Vienna Beauty Quotes

And I'll dance with you in Vienna, I'll be wearing a river's disguise. The hyacinth wild on my shoulder my mouth on the dew of your thighs. And I'll bury my soul in a scrapbook, with the photographs there and the moss. And I'll yield to the flood of your beauty, my cheap violin and my cross.

We must remember that possession of physical beauty can easily weaken the moral faculty.

In Vienna there are shadows. The city is black and everything is done by rote. I want to be alone. I want to go to the Bohemian Forest. May, June, July, August, September, October. I must see new things and investigate them. I want to taste dark water and see crackling trees and wild winds. I want to gaze with astonishment at moldy garden fences, I want to experience them all, to hear young birch plantations and trembling leaves, to see light and sun, enjoy wet, green-blue valleys in the evening, sense goldfish glinting, see white clouds building up in the sky, to speak to flowers. I want to look intently at grasses and pink people, old venerable churches, to know what little cathedrals say, to run without stopping along curving meadowy slopes across vast plains, kiss the earth and smell soft warm marshland flowers. And then I shall shape things so beautifully: fields of colour…

Vienna, to me it was the tuning fork for the entire world. Saying the word Vienna was like striking a tuning fork and then listening to find what tone it called forth in the person I was talking to. It was how I tested people. If there was no response, this was not the kind of person I liked. Vienna wasn't just a city, it was a tone that either one carries forever in one's soul or one does not. It was the most beautiful thing in my life. I was poor, but I was not alone, because I had a friend.

VIENNA, March 11–12 (4 a.m.) The worst has happened! Schuschnigg is out. The Nazis are in. The Reichswehr is invading Austria. Hitler has broken a dozen solemn promises, pledges, treaties. And Austria is finished. Beautiful, tragic, civilized Austria! Gone. Done to death in the brief moment of an afternoon. This afternoon.

Vienna wasn't just a city, it was a tone that either one carries forever in one's soul or one does not. It was the most beautiful thing in my life. I was poor, but I was not alone, because I had a friend. And Vienna was like another friend. When it rained in the tropics, I always heard the voice of Vienna. And at other times too. Sometimes deep in the virgin forests I smelled the musty smell of the entrance hall in Hietzing. Music and everything I loved was in the stones of Vienna, and in people's glances and their behavior, the way pure feelings are part of one's very heart. You know when the feelings stop hurting. Vienna in winter and spring. The allés in Schönbrunn. The blue light in the dormitory at the academy, the great white stairwell with the baroque statue. Morning ridings in the Prater. The mildew in the riding school. I remember all of it exactly, and I wanted to see it again...

Our wounds and our gifts are next-door neighbors.” What a beautiful reminder that some of our greatest gifts do emerge from the pain we’ve endured.

Cliff’s eyes drifted to me, gleaming with speculation. “And who is this beautiful guest of yours?” “This is my Vienna,” said Dane, his voice loaded with possession. And, yep, several sets of eyebrows lifted high. Cliff blinked. “Your Vienna? Like that, is it?

Then she stood on tiptoe and kissed him sweetly on the lips, “I promise you a love affair with a sun-bathed Austrian princess beyond anything you imagine—in love, in beauty, in intensity. A love that will power you to the end of our time together. You are going to be a fortunate man, Geoffrey Ashbrook.

   Hugo thought that it simply could not be otherwise; he would surely somewhere see that beautiful, beloved face that he had daily seen for so long!    But he did not see it.    After his search had gone on for some months, after winter had already cast its snowflakes and its blanket of ice over the city, he gave up his efforts. He sat in his room and held his lovely, weary head in both his hands.

I said that it was a beautiful sunset, and Alina said no, it was a sunrise. We argued about it, actually. I told her that the sun in the picture was setting because it was obviously a view from our camp near Gelendzhik, overlooking the Black Sea. That would mean the painting was looking to the west. “Alina said that it didn’t matter. Even if the sun is setting on Gelendzhik, that only means that it is rising in Bucharest. Or Vienna. Or Paris. The sun is always rising somewhere. From then on, whenever I felt low, whenever I lost hope and the world felt darkest, Alina would remind me: the sun is rising.

I was still in the Gymnasium when this short pamphlet, penetrating as a steel shaft, appeared; but I can still remember the general astonishment and annoyance of the bourgeois Jewish circles of Vienna. What has happened, they said angrily, to this otherwise intelligent, witty and cultivated writer? What foolishness is this that he has thought up and writes about? Why should we go to Palestine? Our language is German and not Hebrew, and beautiful Austria is our homeland. Are we not well off under the good Emperor Franz Josef? Do we not make a decent living, and is our position not secure? Are we not equal subjects, inhabitants and loyal citizens of our beloved Vienna? Do we not live in a progressive era in which in a few decades all sectarian prejudices will be abolished? Why does he, who speaks as a Jew and who wishes to help Judaism, place arguments in the hands of our worst enemies and attempt to separate us, when every day brings us more closely and intimately into the German world?

He wrote to Alexander on the 20th, as autumnal rains finally quenched the fires, which in some places had burned for six days. (The letter was delivered by the brother of the Russian minister to Cassel, the most senior Russian to be captured in Moscow, which shows how thorough the nobility’s evacuation of the city had been.) ‘If Your Majesty still preserves for me some remnant of your former feelings, you will take this letter in good part,’ he began. The beautiful and superb city of Moscow no longer exists; Rostopchin had it burnt … The administration, the magistrates and the civil guards should have remained. This is what was done twice at Vienna, at Berlin and at Madrid … I have waged war on Your Majesty without animosity. A letter from you before or after the last battle would have halted my march, and I should have even liked to have sacrificed the advantage of entering Moscow.37 On receipt of this letter, the Tsar promptly sent for Lord Cathcart, the British ambassador, and told him that twenty such catastrophes as had happened to Moscow would not induce him to abandon the struggle.38 The list of cities Napoleon gave in that letter – and it could have been longer – demonstrates that he knew from experience that capturing the enemy’s capital didn’t lead to his surrender, and Moscow wasn’t even Russia’s government capital. It was the destruction of the enemy’s main army at Marengo, Austerlitz and Friedland that had secured his victory, and Napoleon had failed to achieve that at Borodino.

In 1906, the year after Einstein’s annus mirabilis, Kurt Gödel was born in the city of Brno (now in the Czech Republic). Kurt was both an inquisitive child—his parents and brother gave him the nickname der Herr Warum, “Mr. Why?”—and a nervous one. At the age of five, he seems to have suffered a mild anxiety neurosis. At eight, he had a terrifying bout of rheumatic fever, which left him with the lifelong conviction that his heart had been fatally damaged. Gödel entered the University of Vienna in 1924. He had intended to study physics, but he was soon seduced by the beauties of mathematics, and especially by the notion that abstractions like numbers and circles had a perfect, timeless existence independent of the human mind. This doctrine, which is called Platonism, because it descends from Plato’s theory of ideas, has always been popular among mathematicians. In the philosophical world of 1920s Vienna, however, it was considered distinctly old-fashioned. Among the many intellectual movements that flourished in the city’s rich café culture, one of the most prominent was the Vienna Circle, a group of thinkers united in their belief that philosophy must be cleansed of metaphysics and made over in the image of science. Under the influence of Ludwig Wittgenstein, their reluctant guru, the members of the Vienna Circle regarded mathematics as a game played with symbols, a more intricate version of chess. What made a proposition like “2 + 2 = 4” true, they held, was not that it correctly described some abstract world of numbers but that it could be derived in a logical system according to certain rules.

You know,” I said, “you don’t owe New Fiddleham anything. You don’t need to help them.” “Look,” Charlie said as we clipped past Market Street. He was pointing at a man delicately painting enormous letters onto a broad window as we passed. NONNA SANTORO’S, it read, although the RO’S was still just an outline. “That Italian restaurant?” “Yes,” he smiled. “They will be opening their doors for the first time very soon. Sweet family. I bought my first meal in New Fiddleham from that man. A couple of meatballs from a street cart were about all I could afford at the time. He’s an immigrant, too. He’s going to do well. His red sauce is amazing.” “That’s grand for him, then,” I said. “I like it when doors open,” said Charlie. “Doors are opening in New Fiddleham every day. It is a remarkable time to be alive anywhere, really. Do you think our parents could ever have imagined having machines that could wash dishes, machines that could sew, machines that do laundry? Pretty soon we’ll be taking this trolley ride without any horses. I’ve heard that Glanville has electric streetcars already. Who knows what will be possible fifty years from now, or a hundred. Change isn’t always so bad.” “Your optimism is both baffling and inspiring,” I said. “The sun is rising,” he replied with a little chuckle. I glanced at the sky. It was well past noon. “It’s just something my sister and I used to say,” he clarified. “I think you would like Alina. You often remind me of her. She has a way of refusing to let the world keep her down.” He smiled and his gaze drifted away, following the memory. “Alina found a rolled-up canvas once,” he said, “a year or so after our mother passed away. It was an oil painting—a picture of the sun hanging low over a rippling ocean. She was a beautiful painter, our mother. I could tell that it was one of hers, but I had never seen it before. It felt like a message, like she had sent it, just for us to find. “I said that it was a beautiful sunset, and Alina said no, it was a sunrise. We argued about it, actually. I told her that the sun in the picture was setting because it was obviously a view from our camp near Gelendzhik, overlooking the Black Sea. That would mean the painting was looking to the west. “Alina said that it didn’t matter. Even if the sun is setting on Gelendzhik, that only means that it is rising in Bucharest. Or Vienna. Or Paris. The sun is always rising somewhere. From then on, whenever I felt low, whenever I lost hope and the world felt darkest, Alina would remind me: the sun is rising.” “I think I like Alina already. It’s a heartening philosophy. I only worry that it’s wasted on this city.” “A city is just people,” Charlie said. “A hundred years from now, even if the roads and buildings are still here, this will still be a whole new city. New Fiddleham is dying, every day, but it is also being constantly reborn. Every day, there is new hope. Every day, the sun rises. Every day, there are doors opening.” I leaned in and kissed him on the cheek. “When we’re through saving the world,” I said, “you can take me out to Nonna Santoro’s. I have it on good authority that the red sauce is amazing.” He blushed pink and a bashful smile spread over his face. “When we’re through saving the world, Miss Rook, I will hold you to that.

In 1935, three years before his death, Edmund Husserl gave his celebrated lectures in Vienna and Prague on the crisis of European humanity. For Husserl, the adjective "European" meant the spiritual identity that extends beyond geographical Europe (to America, for instance) and that was born with ancient Greek philosophy. In his view, this philosophy, for the first time in History, apprehended the world (the world as a whole) as a question to be answered. It interrogated the world not in order to satisfy this or that practical need but because "the passion to know had seized mankind." The crisis Husserl spoke of seemed to him so profound that he wondered whether Europe was still able to survive it. The roots of the crisis lay for him at the beginning of the Modern Era, in Galileo and Descartes, in the one-sided nature of the European sciences, which reduced the world to a mere object of technical and mathematical investigation and put the concrete world of life, die Lebenswelt as he called it, beyond their horizon. The rise of the sciences propelled man into the tunnels of the specialized disciplines. The more he advanced in knowledge, the less clearly could he see either the world as a whole or his own self, and he plunged further into what Husserl's pupil Heidegger called, in a beautiful and almost magical phrase, "the forgetting of being." Once elevated by Descartes to "master and proprietor of nature," man has now become a mere thing to the forces (of technology, of politics, of history) that bypass him, surpass him, possess him. To those forces, man's concrete being, his "world of life" (die Lebenswelt), has neither value nor interest: it is eclipsed, forgotten from the start.

After Us, the Salamanders!, The Future belongs to the Newts, Newts Mean Cultural Revolution. Even if they don't have their own art (they explained) at least they are not burdened with idiotic ideals, dried up traditions and all the rigid and boring things taught in schools and given the name of poetry, music, architecture, philosophy and culture in any of its forms. The word culture is senile and it makes us sick. Human art has been with us for too long and is worn-out and if the newts have never fallen for it we will make a new art for them. We, the young, will blaze the path for a new world of salamandrism: we wish to be the first newts, we are the salamanders of tomorrow! And so the young poetic movement of salamandrism was born, triton - or tritone - music was composed and pelagic painting, inspired by the shape world of jellyfish, fish and corals, made its appearance. There were also the water regulating structures made by the newts themselves which were discovered as a new source of beauty and dignity. We've had enough of nature, the slogans went; bring on the smooth, concrete shores instead of the old and ragged cliffs! Romanticism is dead; the continents of the future will be outlined with clean straight lines and re-shaped into conic sections and rhombuses; the old geological must be replaced with a world of geometry. In short, there was once again a new trend that was to be the thing of the future, a new aesthetic sensation and new cultural manifestoes; anyone who failed to join in with the rise of salamandrism before it was too late felt bitterly that he had missed his time, and he would take his revenge by making calls for the purity of mankind, a return to the values of the people and nature and other reactionary slogans. A concert of tritone music was booed off the stage in Vienna, at the Salon des Indépendents in Paris a pelagic painting called Capriccio en Bleu was slashed by an unidentified perpetrator; salamandrism was simply victorious, and its rise was unstoppable.

You'll come with me to Vienna, of course," I said. It wasn't a question. Käthe blinked, surprised by my sudden turn in conversation. "What?" "You'll be coming with me to Vienna," I repeated. "Won't you?" "Liesl," she said, eyes shining with tears. "Are you sure?" "Of course I'm sure," I said. "It'll be just like the Ideal Imaginary." She laughed again, and the sound was as pure as a spring morning. The what-if games my little sister and I had played as girls had been ways to pass the time, a space we created untouched by the grime and grief of ordinary drudgery. A world where we were princesses and queens, a world as beautiful and as magical as any my brother and I had made together. "Just imagine, Käthe." I took her hand mine. "Bonbons and handsome swains waiting on us hand and foot." She giggled. "And all the silks and velvets and brocades to dress ourselves in!" "An invitation to a different ball every night!" "Masques and operas and parties and dancing!" "Schnitzel and Apfelstrudel and Turkish coffee!" "Don't forget the chocolate torte," Käthe added. "It's your favorite." I laughed, and for a moment, I allowed myself to pretend we were little girls again, when our wants and dreams were as closely entwined as our fingers. "What if," I said softly. "Not a what-if," my sister said fiercely. "A when." "When," I repeated. I could not stop smiling.

Cizek came to Vienna [from Leitmeritz, a small town in Bohemia, then Austrian] when he was twenty [in 1885], and entered the Academy of Fine Arts. He lodged with a poor family, where, fortunately, there were children. These children saw him painting and drawing, and they wanted, as Cizek has so often related, “to play painter too.” Out of his genuine love for children, one of the reasons of his success, he gave them what they asked for—pencils, brushes, and paints. And beautiful works were created by them. It was a happy coincidence that Cizek was in close contact with the founders of the “Secession” movement, a kind of revolution of young painters and architects against the old academic art. He showed his friends ... the drawings of his children, and these artists were so thrilled that they encouraged Cizek to open what they scarcely liked only to call a school, but for which they had no other name. There children should be allowed, for the first time, to do what they liked [emphasis added]. (pp. 11–12) Needless

The statue was a statue of the Sacred Heart, and it wasn't a very beautiful one either, but that didn't make Schwester Kasimira want to replace it by a stag's head, because she thought that the Lord was beautiful enough as He was, and that statues at best were only approximations, and even if they were ugly, they did point the way to heaven, and that was more than could be said of cinema houses and advertisements which were generally much uglier still and rarely, in her opinion, made any sense at all.

His tired face was lit with a brief beauty as he smiled, and the two nuns and Colonel Nicobar and Twingo smiled too, glad to find a common ground for merriment, however momentary. For a few seconds Stalin, Pope Pius the Twelfth, and King George the Sixth laughed together in the persons of their representatives.

What the novel portrays is basically the reality of Vienna today: one of the world’s great cities robbed of its lifeblood, reduced to a bland provincial capital filled with beautiful old buildings.

Sisi knew that it was hopeless to live up to the fairy-tale princess with stars in her hair of the Winterhalter portrait, an image that sold everything from chocolates to liver salts in Vienna, but she found it impossible not to try. Beauty was her gift, her weapon and her power, and she dreaded its passing.

In the middle of April 1945, we paid for three spaces on a truck, that would take a few families to the border. The night before we left, all three knapsacks ready, we looked around the house: the furniture in the dining room and bedroom, all brought by the parents from Vienna, the beautiful grandfather clock that had to be wound once a month - all these were part of our lives. Father, without saying a word, opened the clock, cut through the spring, took the two beautifully engraved, gilded weights and threw them in the garbage. He did not want anybody to enjoy that clock, that was brought from Vienna in 1918 and was chiming the quarter, half and the hours for our entire life, in good times and bad. It was the only spiteful act that I ever saw him perform, this quiet, gentle man.

course, I loved it”: Ibid. “It fairly well takes the position”: The New York Times, May 23, 1963. He came across the Atlantic: Author interview with Jacqueline Grobarek, October 2013. “if it had not been for”: Peter, Zyklus, unpaginated. “A mighty good American”: Newsletter, The Charles Hancock Reed Papers. “He lives through the Regiment”: Ibid. “He was a peaceful, kind person”: Author interview with Anne Stewart, October 2013. “It was 34 years”: Ibid. The international Lipizzaner registry: Current numbers of Lipizzaners comes from an email interview with Karin Mayrhofer, press spokeswoman for the Spanish Riding School, Vienna.

We sit through endless tastings where people with Naugahyde for palates pick apart our dishes and offer suggestions and changes that we? HAVE TO MAKE. I happen to love a braised pork cheek garnished with crispy bits of fried pig ear, or a smoked bison tongue salad. But I have yet to meet a client who wants me to make that for their daughter's sweet sixteen. And at the end of the day, if I can bring integrity to one more chicken breast dinner, to the "trio of salads" ladies' luncheon, to the surprise hot dog cart at the end of the wedding, perfectly snappy grilled Vienna Beef beauties with homemade steamed buns and all seven of the classic Chicago Dog toppings, then I have done my job and might get another.

Love will put you face-to-face with endless obstacles. It will ask you to reveal the parts of yourself you tirelessly work at hiding. It will ask you to find compassion for yourself and receive what it is you are convinced you are not worthy of. Love will always demand more. Surrender to being seen and being loved. Surrender to the beauty of revealing yourself to yourself, and to the ones who saw you before you saw you.’ It was written by Vienna Pharaon, who is a therapist.” She took a drink of her beer and then went on, “We have faced obstacles. We have hidden parts of ourselves. We should give

There is something unique that unites the capitals of ancient empires. Just think of Rome, Venice, or Vienna, to give three examples. Once places of immense power and wealth, these great cities fell into decline and were condemned to a sweet irrelevance. Once open, cosmopolitan, and multiethnic, they are now provincial and self-absorbed. Proud of their past but trapped in it. Tourists treat these cities like open-air museums or amusement parks, enjoying the beautiful millenary patina without seeing beyond the surface.

By the 1580s he had already hired a professional researcher from Chania in Crete—there was a Venetian connection—to search for the oldest and purest of the Chrysostom manuscripts and to buy them. Savile recommended the agent look in Patmos, the beautiful island in the eastern Aegean where the monastery of St John was said to harbour the greatest treasures, and to acquire what he could. It was a lifelong fascination for Savile which culminated in his great edition of Chrysostom’s work, printed and published between 1610 and 1612 at the appalling cost of £ 8,000. By then, Savile had assembled 15,800 sheets of manuscript (which he presented to the Bodleian Library in Oxford). All the great libraries of Europe had been searched, not only in Mount Athos, Constantinople and the island of Chalce, but in Paris, Vienna, Augsburg and Munich.

Hardly any other tale from Vienna was as interesting as learning from an eyewitness whether the Empress was truly as beautiful as it was said.

Much of the negation poisoning the democratic process has stemmed from a confusion of the personal and the statistical. I may hold down an excellent job, but the failure of the stimulus to meet its targets infuriates me. I may live in peaceful Vienna, Virginia, safe from harm—but a report that several Americans have died violently in Kabul appears like a fatal failure of authority. By dwelling on the plane of gross statistics, I become vulnerable to grandiose personal illusions: that if I compel the government to move in this direction or that, I can save the Constitution, say, or the earth, or stop the war, or end poverty now. Though my personal sphere overflows with potentiality, I join the mutinous public and demand the abolition of the established order. This type of moral and political displacement is nothing new. The best character in the best novel by Dickens, to my taste, is Mrs. Jellyby of Bleak House, who spent long days working to improve “the natives of Borrioboola-Gha, on the left bank of the Niger,” while, in her London home, her small children ran wild and neglected. Dickens termed this “telescopic philanthropy”—the trampling of the personal sphere for the sake of a heroic illusion. Mrs. Jellyby, sitting in quite a nest of waste paper, drank coffee all the evening and dictated at intervals to her eldest daughter. She also held a discussion with Mr. Quale, the subject of which seemed to be—if I understood it—the brotherhood of humanity, and gave utterance to some beautiful sentiments. I was not so attentive an auditor as I might have wished to be, however, for Peepy and the other children came flocking about Ada and me in a corner of the drawing-room to ask for another story; so we sat down among them and told them in whispers “Puss in Boots” and I don’t know what else until Mrs. Jellyby, accidentally remembering them, sent them to bed.3 The revolt of the public has had a telescopic and Jellybyan aspect to it. Though they never descended to details, insurgents assumed that, by symbolic gestures and sheer force of desire, they could refashion the complex systems of democracy and capitalism into a personalized utopia. Instead, unknowingly, they crossed into N. N. Taleb’s wild “Extremistan,” where “we are subjected to the tyranny of the singular, the accidental, the unseen, and the unpredicted.” In that unstable country, “you should always be suspicious of the knowledge you derive from data.”4 I can’t command a complex social system like the United States, but I can control my political expectations of it: I can choose to align them with reality. To seize this alternative, I must redirect the demands I make on the world from the telescopic to the personal, because actionable reality resides in the personal sphere. I can do something about losing my job, for example, but I have no clue what could or should be done about the unemployment rate. I know directly whether a law affects my business for better or worse, but I have no idea of its effect on the gross domestic product. I can assist a friend in need, but I have little influence over the natives of Borrioboola-Gha, on the left bank of the Niger. Control, however tenuous, and satisfaction, however fleeting, can only be found in the personal sphere, not in telescopic numbers reported by government. A

The modernist reaction to the Enlightenment came in the aftermath of the Industrial Revolution, whose brutalizing effects revealed that modern life had not become as mathematically perfect, or as certain, rational, or enlightened, as advances in the eighteenth century had led people to expect. Truth was not always beautiful, nor was it always readily recognized. It was frequently hidden from view. Moreover, the human mind was governed not only by reason but also by irrational emotion. As astronomy and physics inspired the Enlightenment, so biology inspired Modernism. Darwin’s 1859 book On the Origin of Species introduced the idea that human beings are not created uniquely by an all-powerful God but are biological creatures that evolved from simpler animal ancestors. In his later books, Darwin elaborated on these arguments and pointed out that the primary biological function of any organism is to reproduce itself. Since we evolved from simpler animals, we must have the same instinctual behavior that is evident in other animals. As a result, sex must also be central to human behavior. This new view led to a reexamination in art of the biological nature of human existence, as evident in Édouard Manet’s Déjeuner sur l’Herbe of 1863, perhaps the first truly modernist painting from both a thematic and stylistic point of view. Manet’s painting, at once beautiful and shocking in its depiction, reveals a theme central to the modernist agenda: the complex relationship between the sexes and between fantasy and reality.