colours

"[After the Queen's latest practical joke, Edmund returns to his house to find it filled with smoke.] Blackadder: My God! This place stinks like a pair of armoured trousers after the Hundred Years War. Baldrick, have you been eating dung again?! [Percy comes out of the den, frazzled and slightly burnt] Percy: My lord! Success! Blackadder: What? [Percy leads Edmund into the den, where alchemical apparatus has been arranged on the table, with Baldrick pumping the bellows] Percy: After literally an hour's ceaseless searching, I have succeeded in creating gold! Pure gold! Blackadder: Are you sure? Percy: Yes, my lord! Behold... [Edmund and Baldrick look at the main pot as Percy opens it, revealing its contents and bathing the room in its light] Blackadder: Percy, it's green. Percy: That's right, my lord! Blackadder: Yes, Percy, I don't want to be pedantic, but the colour of gold is gold. That's why it's called 'gold'. What you have discovered, if it has a name, is some 'green'. [Amazed, Percy takes the green out of the pot and holds it reverently in his hands] Percy: Oh, Edmund, can it be true? That I hold here, in my mortal hand, a nugget of purest green? Blackadder: Indeed you do, Percy. Except it's not really a nugget, but more of a splat. Percy: Well, yes, a splat today, but tomorrow, who knows, or dares to dream! Blackadder: So we three alone in all the world can create the finest green at will? Percy: Thus so. [aside] Not sure about counting in Baldrick, actually. Blackadder: Of course, you know what your great discovery means, don't you, Percy? Percy: Perhaps, my lord... Blackadder: That you, Percy, Lord Percy, are an utter berk. Baldrick, pack my bags. I'm gonna sell the house. Baldrick and Percy: What? Blackadder: There's nothing else for it. I mean, I shall miss the old place. I've had some happy times here, when you and Percy have been out, but needs must when the devil vomits into your kettle. Baldrick, go forth into the street and let it be known that Lord Blackadder wishes to sell his house. Percy, just go forth into the street."

"Then went Moses and Aaron, Nadab ad Abihu and the seventy elders of Israel uppe, and sawe the God of Israel, and under his fete as it were a brycke worke of Saphir and as it were the facyon of heaven when is it cleare,"

"Then went up Moses, and Aaron, and Nadab, and Abihu, and seventy of the elders of Israel; and they saw the God of Israel: and there was under his feet as it were a paved work of sapphire stone, and as it were the very heaven for clearness."

"Moses and Aaron, Nadab and Abihu, and the seventy elders of Israel went up and saw the God of Israel. Under his feet was something like a pavement made of lapis lazuli, as bright blue as the sky."

"And above the firmament that was over their heads was the likeness of a throne, as the appearance of a sapphire stone: and upon the likeness of the throne was the likeness as the appearance of a man above upon it. And I saw as the colour of amber, as the appearance of fire round about within it, from the appearance of his loins even upward, and from the appearance of his loins even downward, I saw as it were the appearance of fire, and it had brightness round about."

"Why does the world before him Melt in a million suns, Why do his yellow, yearning eyes Burn like saffron buns?"

"The media’s politics of labelling can have a bad effect. The papers keep talking about the saffron brigade. Historically, saffron is the colour of renunciation. Now you have taken away the colour from the believing Hindu and given it a pejorative ring."

"Beware of her fair hair, for she excels All women in the magic of her locks, And when she twines them round a young man’s neck She will not ever set him free again."

"... Here in her hairs The painter plays the spider; and hath woven A golden mesh to entrap the hearts of men, Faster than gnats in cobwebs:"

"My Lady’s hair is threads of beaten gold."

"In twisted braids of Lillies knitting The loose train of thy amber-dropping hair,"

"Thou fair-hair’d angel of the evening,"

"Her Forehead is of Amplest Blonde —"

"Bright over Europe fell her golden hair."

"For dark my mother was in eyes and hair, And dark in hair and eyes am I; and dark Was Gorlois, yea and dark was Uther too, Wellnigh to blackness; but this King is fair Beyond the race of Britons and of men."

"O heaven-blue eyes, blonde tresses where the breeze Plays over sunburned cheeks in sea-blown air!"

"And round his heart one strangling golden hair."

"White is not a mere absence of color; it is a shining and affirmative thing, as fierce as red, as definite as black. God paints in many colors; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white."

"‘“I looked then and saw that his robes, which had seemed white, were not so, but were woven of all colours, and if he moved they shimmered and changed hue so that the eye was bewildered.‘“I liked white better,” I said.‘“White!” he sneered. “It serves as a beginning. White cloth may be dyed. The white page can be overwritten; and the white light can be broken.”‘“In which case it is no longer white,” said I. “And he that breaks a thing to find out what it is has left the path of wisdom.”"

"This hair was resplendently opaque, soft as fur, longer than a bird’s wing, supple, uncountable, full of life and warmth. It covered half her back, flowed under her naked belly, glittered under her knees in thick, curling clusters. The young woman was enwrapped in this precious fleece. It glinted with a russet sheen, almost metallic, and had procured her the name of Chrysis, given her by the courtesans of Alexandria. It was not the sleek hair of the court-woman from Syria, or the dyed hair of the Asiatics, or the black and brown hair of the daughters of Egypt. It was the hair of an Aryan race, the Galilæans across the sands."

"It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window."

"His gaze went again to her unruly locks, which at first glance he had thought to be red. Now he saw that they were neither red nor yellow but a glorious compound of both colors. He gazed spell-bound. Her hair was like elfin-gold; the sun struck it so dazzlingly that he could scarcely bear to look upon it."

"Brownish color and black eyes are more closely related to the sublime, blue eyes and blond color to the beautiful."

"Black people would in private say that Nicole was ‘white trash,’ using her blond hair, her big breasts, her teenage pussy to woo a famous, rich, middle-aged black man away from the black woman who had sustained and nurtured him through the toughest years of his life."

"All people see when they look at me is blonde hair and big boobs."

"Madonna is the only modern celebrity who is truly a style icon. Who else has the audacity to dress like her these days? She really influenced how I wanted to look when I was growing up, and made me realize that I didn’t have to look like a blond beach bunny or a Playboy model."

"It has been theorised that the blonde hair and blue eyes seen in Caucasians are recent adaptations, dating from approximately 11,000 years ago. The traits are thought to have evolved among northern European tribes at the end of the last ice age. Although both natural and sexual selection have played a part in the evolution of the blue-eyed blonde, sexual selection was probably the primary force."

"Yes, I'm blonde. When I started as an actor, because of my accent and my body and my personality, it was not what the stereotype of the Latina woman in Hollywood is, so they didn't know where to put me. The blond hair wasn't matching. The moment I put my hair dark, it was better for my work."

"For generations in this country, beauty was traditionally represented by three very distinct ideals in virtually all media: blond hair, blue eyes and fair skin... My cover shattered that notion forever... Women of color could boldly say to the world, 'Hey, look at me! I’m here and I have value and I am beautiful.'"

"As a little girl, I was quite self-conscious about my Asian features. A few kids made fun of the shape of my eyes. All the Barbies had blond hair and blue eyes, and I remember wishing I didn’t look the way I did – I was the only girl of colour in the area. But now I’ve got older, I’ve realised what makes you different is your strength."

"Further, the consideration as to the complexion is very decided. Blondes prefer dark persons, or brunettes ; but the latter seldom prefer the former. The reason is, that fair hair and blue eyes are in themselves a variation from the type, almost an abnormity, analogous to white mice, or at least to grey horses. In no part of the world, not even in the vicinity of the pole, are they indigenous, except in Europe, and are clearly of Scandinavian origin."

"Of great Demeter here begins my lay, / The bright-haired goddess; ..."

"Pretty Bombŷca, in you the world may see ‘an Arab, lean and swarthy’—you’re ‘honey-blonde’ to me."

"Fair Pyrrha, say, for whom Your yellow hair you braid, So trim, so simple!"

"Her amber tresses were the sight That wrappèd me in vain delight;"

"Nor is the wide world ignorant of her worth, For the four winds blow in from every coast Renownèd suitors, and her sunny locks Hang on her temples like a golden fleece; Which makes her seat of Belmont Colchos' strand, And many Jasons come in quest of her."

"Red, the color of the earth and of the East, and the color of what is sacred."

"Red has been praised for its nobility as the colour of life. But the true colour of life is not red. Red is the colour of violence, or of life broken open, edited, and published. Or if red is indeed the colour of life, it is so only on condition that it is not seen. Once fully visible, red is the colour of life violated, and in the act of betrayal and of waste."

"Red is such an interesting color to correlate with emotion, because it's on both ends of the spectrum. On one end you have happiness, falling in love, infatuation with someone, passion, all that. On the other end, you've got obsession, jealousy, danger, fear, anger and frustration."

"Silver sails all out of the west Under the silver moon."

"I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done The silver apples of the moon."

"You have to do everything you can, you have to work your hardest, and if you do, if you stay positive, you have a shot at a silver lining."

"Every cloud has a silver lining."

"There's the silver lining I've been looking for."

"Was I deceiv'd, or did a sable cloud Turn forth her silver lining on the night? I did not err; there does a sable cloud Turn forth her silver lining on the night, And casts a gleam over this tufted grove."

"Keen as are the arrows Of that silver sphere, Whose intense lamp narrows In the white dawn clear Until we hardly see, we feel that it is there."

"It's a truism in technological development that no silver lining comes without its cloud."

"The blue dye indigo is one of the oldest s known to man, having been in use for more than 4000 years. Its preparation by complex extraction processes was described in Sanskrit writings, and it was used to dye Egyptian mummy cloth. When Julius Caesar invaded Britain in 55 B.C., he found that the local ' ("painted people") decorated themselves with woad, a form of indigo. And who, today, does not know the all-pervading blue jeans, frequently dyed with the same indigo, now manufactured synthetically. While the colors... can be adequately explained by , the all-encompassing is required to explain the color of organic molecules. These include dyes and pigments, both as they occur in nature as colorants in the animal and vegetable kingdoms from which they were first extracted, and also as the triumphs of the synthetic dye industry which have displaced natural dyes almost completely. ...[W]e use the term "colorant" to include all types of organic dyes and pigments involving electrons on more than one atom in organic molecules, while multi-atom color-producing systems involving charge transfer are deferred ..."

"[P]ure light, such as that from the sun has no color, but is made colored by its degradation when interacting with objects having specific properties which then produce color."

"[L]ight ...is the colour of the transparent medium contingently determined; for when anything of the nature of fire is found in the transparent medium its presence constitutes light, its absence darkness. ...[T]he transparent element is nothing which is found exclusively ...in any one of the substances ...it ...finds its existence in these bodies and subsists in varying degrees in the rest of material substances. ...[T]he Pythagorean terminology identified the visible superficies with colour. ...[C]olour exists in the boundary, but it by no means is the boundary of the body ...internally there exists the same constitution as externally displays colour. ...Colour ...is the limit of the transparent element in a determinately bounded body ...both in transparent substances ...and in those which appear to have a surface colour of their own. ...[T]hat, which in air causes light, may be present in the transparent medium or it may not ...[W]hite and black may be juxtaposed in such a way that by the minuteness of the division of its parts each is invisible while their product is visible, and thus colour may be produced. This product can appear neither white nor black ...it must be a sort of compound and a fresh kind of tint. ...[C]olours ...may be produced, and ...their multiplicity is due to differences in the proportion of their composition. ...[C]olours may ...be analogous to harmonies. ...[T]hose compounded according to the simplest proportions ...as is the case in harmonies, will appear to be the most pleasant ...e.g. , ...This is one of the ways in which colours may be produced; a second is effected by the shining of one colour through another. This we may illustrate by the practice ...by painters when they give a wash of colour over another more vivid tint, when, for example, they wish to make a thing look as though it were in the water or in the air. ...[W]e may illustrate by the sun, which in itself appears white, but looks red when seen through mist and smoke. ...[W]e should have to suppose there was some ratio between the superficial and the underlying tints in ...some colours, while in others there would be ...lack of commensurate proportion. ...[Thus ...it is absurd to maintain, with the early philosophers, that colours are effluxes and that vision is effected by a cause of the efflux type. It was in every way binding on them to account for sensation by means of contact, and therefore it was obviously better to say that sensation was due to a movement set up by the sense object in the medium of sensation, and thus account for it by contact without the instrumentality of effluxes.] According to the theory of juxtaposition, just as we must assume that there are invisible spatial quanta, so must we postulate an imperceptible time to account for the imperceptibility of the diverse stimuli transmitted to the sense organ... But on the other theory there is no such necessity; the surface colour causes different motions in the medium when acted on and when not acted on by an underlying tint. Thus it appears to be something different, and neither black nor white. ...But let us premise that substances are mixed not merely in the way some people think by a juxtaposition of their ultimate minute parts ...imperceptible to sense but that they entirely interpenetrate each other in every part throughout ...The former theory accounts for the mixture only of those things which can be resolved into ultimate least parts ...On the other hand, things which cannot be resolved into least parts, cannot be mingled in this way; they must entirely interpenetrate each other; and these are the things which most naturally mix. ...[W]hen substances are mixed their colours too must be commingled, and that this is the supreme reason why there is a plurality of colours; neither superposition nor juxtaposition is the cause. In such mixtures the colour does not appear single when you are at a distance and diverse when you come near; it is a single tint from all points of view. The reason for the multiplicity of colours will be the fact that things which mix can be mixed in many different proportions ...[T]he same account will apply to the juxtaposition or superposition of colours as to their mixture. [T]hey, and likewise tastes and sounds, have definite species limited in number..."