Loom And Spindle Quotes

The weaver went on, “I have to create, or it was all for nothing. I have to create, or I will crumple up with despair and never leave my bed. I have to create because I have no other way of voicing this.” Her hand rested on her heart, and my eyes burned. “It is hard,” the weaver said, her stare never leaving mine, “and it hurts, but if I were to stop, if I were to let this loom or the spindle go silent …” She broke my gaze at last to look to her tapestry. “Then there would be no Hope shining in the Void.

How do you keep creating, despite what you lost?" "I have to. I have to create, or it was all for nothing. I have to create, or I will crumple up with despair and never leave my bed. I have to create because I hace no other way of voicing this. It is hard and it hurts, but if I were to stop, if I were to let this loom or the spindle go silent... Then there would be no Hope shining in the Void.

I have to create, or it was all for nothing. I have to create, or I will crumple up with despair and never leave my bed. I have to create because I have no other way of voicing this...it is hard...and it hurts, but if I were to stop, if I were to let this loom of the spindle go silent...then there would be no Hope shining in the Void.

The weaver-god, he weaves; and by that weaving is he deafened, that he hears no mortal voice; and by that humming, we, too, who look on the loom are deafened; and only when we escape it shall we hear the thousand voices that speak through it. For even so it is in all material factories. The spoken words that are inaudible among the flying spindles; those same words are plainly heard without the walls, bursting from the opened casements. Thereby have villainies been detected. Ah, mortal! then, be heedful; for so, in all this din of the great world’s loom, thy subtlest thinkings may be overheard afar.

Tinkerers built America. Benjamin Franklin, Thomas Edison, Henry Ford, all were tinkerers in their childhood. Everything from the airplane to the computer started in somebody's garage. Go back even further: the Industrial Revolution was a revolution of tinkerers. The great scientific thinkers of eighteenth-century England couldn't have been less interested in cotton spinning and weaving. Why would you be? It was left to a bloke on the shop floor who happened to glance at a one-thread wheel that had toppled over and noticed that both the wheel and the spindle were still turning. So James Hargreaves invented the spinning jenny, and there followed other artful gins and mules and frames and looms, and Britain and the world were transformed. By tinkerers rather than thinkerers. "Technological change came from tinkerers," wrote Professor J.R. McNeill of Georgetown, "people with little or no scientific education but with plenty of hands-on experience." John Ratzenberger likes to paraphrase a Stanford University study: "Engineers who are great in physics and calculus but can't think in new ways about old objects are doomed to think in old ways about new objects." That's the lesson of the spinning jenny: an old object fell over and someone looked at it in a new way.

In 1833, the surgeon Peter Gaskell had published a thoroughly researched manuscript entitled The Manufacturing Population of England, focusing chiefly on the moral, social, and physical toll of silver-working machinery on British labourers. It had gone largely unheeded at the time, except by the Radicals, who were known to exaggerate everything. Now, the antiwar papers ran excerpts from it every day, reporting in grisly detail the coal dust inhaled by small children forced to wriggle into tunnels that adults could not, the fingers and toes lost to silver-powered machines working at inhuman speeds, the girls who’d been strangled by their own hair caught in whirring spindles and looms.

The weaver-god, he weaves; and by that weaving is he deafened, that he hears no mortal voice; and by that humming, we, too, who look on the loom are deafened; and only when we escape it shall we hear the thousand voices that speak through it. For even so it is in all material factories. The spoken words that are inaudible among the flying spindles; those same words are plainly heard without the walls, bursting from the opened casements. Thereby have villanies been detected. Ah, mortal! then, be heedful; for so, in all this din of the great world’s loom, thy subtlest thinkings may be overheard afar.

Oh, busy weaver! unseen weaver!- pause!- one word!- whither flows the fabric? what palace may it deck? wherefore all these ceaseless toilings? Speak, weaver!- stay thy hand!- but one single word with thee! Nay- the shuttle flies- the figures float from forth the loom; the fresher-rushing carpet for ever slides away. The weaver-god, he weaves; and by that weaving is he deafened, that he hears no mortal voice; and by that humming, we, too, who look on the loom are deafened; and only when we escape it shall we hear the thousand voices that speak through it. For even so it is in all material factories. The spoken words that are inaudible among the flying spindles; those same words are plainly heard without the walls, bursting from the opened casements. Thereby have villainies been detected. Ah, mortal! then, be heedful; for so, in all this din of the great world’s loom, thy subtlest thinkings may be overheard afar.

It was a wondrous sight. The wood was green as mosses of the Icy Glen; the trees stood high and haughty, feeling their living sap; the industrious earth beneath was as a weaver’s loom, with a gorgeous carpet on it, whereof the ground-vine tendrils formed the warp and woof, and the living flowers the figures. All the trees, with all their laden branches; all the shrubs, and ferns, and grasses; the message-carrying air; all these unceasingly were active. Through the lacings of the leaves, the great sun seemed a flying shuttle weaving the unwearied verdure. Oh, busy weaver! unseen weaver!—pause!—one word!—whither flows the fabric? what palace may it deck? wherefore all these ceaseless toilings? Speak, weaver!—stay thy hand!—but one single word with thee! Nay—the shuttle flies—the figures float from forth the loom; the fresher-rushing carpet for ever slides away. The weaver-god, he weaves; and by that weaving is he deafened, that he hears no mortal voice; and by that humming, we, too, who look on the loom are deafened; and only when we escape it shall we hear the thousand voices that speak through it. For even so it is in all material factories. The spoken words that are inaudible among the flying spindles; those same words are plainly heard without the walls, bursting from the opened casements. Thereby have villainies been detected. Ah, mortal! then, be heedful; for so, in all this din of the great world’s loom, thy subtlest thinkings may be overheard afar.

With controlling interest his, Nevins ordered construction of a new mill. Within a year, the new Pemberton—resting on the solid original foundation—was up and running. It is still standing in the early years of the twenty-first century—its five floors above the old cellar held there firmly with columns made of thick wood. Captain Bigelow probably knew about the new mill’s construction and surely would have applauded the decision to abandon cast iron and use wood. Nevins’s new Pemberton in 1861 had 859 operatives, of whom 650 were female, working at 307 looms and 25,000 spindles. Four of the mill’s managerial team remained male: Henry S. Shaw as treasurer, Nevins and his Boston company as selling agent, John E. Chase as agent and Frederick E. Clarke as paymaster. And a woman had advanced to management level. “Miss E.L. Cleason” was listed as cashier.

have to create, or it was all for nothing. I have to create, or I will crumple up with despair and never leave my bed. I have to create because I have no other way of voicing this.” Her hand rested on her heart, and my eyes burned. “It is hard,” the weaver said, her stare never leaving mine, “and it hurts, but if I were to stop, if I were to let this loom or the spindle go silent …” She broke my gaze at last to look to her tapestry. “Then there would be no Hope shining in the Void.” My

How do you keep creating, despite what you lost?” Whether she noted the crack in my voice, she didn’t let on. The weaver only said, her sad, sorrowful gaze meeting mine, “I have to.” The simple words hit me like a blow. The weaver went on, “I have to create, or it was all for nothing. I have to create, or I will crumple up with despair and never leave my bed. I have to create because I have no other way of voicing this.” Her hand rested on her heart, and my eyes burned. “It is hard,” the weaver said, her stare never leaving mine, “and it hurts, but if I were to stop, if I were to let this loom or the spindle go silent …” She broke my gaze at last to look to her tapestry. “Then there would be no Hope shining in the Void.

It is hard,” the weaver said, her stare never leaving mine, “and it hurts, but if I were to stop, if I were to let this loom or the spindle go silent …” She broke my gaze at last to look to her tapestry. “Then there would be no Hope shining in the Void.

How.” I gestured to the loom, the half-finished piece taking form on its frame, the art on the walls. “How do you keep creating, despite what you lost?” Whether she noted the crack in my voice, she didn’t let on. The weaver only said, her sad, sorrowful gaze meeting mine, “I have to.” The simple words hit me like a blow. The weaver went on, “I have to create, or it was all for nothing. I have to create, or I will crumple up with despair and never leave my bed. I have to create because I have no other way of voicing this.” Her hand rested on her heart, and my eyes burned. “It is hard,” the weaver said, her stare never leaving mine, “and it hurts, but if I were to stop, if I were to let this loom or the spindle go silent …” She broke my gaze at last to look to her tapestry. “Then there would be no Hope shining in the Void.” My mouth trembled, and the weaver reached over to squeeze my hand, her callused fingers warm against mine.

I have to create, or it was all for nothing. I have to create, or I will crumple up with despair and never leave my bed. I have to create because I have no other way of voicing this.' Her hand rested on her heart, and my eyes burned. 'It is hard,' the weaver said, her stare never leaving mine, 'and it hurts, but if I were to stop, if I were to let this loom or the spindle go silent...' She broke my gaze at last to look to her tapestry. 'Then there would be no hope shining in the void.

I have to create, or it was all for nothing. I have to create, or I will crumple up with despair and never leave my bed. I have to create because I have no other way of voicing this.” Her hand rested on her heart, and my eyes burned. “It is hard,” the weaver said, her stare never leaving mine, “and it hurts, but if I were to stop, if I were to let this loom or the spindle go silent …” She broke my gaze at last to look to her tapestry. “Then there would be no Hope shining in the Void.

The weaver went on, “I have to create, or it was all for nothing. I have to create, or I will crumple up with despair and never leave my bed. I have to create because I have no other way of voicing this.” Her hand rested on her heart, and my eyes burned. “It is hard,” the weaver said, her stare never leaving mine, “and it hurts, but if I were to stop, if I were to let this loom or the spindle go silent …” She broke my gaze at last to look to her tapestry. “Then there would be no Hope shining in the Void.” My mouth trembled, and the weaver reached over to squeeze my hand, her callused fingers warm against mine. I had no words to offer her, nothing to convey what surged in my chest. Nothing other than, “I would like to buy that tapestry.

He kept returning to the factories to watch the rattling grey-black efficiency of the wooden and iron machines out of which came long webs of pure white wool, fragile silks the colors of jewels and flowers, patterned velvets, splendid and delicate products of the looms and racks, the stinking vats of dye and sizing, the crazy dancing spindles, the endless trays of leaves and worms. The big new Ferman Wool factory had two steam-driven looms, the first in the country; he had read Sangiusto’s descriptions of such machines in the northern English cities, and went to see them in some intellectual excitement, but was drawn back to them again and again simply to watch them work: the swift endless back-and-forth, the deft, effaced men that served them. He could stand watching them for an hour, all the time with a slightly sick feeling in the pit of his stomach. They were the same motions, it was the same product, as Kounney working at his loom in his rooms in Mallenastrada; it was weaving, there had been weaving done since the dawn of human time, why did the powered looms so fascinate and frighten him? He wrote an article describing them, their structure, their product, and their probable effect on the economy if more came into use.