Hue Quotes (3 quotes)
It [mathematics] is in the inner world of pure thought, where all entia dwell, where is every type of order and manner of correlation and variety of relationship, it is in this infinite ensemble of eternal verities whence, if there be one cosmos or many of them, each derives its character and mode of being,—it is there that the spirit of mathesis has its home and its life.
Is it a restricted home, a narrow life, static and cold and grey with logic, without artistic interest, devoid of emotion and mood and sentiment? That world, it is true, is not a world of solar light, not clad in the colours that liven and glorify the things of sense, but it is an illuminated world, and over it all and everywhere throughout are hues and tints transcending sense, painted there by radiant pencils of psychic light, the light in which it lies. It is a silent world, and, nevertheless, in respect to the highest principle of art—the interpenetration of content and form, the perfect fusion of mode and meaning—it even surpasses music. In a sense, it is a static world, but so, too, are the worlds of the sculptor and the architect. The figures, however, which reason constructs and the mathematic vision beholds, transcend the temple and the statue, alike in simplicity and in intricacy, in delicacy and in grace, in symmetry and in poise. Not only are this home and this life thus rich in aesthetic interests, really controlled and sustained by motives of a sublimed and supersensuous art, but the religious aspiration, too, finds there, especially in the beautiful doctrine of invariants, the most perfect symbols of what it seeks—the changeless in the midst of change, abiding things hi a world of flux, configurations that remain the same despite the swirl and stress of countless hosts of curious transformations.
Is it a restricted home, a narrow life, static and cold and grey with logic, without artistic interest, devoid of emotion and mood and sentiment? That world, it is true, is not a world of solar light, not clad in the colours that liven and glorify the things of sense, but it is an illuminated world, and over it all and everywhere throughout are hues and tints transcending sense, painted there by radiant pencils of psychic light, the light in which it lies. It is a silent world, and, nevertheless, in respect to the highest principle of art—the interpenetration of content and form, the perfect fusion of mode and meaning—it even surpasses music. In a sense, it is a static world, but so, too, are the worlds of the sculptor and the architect. The figures, however, which reason constructs and the mathematic vision beholds, transcend the temple and the statue, alike in simplicity and in intricacy, in delicacy and in grace, in symmetry and in poise. Not only are this home and this life thus rich in aesthetic interests, really controlled and sustained by motives of a sublimed and supersensuous art, but the religious aspiration, too, finds there, especially in the beautiful doctrine of invariants, the most perfect symbols of what it seeks—the changeless in the midst of change, abiding things hi a world of flux, configurations that remain the same despite the swirl and stress of countless hosts of curious transformations.
In 'The Universe and Beyond', Hibbert Journal (1904-1906), 3, 314.
May we attribute to the color of the herbage and plants, which no doubt clothe the plains of Mars, the characteristic hue of that planet, which is noticeable by the naked eye, and which led the ancients to personify it as a warrior?
In 'Mars, by the Latest Observations', Popular Science (Dec 1873), 4, 190.
When daisies pied and violets blue
And lady-smocks all silver-white
And cuckoo-buds of yellow hue
Do paint the meadows with delight,
The cuckoo then, on every tree,
Mocks married men; for thus sings he, “Cuckoo!
Cuckoo, cuckoo!” O word of fear,
Unpleasing to a married ear!
And lady-smocks all silver-white
And cuckoo-buds of yellow hue
Do paint the meadows with delight,
The cuckoo then, on every tree,
Mocks married men; for thus sings he, “Cuckoo!
Cuckoo, cuckoo!” O word of fear,
Unpleasing to a married ear!
In Love’s Labour Lost (1598), Act 5, Scene 2, line 904.
In science it often happens that scientists say, 'You know that's a really good argument; my position is mistaken,' and then they would actually change their minds and you never hear that old view from them again. They really do it. It doesn't happen as often as it should, because scientists are human and change is sometimes painful. But it happens every day. I cannot recall the last time something like that happened in politics or religion.
(1987) -- 
