A Quote by Seamus Heaney
Yeats was 18th-century oratory, almost.
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I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.
If you go to old houses on Long Island you will see painted Chinese wallpaper, which was big in the 18th century. Throughout history, notable, established families have always tried to link to the 18th century.
Although the stories are very present in my book, and very present in my mind, what I was most interested in was the question of why it had attracted such a following in the 18th Century. It's less mysterious that it attracted a following in the Romantic period, and in the 19th Century, but the early 18th Century when the Rationalists fell in love with it...that was mysterious. What I wanted to look at was the forms of enchantment.
One layer was certainly 17th century. The 18th century in him is obvious. There was the 19th century, and a large slice, of course, of the 20th century; and another, curious layer which may possibly have been the 21st.
Look, science is hard, it has a reputation of being hard, and the facts are, it is hard, and that's the result of 400 years of science, right? I mean, in the 18th century, in the 18th century you could become an expert on any field of science in an afternoon by going to a library, if you could find the library, right?
I would say I'm a 19th-century liberal, possibly even an 18th-century one.
I grow tired of 18th century moralities in a 20th century space-atomic age
An 18th century brain, in a 21st century head.
I believe that justices must recognize that our Constitution is an 18th-century document that needs to be applied in the context of the 21st century.
When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us
When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us.
To my three sons, Peter, Scott, and Alexander who pulled me from the 18th Century and back into the present on a regular basis and therefore made me a better person, thank you. And to my wife, who sits at the table there. Who is right about almost everything.
I carry Yeats with me wherever I go. He's my constant companion. I always can find some comfort in Yeats no matter what the situation is. Months and months and months go by and I know I need to switch to Shelley or somebody else, but right now Yeats is enough for me.
There's such a wealth of literature from the 18th century and 19th century, George Eliot... Jane Austen... that's all about a genteel high society, relationships, all of that stuff. There wasn't ever really, apart from Dickens, a literary evocation of working class life.
Tony Wilson once compared me to WB Yeats. It didn't really mean that much because I didn't have a clue who Yeats was.
Militarily, the great movements of resistance against colonial powers in the 18th and 19th century were almost all from Sufis: Imam Shamil in Caucasia, Amir Abd al Qadir in Algeria, The Barelvi family in the modern province of India, today which is Pakistan, and you can go down the line.
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