nine Plants of Desire
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“... as a convention, you get up and walk to the window to make the audience believe that you're looking out. It's for the audience, not for you! And what it means to you is something emotional [...] If you went to the Actors Studio you'd spend six months seeing the snow before you could say, 'Look at the snow.' This takes a terrible burden away from the actor, who thinks he's got to see the woods and the snow. 'Give me my gun! I see a rabbit! Give me my gun!' " Meisner sounds thrilled at the possibility of a hunt. "That happens when you're still sitting there reading. Then when they put in the scenery you move to the window. Isn't that simple? How simple it is to solve the problem of seeing things when you know that it's all in you emotionally, and that walking to the window is only a convention.”

ActingEmotionImpulseSymbolismConventionTruthfullness
Book:Sanford Meisner on Acting
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“Everything reminded him of something else: the fragrance of a peach-skin was like opening his stamp-album, the chack-chack of the wheatear not only recalled mist on the hills, but also reminded him of foxgloves, droplets of rain tapping from the mauve bells on to a dock leaf or fern. Ferns reminded him of his mother's soap, the luxurious tan-coloured lozenges that came to her in a box each christmas and birthday, and other scents too, the yellow of oriental jasmine, the pink of tea-rose, the green of mimosa. For all of these scents he could find a correlative within the spectrum of his own experience.”

ImaginationSymbolismSurrealismFree Association
Book:Blue Rock
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“People think blood red, but blood don't got no colour. Not when blood wash the floor she lying on as she scream for that son of a bitch to come, the lone baby of 1785. Not when the baby wash in crimson and squealing like it just depart heaven to come to hell, another place of red. Not when the midwife know that the mother shed too much blood, and she who don't reach fourteen birthday yet speak curse 'pon the chile and the papa, and then she drop down dead like old horse. Not when blood spurt from the skin, on spring from the axe, the cat-o'-nine, the whip, the cane and the blackjack and every day in slave life is a day that colour red. It soon come to pass when red no different from white or blue or black or nothing. Two black legs spread wide and mother mouth screaming. A black baby wiggling in blood on the floor with skin darker than midnight but the greenest eyes anybody ever done seen. I goin' call her Lilith. You can call her what they call her.”

WomenBloodColorBabyRedSlaveMetaphorHistorical FictionSymbolism
Book:The Book of Night Women
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“I never chose the rose because it was soft. Men mistake it for a symbol of fragility, of perfume and petals, of dainty femininity wrapped in velvet and silk. They forget the thorns. They always do. That’s why it’s perfect and that’s why it’s mine. The rose doesn’t beg to be touched. It dares, and if you reach for it without reverence, it bleeds you.”

WomenPowerfulRoseWomanFeminineGoddessFemininitySymbolismFeminine PowerFeminine Rage
Book:The Heir of Ash and Thunder
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“She wrote, in the last pages, of feeling all the evil of the neighborhood around her. Rather, she wrote obscurely, good and evil are mixed together and reinforce each other in turn. Marcello, if you thought about it, was really a good arrangement, but the good tasted of the bad and the bad tasted of the good, it was a mixture that took your breath away. A few evenings earlier, something had happened that had really scared her. Marcello had left, the television was off, the house was empty, Rino was out, her parents were going to bed. She was alone in the kitchen washing the dishes and was tired, really without energy, when there was an explosion. She had turned suddenly and realized that the big copper pot had exploded. Like that, by itself. It was hanging on the nail where it normally hung, but in the middle there was a large hole and the rim was lifted and twisted and the pot itself was all deformed, as if it could no longer maintain its appearance as a pot. Her mother had hurried in in her nightgown and blamed her for dropping it and ruining it. But a copper pot, even if you drop it, doesn't break and doesn't become misshapen like that. "It's this sort of thing," Lila concluded, "that frightens me. More than Marcello, more than anyone. And I feel that I have to find a solution, otherwise, everything, one thing after another, will break, everything, everything.”

EvilMetaphorImagerySymbolism
Book:My Brilliant Friend
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“In my view, the gospels are true, not historically, but theologically, or, as I would argue, prophetically! What we have is, the Messiah’s history written in advance in story form.”

InspirationalBibleCriticismTheologyInterpretationAcademicProphecyNew TestamentSymbolismApocalypticHermeneuticsExegesisGospelsLiterary Analysis
Book:The Little Book of Revelation: The First Coming of Jesus at the End of Days
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“What is the difference between my view and the classical Christian perspective? I am convinced that there are not multiple comings and multiple returns of Christ, but only one decisive coming at the end of the world, which includes the resurrection, the rapture, and his appearance in the sky!”

InspirationalReligionSpiritualityJesusBibleMysticismInterpretationAcademicProphecyEnd TimesSymbolismMessiahHermeneuticsExegesis
Book:The Little Book of Revelation: The First Coming of Jesus at the End of Days
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“They thought more before nine a.m. than most people thought all month. I remember once declining cherry pie at dinner, and Rand cocked his head and said, 'Ahh! Iconoclast. Disdains the easy, symbolic patriotism.' And when I tried to laugh it off and said, well, I didn't like cherry cobbler either, Marybeth touched Rand's arm: 'Because of the divorce. All those comfort foods, the desserts a family eats together, those are just bad memories for Nick.' It was silly but incredibly sweet, these people spending so much energy trying to figure me out. The answer: I don't like cherries.”

FunnyMemoriesPsychologyChildhoodThoughtsLogicSimplicityDivorceIronyPatriotismIronicPsychologistSymbolismChildhood MemoriesBad MemoriesThe MindOver ThinkingCherry PieIconoclastBroken Home
Book:Gone Girl
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“Like symbolism, decadence puts forth the idea that the function of literature is to evoke impressions and 'correspondences', rather than to realistically depict the world. ... the decadent aestheticized decay and took pleasure in perversity. In decadent literature, sickness is preferable to health, not only because sickness was regarded as more interesting, but because sickness was construed as subversive, as a threat to the very fabric of society. By embracing the marginal, the unhealthy and the deviant, the decadents attacked bourgeois life, which they perceived as the chief enemy of art.”

ArtSicknessBourgeoisSymbolismSubversiveDecadencePerversityDecadentDeviantMarginalLiterature Decay
Author:Asti Hustvedt
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“The professional iconoclast is such either because he does not understand the nature of images and rites, or because he does not trust the understanding of those who practice iconolatory or follow rites. call the other man an idolater or superstitious is, generally speaking, only a manner of asserting our own superiority. Idolatry is the misuse of symbols, a definition needing no further qualifications. The traditional philosophy has nothing to say against the use of symbols and rites ; though there is much that the most orthodox can have to say against their misuse. It may be emphasized that the danger of treating verbal formulae as absolutes is generally greater than that of misusing plastic images.”

ArtSinAbuseIdolsIdolatrySymbolismIconoclasm
Book:Christian & Oriental Philosophy of Art Formerly: "Why Exhibit Works of Art?"
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“We have shown that art is essentially symbolic, and only accidentally illustrative or historical ; and finally that art, even the highest, is only the means to an end, that even the scriptural art is only a manner of "seeing through a glass, darkly," and that although this is far better than not to see at all, the utility of iconography must come to an end when vision is "face to face.”

ArtGodUnderstandingBeautyKnowledgeReflectionScriptureSymbolism
Book:Christian & Oriental Philosophy of Art Formerly: "Why Exhibit Works of Art?"
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“I never felt worthy. I was not. And still, I know that for him, I would have sold every organ of my body on the vilest, filthiest market, for the lowest price imaginable, if only he had asked-if only he had wished it. That is how much I loved him. That is how much I love him still. And I hate him with the fury of a volcano whose wrath petrifies all around it, condemning all it touches to ruin”

LoveFateHatredQuoteQuote Of The DaySymbolism
Book:Fatalité
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“He suffers, so to speak, from the violence done to him by the self. The analogous passion of Christ signifies God's suffering on account of the injustice of the world and the darkness of man. The human and the divine set up a relationship of complimentarity with compensating effects. Through the Christ-symbol, man can get to know the real meaning of his suffering: he is on the way to realizing his wholeness. As a result of the integration of conscious and unconscious, his ego enters the “divine” realm, where it participates in “God's suffering.” The cause of the suffering is in both cases the same, namely “incarnation,” which on the human level appears as “individuation.”

ReligionSufferingHumanityChristianityDivinitySubconsciousSymbolismEsotericIndividuation
Author:C.G. Jung
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“When Athens loses its hold on its empire, Hera still sees Athena: a grey-feathered owl tilting its head in the town square where men debate philosophy and rationality, striving for sense and understanding; or else a flash of silver in the eyes of someone stacking another roll of papyrus in the public library, the teacher calling his students to lessons, or the woman demonstrating how the loom works to her attentive daughter. At the lush, rolling vineyards, she sometimes thinks she spots the laughing eyes of Dionysus in a jovial winemaker selling his wares. In the forests, she's convinced she catches a flash of Artemis, running in pursuit of a stag, or else she recognises her determined jawline in a defiant girl. In smoky forges, where blacksmiths wipe the sweat from their brows, she feels the patience of Hephaestus; and she is certain that Ares still runs wild on the battlefields, filling every fighter's heart with his destructive rage. Hestia is there, of course, in every kindly friend, at every welcoming hearth. She wonders where they see her - in rebellious wives, she hopes, in the iron souls of powerful queens, in resilient girls who find the strength to keep going.”

CultureIdentityReflectionTraditionResilienceMythologyLegacyDivinitySymbolismFeminine Power
Book:Hera
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“Elsewhere Lankford reiterates that this belief system was by no means confined to the Plains, the Eastern Woodlands, and the Mississippi Valley. It is better understood, he argues, as part of 'a widespread religious pattern' found right across North America and 'more powerful than the tendency towards cultural diversity.' Indeed, what the evidence suggests is the former existence of 'an ancient North American international religion ... a common ethnoastronomy ... and a common mythology. Such a multicultural reality hints provocatively at more common knowledge which lay behind the façade of cultural diversity united by international trade networks. One likely possibility of a conceptual realm in which that common knowledge became focused is mortuary belief [and] ... the symbolism surrounding death.”

MythologyLegacySymbolismOriginBelief SystemPatternEthnoastronomy
Book:America Before: The Key to Earth's Lost Civilization
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“The image of the Serpent, because of its association with life, rejuvenation, fertility, and regeneration, was a symbol of immortality. The coiled Serpent with its tail in its mouth was a circle of infinitude indicating omnipotence and omniscience. The Serpent, depicted in several successive rings, represented cyclical evolution and reincarnation. In ancient philosophy or mythological systems, creation and wisdom were closely bound together, and the Serpent was a potent symbol of both. It is in this capacity that the Serpent appears in the Babylonian and Sumerian mythologies, which contain elements akin to the Genesis story. The Serpent has the power to bestow immortality but also has the power to cheat humankind. In many of the ancient Near Eastern stories—for instance, the Gilgamesh Epic and myth of Adapa—the Serpent holds out the promise of immortality but then cheats man at the last minute.”

MythologyGenesisSymbolismSerpentCreation MythsAncient PhilosophyGilgameshFeminist TheologySumerianBabylonian
Book:The Serpent and the Goddess: Women, Religion, and Power in Celtic Ireland
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“When a judge walks into the room, and everybody stands up, you’re not standing up to that guy, you’re standing up to the robe that he’s wearing and the role that he’s going to play. What makes him worthy of that role is his integrity, as a representative of the principles of that role, and not some group of prejudices of his own. So what you’re standing up to is a mythological character. I imagine some kings and queens are the most stupid, absurd, banal people you could run into, probably interested only in horses and women, you know. But you’re not responding to them as personalities, you’re responding to them in their mythological roles. When someone becomes a judge, or President of the United States, the man is no longer that man, he’s the representative of an eternal office; he has to sacrifice his personal desires and even life possibilities to the role that he now signifies.”

RolesMythologySymbolsSymbolismOffices
Book:The Power of Myth
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“There is no single thing... that is so cut and dried that one cannot attend to its secret whisper which says 'I am more than just my appearance'. If each object quivers with readiness to imply something other than itself, if each perception is a word in a poem dense with connotations, then the poet's selection of any given subject of speculation will become... a means of attuning himself to the rhythms and harmonies of reality at large. ... The notion of a network of correspondence is not an outmoded Romantic illusion: it represents a crucial intuition...”

PoetryPerceptionIntuitionPoetsRomanticismSymbolismCorrespondencePoetics
Book:Figures of Reality
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