A Quote by Lin Yutang

When small men begin to cast big shadows, it means that the sun is about to set. — © Lin Yutang
When small men begin to cast big shadows, it means that the sun is about to set.
Because those events are so real that they cast their shadow forward and backwards through all time, whenever men think of these matters at all. Even if they are mired in ignorace, they will see...fragments of the Truth, as men imprisoned in a cave see shadows cast by the sun. Likewise, all men derive their moral intuitions from God; how not? There is no other source, just as there is no other way to make a wheel than to make it round.
We live on planet earth, we have the sun, and it's the most beautiful thing, the way the sun dances and the way shadows are cast.
When we walk towards the sun of Truth, all shadows are cast behind us.
To any white body receiving the light from the sun, or the air, the shadows will be of a bluish cast.
If you cast your supporting cast well, it should be seamless. You shouldn't even notice who's a big part and who's a small part. A good cast enriches everything.
Power resides only where men believe it resides. [...] A shadow on the wall, yet shadows can kill. And ofttimes a very small man can cast a very large shadow.
Small boys become big men through the influence of big men who care about small boys.
Men throw huge shadows on the lawn, don't they? Then, all their lives, they try to run to fit the shadows. But the shadows are always longer.
Toward seven o'clock every morning, I leave my study and step Out on the bright terrace; the sun already burns resplendent Between the shadows of the fig tree, makes the low wall of coarse Granite warm to the touch. Here my tools lie ready and waiting, Each one an intimate, an ally: the round basket for weeds: The zappetta, the small hoe with a short haft . . . There's a rake here as well, at at times a mattock and spade, Or two watering cans filled with water warmed by the sun. With my basket and small hoe in hand, facing the sun, I Go out for my morning walk.
I'm not one of those people who wakes up and thinks, 'Bring on the day!' I have to have about 7 pints of coffee before I'm even remotely awake. But I love the golden hour in the evening, as hokey as that sounds. Just as the sun is about to set and you get those lovely shadows and everything looks gold and yellow.
The small town is passing. It was the incubator that hatched all our big men, and that's why we haven't got as many big men today as we used to have. Take every small-town-raised leader out of business and you would have nobody left running it but vice-presidents.
John [Cassavetes] had shot a great deal of Shadows and I had to go fulfill my contract in California, so he and all the rest of the Shadows cast came out to California and they finished it off and he cut it. He turned the garage into an editing room and he was by then a director of Shadows. That's the only thing he'd directed. But, he loved it.
The night is full of mystery. Even when the moon is brightest, secrets hide everywhere. Then the sun rises and its rays cast so many shadows that the day creates more illusion than all the veiled truth of the night.
The best way to support dreams and stretch is to set apart small ideas with big potential, then give people positive role models and the resources to turn small projects into big businesses.
The end of the day is near when small men make long shadows.
I set a discipline for myself to return every afternoon and take photographs like Edward Weston: f22, full sun, big set squares, big circles. I would smoke a joint with some hippies on the grass, then go do some more pictures.
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