Jews from France

"The primitive mentality is a condition of the human mind, and not a stage in its historical development."

"I very much believe in the influence of magic and the subconscious on the literary process...I think that magic has to do with the subconscious, much as the ancient sorcerers believed. The identification of man with his material surroundings and his active participation in that world are detailed in the books of Carlos Castaneda, for example, as well as, on a different level, with the books of sociologists like Lévy-Bruhl and Ernest Cassirer, or Lévi-Strauss. The magical identification has a lot to do with literature, this alternate way of viewing the world."

"Do not the most moving moments of our lives find us all without words?"

"I have designed my style pantomimes as white ink drawings on black backgrounds, so that man’s destiny appears as a thread lost in an endless labyrinth... I have tried to shed some gleams of light on the shadow of man startled by his anguish."

"Mime makes the invisible, visible and the visible, invisible."

"Music conveys moods and images. Even in opera, where plots deal with the structure of destiny, it’s music, not words, that provides power."

"Music and silence... combine strongly because music is done with silence, and silence is full of music."

"In silence and movement you can show the reflection of people."

"Never get a mime talking. He won’t stop."

"To communicate through silence is a link between the thoughts of man."

"I have spent more than half a lifetime trying to express the tragic moment."

"Chaplin made me laugh and cry without saying a word. I had an instinct. I was touched by the soul of Chaplin — Mime is not an imitator but a creator."

"Fathers, I do not practice. I’m not religious in life, but when I perform "The Creation of the World" and when my soul is touched by the confrontation of "Good and Evil", then God enters in me."

"No art is superior to another one, but every art looks for expertise and perfection. This is life, which continues; this is why there is no death. There is continuation. There is no silence. There is a continuation of thought."

"Silence is like a flame, you see?"

"He's garnered honorary degrees from prestigious universities across America. He's had three wives, four children, survived the Holocaust, joined the Resistance and marched in Patton's army. All this, and he has a wickedly weird and original sense of humor. "Do not meddle in the affairs of wizards," Marceau once said, "for you are crunchy and taste good with ketchup." Even when you don't quite get it, Marceau makes you think twice."

"Perhaps true appreciation of Marceau requires a step back in time. Before Marceau broke out of an invisible box and stepped into millions of American's living rooms on Max Liebman's "Show of Shows" nearly 40 years ago, you could fit the number of people who knew or much less cared anything about the art of pantomime in a Citroen. What we know of mime — the mute theatrics, the exaggerated body language, the requisite black-and-white get-up — was essentially minted by Marceau. … When Marceau is gone, we won't say, "There goes one of the world's greatest mimes," but "There goes 'the' world's great mime.""

"Art is the symbol of the two noblest human efforts: to construct and to refrain from destruction."

"The prospects of revolution seem therefore quite restricted. For can a revolution avoid war? It is, however, on this feeble chance that we must stake everything or abandon all hope. An advanced country will not encounter, in the case of revolution, the difficulties which in backward Russia served as a base for the barbarous regime of Stalin. But a war of any scope will give rise to others as formidable."

"I have sometimes told myself that if only there were a notice on church doors forbidding entry to anyone with an income above a certain figure, and a low one, I would be converted at once."

"Attention is the rarest and purest form of generosity."

"Wrongly or rightly you think that I have a right to the name of Christian. I assure you that when in speaking of my childhood and youth I use the words vocation, obedience, spirit of poverty, purity, acceptance, love of one's neighbor, and other expressions of the same kind, I am giving them the exact signification they have for me now. Yet I was brought up by my parents and my brother in a complete agnosticism, and I never made the slightest effort to depart from it; I never had the slightest desire to do so, quite rightly, I think. In spite of that, ever since my birth, so to speak, not one of my faults, not one of my imperfections really had the excuse of ignorance. I shall have to answer for everything on that day when the Lamb shall come in anger. You can take my word for it too that Greece, Egypt, ancient India, and ancient China, the beauty of the world, the pure and authentic reflections of this beauty in art and science, what I have seen of the inner recesses of human hearts where religious belief is unknown, all these things have done as much as the visibly Christian ones to deliver me into Christ's hands as his captive. I think I might even say more. The love of these things that are outside visible Christianity keeps me outside the Church... But it also seems to me that when one speaks to you of unbelievers who are in affliction and accept their affliction as a part of the order of the world, it does not impress you in the same way as if it were a question of Christians and of submission to the will of God. Yet it is the same thing."

"Concern for the symbol has completely disappeared from our science. And yet, if one were to give oneself the trouble, one could easily find, in certain parts at least of contemporary mathematics... symbols as clear, as beautiful, and as full of spiritual meaning as that of the circle and mediation. From modern thought to ancient wisdom the path would be short and direct, if one cared to take it."

"La culture est un instrument manié par des professeurs pour fabriquer des professeurs qui à leur tour fabriqueront des professeurs."

"Love is not consolation, it is light."

"Religion in so far as it is a source of consolation is a hindrance to true faith; and in this sense atheism is a purification. I have to be an atheist with that part of myself which is not made for God. Among those in whom the supernatural part of themselves has not been awakened, the atheists are right and the believers wrong."

"That is why St. John of the Cross calls faith a night. With those who have received a Christian education, the lower parts of the soul become attached to these mysteries when they have no right at all to do so. That is why such people need a purification of which St. John of the Cross describes the stages. Atheism and incredulity constitute an equivalent of such a purification."

"Whenever one tries to suppress doubt, there is tyranny."

"There are two atheisms of which one is a purification of the notion of God."

"The number 2 thought of by one man cannot be added to the number 2 thought of by another man so as to make up the number 4."

"Maurras, with perfect logic, is an atheist. The Cardinal [Richelieu], in postulating something whose whole reality is confined to this world as an absolute value, committed the sin of idolatry. … The real sin of idolatry is always committed on behalf of something similar to the State."

"Our patriotism comes straight from the Romans. This is why French children are encouraged to seek inspiration for it in Corneille. It is a pagan virtue, if these two words are compatible. The word pagan, when applied to Rome, early possesses the significance charged with horror which the early Christian controversialists gave it. The Romans really were an atheistic and idolatrous people; not idolatrous with regard to images made of stone or bronze, but idolatrous with regard to themselves. It is this idolatry of self which they have bequeathed to us in the form of patriotism."

"There is a reality outside the world, that is to say, outside space and time, outside man's mental universe, outside any sphere whatsoever that is accessible to human faculties. Corresponding to this reality, at the centre of the human heart, is the longing for an absolute good, a longing which is always there and is never appeased by any object in this world. Another terrestrial manifestation of this reality lies in the absurd and insoluble contradictions which are always the terminus of human thought when it moves exclusively in this world. Just as the reality of this world is the sole foundation of facts, so that other reality is the sole foundation of good. That reality is the unique source of all the good that can exist in this world: that is to say, all beauty, all truth, all justice, all legitimacy, all order, and all human behaviour that is mindful of obligations. Those minds whose attention and love are turned towards that reality are the sole intermediary through which good can descend from there and come among men. Although it is beyond the reach of any human faculties, man has the power of turning his attention and love towards it. Nothing can ever justify the assumption that any man, whoever he may be, has been deprived of this power. It is a power which is only real in this world in so far as it is exercised. The sole condition for exercising it is consent. This act of consent may be expressed, or it may not be, even tacitly; it may not be clearly conscious, although it has really taken place in the soul. Very often it is verbally expressed although it has not in fact taken place. But whether expressed or not, the one condition suffices: that it shall in fact have taken place. To anyone who does actually consent to directing his attention and love beyond the world, towards the reality that exists outside the reach of all human faculties, it is given to succeed in doing so. In that case, sooner or later, there descends upon him a part of the good, which shines through him upon all that surrounds him."

"The combination of these two facts — the longing in the depth of the heart for absolute good, and the power, though only latent, of directing attention and love to a reality beyond the world and of receiving good from it — constitutes a link which attaches every man without exception to that other reality. Whoever recognizes that reality recognizes also that link. Because of it, he holds every human being without any exception as something sacred to which he is bound to show respect. This is the only possible motive for universal respect towards all human beings. Whatever formulation of belief or disbelief a man may choose to make, if his heart inclines him to feel this respect, then he in fact also recognizes a reality other than this world's reality. Whoever in fact does not feel this respect is alien to that other reality also."

"It is impossible to feel equal respect for things that are in fact unequal unless the respect is given to something that is identical in all of them. Men are unequal in all their relations with the things of this world, without exception. The only thing that is identical in all men is the presence of a link with the reality outside the world. All human beings are absolutely identical in so far as they can be thought of as consisting of a centre, which is an unquenchable desire for good, surrounded by an accretion of psychical and bodily matter."

"If anyone possesses this faculty, then his attention is in reality directed beyond the world, whether he is aware of it or not. The link which attaches the human being to the reality outside the world is, like the reality itself, beyond the reach of human faculties. The respect that it makes us feel as soon as it is recognized cannot be shown to us by evidence or testimony."

"The respect inspired by the link between man and the reality alien to this world can make itself evident to that part of man which belongs to the reality of this world. The reality of this world is necessity. The part of man which is in this world is the part which is in bondage to necessity and subject to the misery of need. The one possibility of indirect expression of respect for the human being is offered by men's needs, the needs of the soul and of the body, in this world."

"Anyone whose attention and love are really directed towards the reality outside the world recognizes at the same time that he is bound, both in public and private life, by the single and permanent obligation to remedy, according to his responsibilities and to the extent of his power, all the privations of soul and body which are liable to destroy or damage the earthly life of any human being whatsoever. This obligation cannot legitimately be held to be limited by the insufficiency of power or the nature of the responsibilities until everything possible has been done to explain the necessity of the limitation to those who will suffer by it; the explanation must be completely truthful and must be such as to make it possible for them to acknowledge the necessity. No combination of circumstances ever cancels this obligation. If there are circumstances which seem to cancel it as regards a certain man or category of men, they impose it in fact all the more imperatively. The thought of this obligation is present to all men, but in very different forms and in very varying degrees of clarity. Some men are more and some are less inclined to accept — or to refuse — it as their rule of conduct."

"The proportions of good and evil in any society depend partly upon the proportion of consent to that of refusal and partly upon the distribution of power between those who consent and those who refuse. If any power of any kind is in the hands of a man who has not given total, sincere, and enlightened consent to this obligation such power is misplaced. If a man has willfully refused to consent, then it is in itself a criminal activity for him to exercise any function, major or minor, public or private, which gives him control over people's lives. All those who, with knowledge of his mind, have acquiesced in his exercise of the function are accessories to the crime. Any State whose whole official doctrine constitutes an incitement to this crime is itself wholly criminal. It can retain no trace of legitimacy. Any State whose official doctrine is not primarily directed against this crime in all its forms is lacking in full legitimacy. Any legal system which contains no provisions against this crime is without the essence of legality. Any legal system which provides against some forms of this crime but not others is without the full character of legality. Any government whose members commit this crime, or authorize it in their subordinates, has betrayed its function."

"It is the aim of public life to arrange that all forms of power are entrusted, so far as possible, to men who effectively consent to be bound by the obligation towards all human beings which lies upon everyone, and who understand the obligation. Law is the quality of the permanent provisions for making this aim effective."

"The needs of a human being are sacred. Their satisfaction cannot be subordinated either to reasons of state, or to any consideration of money, nationality, race, or colour, or to the moral or other value attributed to the human being in question, or to any consideration whatsoever. There is no legitimate limit to the satisfaction of the needs of a human being except as imposed by necessity and by the needs of other human beings. The limit is only legitimate if the needs of all human beings receive an equal degree of attention."

"The needs of the soul can for the most part be listed in pairs of opposites which balance and complete one another. The human soul has need of equality and of hierarchy. Equality is the public recognition, effectively expressed in institutions and manners, of the principle that an equal degree of attention is due to the needs of all human beings. Hierarchy is the scale of responsibilities. Since attention is inclined to direct itself upwards and remain fixed, special provisions are necessary to ensure the effective compatibility of equality and hierarchy."

"The human soul has need of consented obedience and of liberty. Consented obedience is what one concedes to an authority because one judges it to be legitimate. It is not possible in relation to a political power established by conquest or coup d'etat nor to an economic power based upon money. Liberty is the power of choice within the latitude left between the direct constraint of natural forces and the authority accepted as legitimate. The latitude should be sufficiently wide for liberty to be more than a fiction, but it should include only what is innocent and should never be wide enough to permit certain kinds of crime."

"The human soul has need of truth and of freedom of expression. The need for truth requires that intellectual culture should be universally accessible, and that it should be able to be acquired in an environment neither physically remote nor psychologically alien."

"In order to be exercised, the intelligence requires to be free to express itself without control by any authority. There must therefore be a domain of pure intellectual research, separate but accessible to all, where no authority intervenes. The human soul has need of some solitude and privacy and also of some social life. The human soul has need of both personal property and ."

"Whenever a human being, through the commission of a crime, has become exiled from good, he needs to be reintegrated with it through suffering. The suffering should be inflicted with the aim of bringing the soul to recognize freely some day that its infliction was just. This reintegration with the good is what punishment is. Every man who is innocent, or who has finally expiated guilt, needs to be recognized as honourable to the same extent as anyone else."

"The human soul has need of disciplined participation in a common task of public value, and it has need of personal initiative within this participation. The human soul has need of security and also of risk. The fear of violence or of hunger or of any other extreme evil is a sickness of the soul. The boredom produced by a complete absence of risk is also a sickness of the soul."

"Croire qu’on s’élève parce qu’en gardant les mêmes bas penchants (exemple : désir de l’emporter sur autrui) on leur a donné des objets élevés. On s’élèverait au contraire en attachant à des objets bas des penchants élevés."

"When we are the victims of illusion we do not feel it to be an illusion but a reality. It is the same perhaps with evil. Evil when we are in its power is not felt as evil but as a necessity, or even a duty."

"Alexander is to a peasant proprietor what Don Juan is to a happily married husband."

"The simultaneous existence of opposite virtues in the soul — like pincers to catch hold of God."

"L’action est l’aiguille indicatrice de la balance. Il ne faut pas toucher à l’aiguille, mais aux poids."

"We should have with each person the relationship of one conception of the universe to another conception of the universe, and not to a part of the universe."

"Capitalism has brought about the emancipation of collective humanity with respect to nature. But this collective humanity has itself taken on with respect to the individual the oppressive function formerly exercised by nature."

"The thought of being under absolute compulsion, the plaything of another, is unendurable for a human being. Hence, if every way of escape from the constraint is taken from him, there is nothing left for him to do but to persuade himself that he does the things he is forced to do willingly, that is to say, to substitute devotion for obedience. … It is by this twist that slavery debases the soul: this devotion is in fact based on a lie, since the reasons for it cannot bear investigation. … Moreover, the master is deceived too by the fallacy of devotion."

"Conformity is an imitation of grace."

"We must wish either for that which actually exists or for that which cannot in any way exist — or, still better, for both. That which is and that which cannot be are both outside the realm of becoming."

"It is not religion but revolution which is the opium of the people."

"Imaginary evil is romantic and varied; real evil is gloomy, monotonous, barren, boring. Imaginary good is boring; real good is always new, marvelous, intoxicating."

"This world is the closed door. It is a barrier. And at the same time it is the way through. Two prisoners whose cells adjoin communicate with each other by knocking on the wall. The wall is the thing which separates them but it is also their means of communication. It is the same with us and God. Every separation is a link. By putting all our desire for good into a thing, we make that thing a condition of our existence. But we do not, on that account, make of it a good. Merely to exist is not enough for us. The essence of created things is to be intermediaries. They are intermediaries leading from one to the other, and there is no end to this."

"One of the most exquisite pleasures of human love — to serve the loved one without his knowing it — is only possible, as regards the love of God, through atheism."

"In order to obey God, one must receive his commands. How did it happen that I received them in adolescence, while I was professing atheism? To believe that the desire for good is always fulfilled — that is faith, and whoever has it is not an atheist."

"No human being escapes the necessity of conceiving some good outside himself towards which his thought turns in a movement of desire, supplication, and hope. consequently, the only choice is between worshipping the true God or an idol. Every atheist is an idolater — unless he is worshipping the true God in his impersonal aspect. The majority of the pious are idolaters."

"If people were told: what makes carnal desire imperious in you is not its pure carnal element. It is the fact that you put into it the essential part of yourself—the need for Unity, the need for God — they wouldn’t believe it. To them it seems obvious that the quality of imperious need belongs to the carnal desire as such. In the same way it seems obvious to the miser that the quality of desirability belongs to gold as such, and not to its exchange value."

"The eulogies of my intelligence are positively intended to evade the question "Is what she says true?""

"There is nothing that comes closer to true humility than the intelligence. It is impossible to feel pride in one's intelligence at the moment when one really and truly exercises it."

"At the bottom of the heart of every human being, from earliest infancy until the tomb, there is something that goes on indomitably expecting, in the teeth of all experience of crimes committed, suffered, and witnessed, that good and not evil will be done to him. It is this above all that is sacred in every human being. The good is the only source of the sacred. There is nothing sacred except the good and what pertains to it."

"Gregorian chant, Romanesque architecture, the Iliad, the invention of geometry were not, for the people through whom they were brought into being and made available to us, occasions for the manifestation of personality."

"It is precisely those artists and writers who are most inclined to think of their art as the manifestation of their personality who are in fact the most in bondage to public taste."

"A modern factory reaches perhaps almost the limit of horror. Everybody in it is constantly harassed and kept on edge by the interference of extraneous wills while the soul is left in cold and desolate misery. What man needs is silence and warmth; what he is given is an icy pandemonium. Physical labour may be painful, but it is not degrading as such. It is not art; it is not science; it is something else, possessing an exactly equal value with art and science, for it provides an equal opportunity to reach the impersonal stage of attention."

"The notion of rights is linked with the notion of sharing out, of exchange, of measured quantity. It has a commercial flavor, essentially evocative of legal claims and arguments. Rights are always asserted in a tone of contention; and when this tone is adopted, it must rely upon force in the background, or else it will be laughed at."

"If you say to someone who has ears to hear: "What you are doing to me is not just," you may touch and awaken at its source the spirit of attention and love. But it is not the same with words like, "I have the right..." or "you have no right to..." They evoke a latent war and awaken the spirit of contention."

"If a young girl is being forced into a brothel she will not talk about her rights. In such a situation the word would sound ludicrously inadequate."

"The full expression of personality depends upon its being inflated by social prestige; it is a social privilege."

"Just as a vagrant accused of stealing a carrot from a field stands before a comfortably seated judge who keeps up an elegant flow of queries, comments and witticisms while the accused is unable to stammer a word, so truth stands before an intelligence which is concerned with the elegant manipulation of opinions."

"If a captive mind is unaware of being in prison, it is living in error. If it has recognized the fact, even for the tenth of a second, and then quickly forgotten it in order to avoid suffering, it is living in falsehood. Men of the most brilliant intelligence can be born, live and die in error and falsehood. In them, intelligence is neither a good, nor even an asset. The difference between more or less intelligent men is like the difference between criminals condemned to life imprisonment in smaller or larger cells. The intelligent man who is proud of his intelligence is like a condemned man who is proud of his large cell."

"To listen to someone is to put oneself in his place while he is speaking. To put oneself in the place of someone whose soul is corroded by affliction, or in near danger of it, is to annihilate oneself. It is more difficult than suicide would be for a happy child. Therefore the afflicted are not listened to. They are like someone whose tongue has been cut out and who occasionally forgets the fact. When they move their lips no ear perceives any sound. And they themselves soon sink into impotence in the use of language, because of the certainty of not being heard. That is why there is no hope for the vagrant as he stands before the magistrate. Even if, through his stammerings, he should utter a cry to pierce the soul, neither the magistrate nor the public will hear it. His cry is mute. And the afflicted are nearly always equally deaf to one another; and each of them, constrained by the general indifference, strives by means of self-delusion or forgetfulness to become deaf to his own self."

"It is because of my wretchedness that I am "I." It is on account of the wretchedness of the universe that, in a sense, God is "I" (that is to say a person)."

"Those who keep the masses of men in subjection by exercising force and cruelty deprive them at once of two vital foods, liberty and obedience; for it is no longer within the power of such masses to accord their inner consent to the authority to which they are subjected. Those who encourage a state of things in which the hope of gain is the principal motive take away from men their obedience, for consent which is its essence is not something which can be sold."

"By committing a crime, a man places himself, of his own accord, outside the chain of eternal obligations which bind every human being to every other one. Punishment alone can weld him back again; fully so, if accompanied by consent on his part; otherwise only partially so. Just as the only way of showing respect for somebody suffering from hunger is to give him something to eat, so the only way of showing respect for somebody who has placed himself outside the law is to reinstate him inside the law by subjecting him to the punishment ordained by law. The need for punishment is not satisfied where, as is generally the case, the penal code is merely a method of exercising pressure through fear."

"Liberty, taking the word in its concrete sense, consists in the ability to choose."

"The Great Beast is the only object of idolatry, the only ersatz of God, the only imitation of something which is infinitely far from me and which is I myself."

"The collective is the object of all idolatry, this it is which chains us to the earth. In the case of avarice: gold is of the social order. In the case of ambition: power is of the social order. Science and art are full of the social element also. And love? Love is more or less of an exception: that is why we can go to God through love, not through avarice and ambition."

"A society like the Church, which claims to be Divine is perhaps more dangerous on account of the ersatz good which it contains then on account of the evil which sullies it. Something of the social labelled divine: an intoxicating mixture which carries with it every sort of license. Devil disguised."

"Conscience is deceived by the social. Our supplementary energy (imaginative) is to a great extent taken up with the social. It has to be detached from it. That is the most difficult of detachments."

"It is only by entering the transcendental, the supernatural, the authentically spiritual order that man rises above the social. Until then, whatever he may do, the social is transcendent in relation to him."

"Rome is the Great Beast of atheism and materialism, adoring nothing but itself. Israel is the Great Beast of religion. Neither one nor the other is likable. The Great Beast is always repulsive."

"The state of conformity is an imitation of grace. By a strange mystery — which is connected with the power of the social element — a profession can confer on quite ordinary men in their exercise of it, virtues which, if they were extended to all circumstances of life, would make of them heroes or saints. But the power of the social element makes these virtues natural. Accordingly they need a compensation."

"But if Germany, thanks to Hitler and his successors, were to enslave the European nations and destroy most of the treasures of their past, future historians would certainly pronounce that she had civilized Europe."

"A Pharisee is someone who is virtuous out of obedience to the Great Beast."

"The common run of moralists complain that man is moved by his private self-interest: would to heaven it were so! Private interest is a self-centered principle of action, but at the same time restricted, reasonable and incapable of giving rise to unlimited evils. Whereas, on the other hand, the law of all activities governing social life, except in the case of primitive communities, is that here one sacrifices human life — in himself and in others — to things which are only means to a better way of living. This sacrifice takes on various forms, but it all comes back to the question of power. Power, by definition, is only a means; or to put it better, to possess a power is simply to possess means of action which exceed the very limited force that a single individual has at his disposal. But power-seeking, owing to its essential incapacity to seize hold of its object, rules out all consideration of an end, and finally comes, through an inevitable reversal, to take the place of all ends. It is this reversal of the relationship between means and end, it is this fundamental folly that accounts for all that is senseless and bloody right through history. Human history is simply the history of the servitude which makes men — oppressed and oppressors alike — the plaything of the instruments of domination they themselves have manufactured, and thus reduces living humanity to being the chattel of inanimate chattels."

"La force, c'est ce qui fait de quiconque lui est soumis une chose. Quand elle s'exerce jusqu'au bout, elle fait de l'homme une chose au sens le plus littéral, car elle en fait un cadavre."

"La force qui tue est une forme sommaire, grossière de la force. Combien plus variée en ses procédés, combien plus surprenante en ses effets, est l'autre force, celle qui ne tue pas; c'est-à-dire celle qui ne tue pas encore."

"Du pouvoir de transformer un homme en chose en le faisant mourir procède un autre pouvoir, et bien autrement prodigieux, celui de faire une chose d'un homme qui reste vivant."

"Une âme ... n'est pas faite pour habiter une chose ; quand elle y est contrainte, il n’est plus rien en elle qui ne souffre violence."

"Si tous sont destinés en naissant à souffrir la violence, c'est là une vérité à laquelle l'empire des circonstances ferme les esprits des hommes."

"Le prestige, qui constitue la force plus qu'aux trois quarts, est fait avant tout de la superbe indifférence du fort pour les faibles, indifférence si contagieuse qu'elle se communique à ceux qui en sont l'objet."

"Once the experience of war makes visible the possibility of death that lies locked up in each moment, our thoughts cannot travel from one day to the next without meeting death's face. The mind is then strung up to a pitch it can stand for only a short time; but each new dawn introduces the same necessity; and days piled on days make years. On each one of these days the soul suffers violence. Regularly, each morning, the soul castrates itself of aspiration, for thought cannot journey through time without meeting death on the way. Thus war effaces all conceptions of purpose or goal, including even its own "war aims." It effaces the very notion of war's being brought to an end. Consequently, nobody does anything to bring this end about. In the presence of an armed enemy, what hand can relinquish its weapon? The mind ought to find a way out, but the mind has lost all capacity to so much as look outward. The mind is completely absorbed in doing itself violence. Always in human life, whether war or slavery is in question, intolerable sufferings continue, as it were, by the force of their own specific gravity, and so look to the outsider as though they deprived the sufferer of the resources which might serve to extricate him."

"Celui qui ignore à quel point la fortune variable et la nécessité tiennent toute âme humaine sous leur dépendance ne peut pas regarder comme des semblables ni aimer comme soi-même ceux que le hasard a séparés de lui par un abîme. La diversité des contraintes qui pèsent sur les hommes fait naître l'illusion qu'il y a parmi eux des espèces distinctes qui ne peuvent communiquer."

"Il n'est possible d'aimer et d'être juste que si l'on connaît l'empire de la force et si l'on sait ne pas le respecter."

"Moreover, nothing is so rare as to see misfortune fairly portrayed; the tendency is either to treat the unfortunate person as though catastrophe were his natural vocation, or to ignore the effects of misfortune on the soul, to assume, that is, that the soul can suffer and remain unmarked by it, can fail, in fact, to be recast in misfortune's image."

"I also am other than what I imagine myself to be. To know this is forgiveness."

"Truth is sought not because it is truth but because it is good."

"We can know only one thing about God — that he is what we are not. Our wretchedness alone is an image of this. The more we contemplate it, the more we contemplate him."

"The recognition of human wretchedness is difficult for whoever is rich and powerful because he is almost invincibly led to believe that he is something. It is equally difficult for the man in miserable circumstances because he is almost invincibly led to believe that the rich and powerful man is something."

"There is no area in our minds reserved for superstition, such as the Greeks had in their mythology; and superstition, under cover of an abstract vocabulary, has revenged itself by invading the entire realm of thought. Our science is like a store filled with the most subtle intellectual devices for solving the most complex problems, and yet we are almost incapable of applying the elementary principles of rational thought. In every sphere, we seem to have lost the very elements of intelligence: the ideas of limit, measure, degree, proportion, relation, comparison, contingency, interdependence, interrelation of means and ends. To keep to the social level, our political universe is peopled exclusively by myths and monsters; all it contains is absolutes and abstract entities. This is illustrated by all the words of our political and social vocabulary: nation, security, capitalism, communism, fascism, order, authority, property, democracy. We never use them in phrases such as: There is democracy to the extent that... or: There is capitalism in so far as... The use of expressions like "to the extent that" is beyond our intellectual capacity. Each of these words seems to represent for us an absolute reality, unaffected by conditions, or an absolute objective, independent of methods of action, or an absolute evil; and at the same time we make all these words mean, successively or simultaneously, anything whatsoever. Our lives are lived, in actual fact, among changing, varying realities, subject to the casual play of external necessities, and modifying themselves according to specific conditions within specific limits; and yet we act and strive and sacrifice ourselves and others by reference to fixed and isolated abstractions which cannot possibly be related either to one another or to any concrete facts. In this so-called age of technicians, the only battles we know how to fight are battles against windmills."

""A man thinks he is dying for his country," said Anatole France, "but he is dying for a few industrialists." But even that is saying too much. What one dies for is not even so substantial and tangible as an industrialist."

"What a country calls its vital economic interests are not the things which enable its citizens to live, but the things which enable it to make war; petrol is much more likely than wheat to be a cause of international conflict. Thus when war is waged it is for the purpose of safeguarding or increasing one's capacity to make war. International politics are wholly involved in this vicious cycle. What is called national prestige consists in behaving always in such a way as to demoralize other nations by giving them the impression that, if it comes to war, one would certainly defeat them. What is called national security is an imaginary state of affairs in which one would retain the capacity to make war while depriving all other countries of it. It amounts to this, that a self-respecting nation is ready for anything, including war, except for a renunciation of its option to make war. But why is it so essential to be able to make war? No one knows, any more than the Trojans knew why it was necessary for them to keep Helen. That is why the good intentions of peace-loving statesman are so ineffectual. If the countries were divided by a real opposition of interests, it would be possible to arrive at a satisfactory compromise. But when economic and political interests have no meaning apart from war, how can they be peacefully reconciled?"

"The aim is to replace economic oligarchies by the State, which has a will-to-power of its own and is quite as little concerned with the public good; and a will-to-power, moreover, which is not economic but military and therefore much more dangerous to any good folk who have a taste for staying alive. And on the bourgeois side what on earth is the sense of objecting to State control in economic affairs if one accepts private monopolies which have all the economic and technical disadvantages of State monopolies and possibly some others as well?"

"The struggle between the opponents and defenders of capitalism is a struggle between innovators who do not know what innovation to make and conservatives who do not know what to conserve."

"The necessity for power is obvious, because life cannot be lived without order; but the allocation of power is arbitrary because all men are alike, or very nearly. Yet power must not seem to be arbitrarily allocated, because it will not then be recognized as power. Therefore prestige, which is illusion, is of the very essence of power."

"An imaginary perfection is automatically at the same level as I who imagine it — neither higher nor lower."

"It is not in a person's nature to desire what he already has. Desire is a tendency, the start of a movement toward something, toward a point from which one is absent. If, at the very outset, this movement doubles back on itself toward its point of departure, a person turns round and round like a squirrel in a cage or a prisoner in a condemned cell. Constant turning soon produces revulsion. All workers, especially though not exclusively those who work under inhumane conditions, are easily the victims of revulsion, exhaustion and disgust and the strongest are often the worst affected."

"We must leave on one side the beliefs which fill up voids and sweeten what is bitter. The belief in immortality. The belief in the utility of sin: etiam peccata. The belief in the providential ordering of events — in short the "consolations" which are ordinarily sought in religion."

"We should desire neither the immortality nor the death of any human being, whoever he may be, with whom we have to do."

"The miser deprives himself of his treasure because of his desire for it."

"If we love God while thinking that he does not exist, he will manifest his existence."

"If we want a love which will protect the soul from wounds we must love something other than God."

"God's love for us is not the reason for which we should love him. God's love for us is the reason for us to love ourselves."

"To desire friendship is a great fault. Friendship should be a gratuitous joy like those afforded by art or life. We must refuse it so that we may be worthy to receive it; it is of the order of grace."

"Désirer échapper à la solitude est une lâcheté. L'amitié ne se recherche pas, ne se rêve pas, ne se désire pas ; elle s'exerce (c'est une vertu)."

"Meditation on the chance which led to the meeting of my mother and father is even more salutary than meditation on death."

"Stars and blossoming fruit-trees: utter permanence and extreme fragility give an equal sense of eternity."

"The most important part of education — to teach the meaning of to know (in the scientific sense)."

"Humility consists of knowing that in this world the whole soul, not only what we term the ego in its totality, but also the supernatural part of the soul, which is God present in it, is subject to time and to the vicissitudes of change. There must be absolutely acceptance of the possibility that everything material in us should be destroyed. But we must simultaneously accept and repudiate the possibility that the supernatural part of the soul should disappear."

"The key to a Christian conception of studies is the realization that prayer consists of attention. It is the orientation of all the attention of which the soul is capable toward God. The quality of the attention counts for much in the quality of the prayer. Warmth of heart cannot make up for it."

"Although people seem to be unaware of it today, the development of the faculty of attention forms the real object and almost the sole interest of studies."

"School children and students who love God should never say: "For my part I like mathematics"; "I like French"; "I like Greek." They should learn to like all these subjects, because all of them develop that faculty of attention which, directed toward God, is the very substance of prayer."

"Attention consists of suspending our thought, leaving it detached, empty, and ready to be penetrated by the object; it means holding in our minds, within reach of this thought, but on a lower level and not in contact with it, the diverse knowledge we have acquired which we are forced to make use of."

"Above all our thought should be empty, waiting, not seeking anything, but ready to receive in its naked truth the object that is to penetrate it. All wrong translations, all absurdities in geometry problems, all clumsiness of style, and all faulty connection of ideas in compositions and essays, all such things are due to the fact that thought has seized upon some idea too hastily, and being thus prematurely blocked, is not open to the truth."

"We do not obtain the most precious gifts by going in search of them but by waiting for them. Man cannot discover them by his own powers, and if he sets out to seek for them he will find in their place counterfeits of which he will be unable to discern falsity."

"The capacity to give one's attention to a sufferer is a very rare and difficult thing; it is almost a miracle; it is a miracle. Nearly all those who think they have this capacity do not possess it. Warmth of heart, impulsiveness, pity are not enough."

"Paradoxical as it may seem, a Latin prose or a geometry problem, even though they are done wrong, may be of a great service one day, provided we devote the right kind of effort to them. Should the occasion arise, they can one day make us better able to give someone in affliction exactly the help required to save him, at the supreme moment of his need."

"When I read the catechism of the Council of Trent, it seems as though I had nothing in common with the religion there set forth."

"The Hebrews took for their idol, not something made of metal or wood, but a race, a nation, something just as earthly. Their religion is essentially inseparable from such idolatry, because of the notion of the "chosen people"."

"Every time that a man has, with a pure heart, called upon Osiris, Dionysus, Buddha, the Tao, etc., the Son of God has answered him by sending the Holy Spirit. And the Holy Spirit has acted upon his soul, not by inciting him to abandon his religious tradition, but by bestowing upon him light — and in the best of cases the fullness of light — in the heart of that same religious tradition. … It is, therefore, useless to send out missions to prevail upon the peoples of Asia, Africa or Oceania to enter the Church."

"Besides, it is written that the tree shall be known by its fruits. The Church has borne too many evil fruits for there not to have been some mistake at the beginning. Europe has been spiritually uprooted, cut off from that antiquity in which all the elements of our civilization have their origin; and she has gone about uprooting the other continents from the sixteenth century onwards. Missionary zeal has not Christianized Africa, Asia and Oceania, but has brought these territories under the cold, cruel and destructive domination of the white race, which has trodden down everything. It would be strange, indeed, that the word of Christ should have produced such results if it had been properly understood."

"One could count on one's fingers the number of scientists in the entire world who have a general idea of the history and development of their own particular science; there is not one who is really competent as regards sciences other than his own. As science forms an indivisible whole, one may say that there are no longer, strictly speaking, any scientists, but only drudges doing scientific work. . . ."

"I too have a growing inner certainty that there is a deposit of pure gold in me which ought to be passed on. The trouble is that I am more and more convinced by my experience and observation of my contemporaries that there is no one to receive it."

"Any madness in us gains from being expressed, because in this way one gives a human form to what separates us from humanity."

"We have seen that language is something precious because it allows us to express ourselves; but it is fatal when one allows oneself to be completely led astray by it, because then it prevents one from expressing oneself. Language is the source of the prejudices and haste which Descartes thought of as the sources of error."

"The materialists say, it is by means of a series of straight lines more or less perfect that one imagines the perfect straight line as an ideal limit. That is right, but the progression in itself necessarily contains what is infinite; it is in relation to the perfect straight line that one can say that such and such a straight line is less twisted than some other. ... Either one conceives the infinite or one does not conceive at all."

"The first thing that we know about ourselves is our imperfection."

""Science affirms that ..." Science is voiceless; it is the scientists who talk."

"My purpose here is to denounce an idea which seems to be dangerous and false. … Revolutionary trade unionists and orthodox communists are at one in considering everything that is purely theoretical as bourgeois. … The culture of a socialist society would be a synthesis of theory and practice; but to synthesize is not the same as to confuse together; it is only contraries that can be synthesized. … Marx’s principal glory is to have rescued the study of societies not only from Utopianism but also and at the same time from empiricism. … Humanity cannot progress by importing into theoretical study the processes of blind routine and haphazard experiment by which production has so long been dominated. … The true relation between theory and application only appears when theoretical research has been purged of all empiricism."

"Respectable scientists like de Broglie himself accept wave mechanics because it confers coherence and unity upon the experimental findings of contemporary science, and in spite of the astonishing changes it implies in connection with ideas of causality, time, and space, but it is because of these changes that it wins favor with the public. The great popular success of Einstein was the same thing. The public drinks in and swallows eagerly everything that tends to dispossess the intelligence in favor of some technique; it can hardly wait to abdicate from intelligence and reason and from everything that makes man responsible for his destiny."

"Men … ask nothing better, it would seem, than to leave their destiny, their life, and all their thoughts in the hands of a few men with a gift for the exclusive manipulation of this or that technique."

"There are necessities and impossibilities in reality which do not obtain in fiction, any more than the law of gravity to which we are subject controls what is represented in a picture. … It is the same with pure good; for a necessity as strong as gravity condemns man to evil and forbids him any good, or only within the narrowest limits and laboriously obtained and soiled and adulterated with evil. … The simplicity which makes the fictional good something insipid and unable to hold the attention becomes, in the real good, an unfathomable marvel."

"During the last quarter of a century all the authority associated with the function of spiritual guidance … has seeped down into the lowest publications. … Between a poem by Valéry and an advertisement for a beauty cream promising a rich marriage to anyone who used it there was at no point a breach of continuity. So as a result of literature’s spiritual usurpation a beauty cream advertisement possessed, in the eyes of little village girls, the authority that was formerly attached to the words of priests."

"When, as a result of what was called Enlightenment in the eighteenth century, the priests had in fact almost entirely lost this function of guidance. Their place was taken by writers and scientists. In both cases it is equally absurd. Mathematics, physics, and biology are as remote from spiritual guidance as the art of arranging words. When that function is usurped by literature and science it proves there is no longer any spiritual life."

"It is not only in literature that fiction generates immorality. It does it also in life itself. For the substance of our life is almost exclusively composed of fiction. We fictionalize our future, and, unless we are heroically devoted to truth, we fictionalize our past, refashioning it to our taste. We do not study other people; we invent what they are thinking, saying, and doing. Reality provides us with some raw material, just as novelists often take a theme from a news item, but we envelop it in a fog in which, as in all fiction, values are reversed, so that evil is attractive and good is tedious."

"The essential characteristic of the first half of the twentieth century is the growing weakness, and almost the disappearance, of the idea of value."

"Dadaism and surrealism … represented the intoxication of total license, the intoxication in which the mind wallows when it has made a clean sweep of value and surrendered to the immediate. The good is the pole towards which the human spirit is necessarily oriented, not only in action but in every effort, including the effort of pure intelligence. The surrealists have set up non-oriented thought as a model; they have chosen the total absence of value as their supreme value. Men have always been intoxicated by license, which is why, throughout history, towns have been sacked. But there has not always been a literary equivalent for the sacking of towns. Surrealism is such an equivalent."

"Such words as spontaneity, sincerity, gratuitousness, richness, enrichment — words which imply an almost total indifference to contrasts of value — have come more often from their [the surrealists’] pens than words which contain a reference to good and evil. Moreover, this latter class of words has become degraded, especially those which refer to the good, as Valéry remarked some years ago. Words like virtue, nobility, honor, honesty, generosity, have become almost impossible to use or else they have acquired bastard meanings; language is no longer equipped for legitimately praising a man’s character."

"In a general way, the literature of the twentieth century is essentially psychological; and psychology consists of describing states of the soul by displaying them all on the same plane, without any discrimination of value, as though good and evil were external to them, as though the effort toward the good could be absent at any moment from the thought of any man."

"There is a certain kind of morality which is even more alien to good and evil than amorality is."

"In the interest of public security it would be advisable that this person be distanced from Le Puy, where she has never ceased to preach revolt."

"In her relatively short life, Simone Weil … created a body of work whose intellectual scope and acuity are remindful of religious thinkers such as Blaise Pascal or Søren Kierkegaard. Since no book by Simone Weil appeared in her lifetime and only a few of her writings were intended for publication, a noteworthy reception of her ideas took place only when selections of her notes, diaries and fragments began to be published posthumously after World War II."

"Simone Weil's intellectual and existential search encompassed several of the major religious and sapiential traditions. Since her religiosity was imbued by Greek thought, Gnosticism, Chinese wisdom, Christian mysticism, and Indian philosophy, it is not surprising that scholars have been especially attentive to her perceptive elaborations on the universal truths informing these — at first sight — hardly compatible spiritual world views."

"Given that only the religion of pervasive kenosis can be truly universal, no single historical individual can exhaust its fullness by virtue of his redemptive acts, and no religious institution can grasp and articulate its meaning by means of dogmatic or doctrinal teachings. In the last resort, it is in the name of religious universalism that Simone Weil calls for a reversion of historical Christianity to its origins as a religion of kenosis."

"Simone Weil, je le sais encore maintenant, est le seul grand esprit de notre temps et je souhaite que ceux qui le reconnaissent en reçoivent assez de modestie pour ne pas essayer d’annexer ce témoignage bouleversant. Pour moi, je serais comblé si l’on pouvait dire qu’à ma place, et avec les faibles moyens don’t je dispose, j’ai servi à faire connaitre et à répandre son oeuvre dont on n’a pas encore mesuré tout le retentissement."

"In the last years of her life she worried that all beliefs, even religious ones, risk idolatry. Her insistence upon "a convention ratified by God" is another example of the thoroughly personal knowledge of God that she sought, and one gathers, believed herself to have attained. She seemed persuaded that under the auspices of the Church such personal knowledge simply does not come about; on the contrary, parishioners turn idolatrous and mistake a ritual, a habit, and alas, a social custom (to go to church on Sunday, say) for such a convention."

"Weil’s critique of modern science consists of two parts, the first directed at classical (Newtonian) science, the latter at contemporary science, especially twentieth-century relativity and quantum mechanics. In each, Weil detects a species of thoughtlessness or failure of that prayerful attention that marks all genuine study and intellectual accomplishment."

"The assimilation of algebra by mathematical physics, a process spanning the eighteenth and extending into the nineteenth century, exacerbates the implicit thoughtlessness of classical science by subordinating scientific cognition to symbolic formulae increasingly devoid of insight. In the process, a genuine encounter with natural necessity, revelatory of divine providence, is lost to science, Symbolic or algebraic physics represents the collectivization of thought, as it were, where science itself is rendered a technique of knowledge production and thought ceases to be the activity of any responsible individual. … This process reaches its logical conclusion in twentieth-century physics, where science is reduced finally to a form of symbolic manipulation the only value of which is predictive success and technological domination of nature."

"The reader of her work finds himself confronted by a difficult, violent and complex personality; and the assistance of those who have the advantage of long discussions or correspondence with her, especially those who are under the peculiar conditions of the last five years her life, will be a permanent value in the future. … After reading Waiting on God and the present volume I saw that I must try to understand the personality of the author and that the reading and re-reading of all her work was necessary for this slow process of understanding. In trying to understand her, we must not be distracted … by considering how far, and at what points we agree or disagree. We must simply expose ourselves to the personality of a woman of genius, of a kind of genius akin to that of the saints. … I cannot conceive of anybody's agreeing with all of her views, or of not disagreeing violently with some of them. But agreement and rejection are secondary: what matters is to make contact with a great soul. Simone Weil was one who might have become a saint. Like some who have achieved this state, she had greater obstacles to overcome, as well as greater strength for overcoming them, then the rest of us. A potential saint can be a very difficult person. I suspect that Simone Weil could be at times insupportable. One is struck, here and there, by contrast between an almost superhuman humility and what appears to be an almost outrageous arrogance."

"In her political thinking she appears as a strong critic of both Right and Left; at the same time or truly a lover of order and hierarchy than even most of those who call themselves Conservative, and more truly a lover of the people than most of those who call themselves Socialist."

"What she cared about was human souls. Her study of human rights and human obligations exposes the falsity of some of the verbiage still current which was used during the war to serve as a moral stimulant."

"I went through a stage in life when I was thirty-two or thirty-three years old-when I was very fascinated by the writings of Simone Weil. In the end, her religious philosophy left me where I was. But I felt that there was something there that answered to a need that I felt, my "need for roots" that she wrote about so marvelously. I couldn't find the same solution."

"Her life is almost a perfect blending of the Comic and the Terrible, which two things may be opposite sides of the same coin. In my own experience, everything funny I have ever written is more terrible than it is funny, or only funny because it is terrible, or only terrible because it is funny. Well Simone Weil's is the most comical life I have ever read about, and the most truly tragic and terrible."

"By saying Simone Weil's life was both comic and terrible I am not trying to reduce it, but mean to be paying her the highest tribute I can, short of calling her a saint, which I don't believe she was. Possibly I have a higher opinion of the comic and terrible than you do. To my way of thinking it includes her great courage and to call her anything less would be to see here as merely ordinary. Of course, I can only say, as you point out, this is what I see, not, this is what she is — which only God knows."

"I have read everything by Simone Weil, who was an extraordinary woman gifted with immense empathy. But I think she might have profited from some better advice. She was not physically strong and yet, in order to directly experience the struggle of working people, she undertook factory work that was too much for her. And she also fought in the Spanish Civil War and, being somewhat clumsy, stepped into a pail of boiling oil, was severely burned, and went to Portugal to recuperate. Later, she would eat only the minimal portion of food she believed was available to people in occupied France—a few potatoes perhaps. She had been diagnosed with tuberculosis, and this may well have contributed to her death. (Then, as you see her, she is more of an inspiration than a model.) EP: Yes, an inspiration. She could not have been a model for me because I am neither a genius nor a mystic and, like Leonora, I had children I loved and for whom I was responsible, so that even if I had discovered a vocation of this sort in myself, I could not have lived such an extreme life."

"[By 1939] Simone Weil had developed a social and political awareness which it took the war and the German occupation to awaken in many French intellectuals and beyond which many of them, including Sartre, have never progressed."

"Simone Weil was one of the most remarkable women of the twentieth, or indeed of any other century. I have great sympathy for her, but sympathy is not necessarily congeniality. It would be easier to write of her if I liked what she had to say, which I strongly do not. …I think Simone Weil had both over- and under-equipped herself for the crisis which overwhelmed her — along, we forget, immersed in her tragedy, with all the rest of us. She was almost the perfectly typical passionate, revolutionary, intellectual woman — a frailer, even more highly strung Rosa Luxemburg. … She made up her own revolution out of her vitals, like a spider or silkworm. She could introject all the ill of the world into her own heart, but she could not project herself in sympathy to others. Her letters read like the more distraught signals of John of the Cross in the dark night."

"Although a few commentators have noted the influence of Simone Weil on the thought of Albert Camus, their relationship has never been fully explored … I shall examine several aspects of that influence in … Weil's critique of Marxism which Camus adopted in L'Homme Révolté… the conception of the rebel as an artisan which Camus also used in L'Homme Révolté, and … Weil's mysticism, to which Camus was reluctantly though definitely drawn. … I shall consider more fully the different conceptions of freedom and justice which appear in their writings and argue that their contributions to political thought here lay with their appreciation of the impulse in modern man to seek and impose absolute values. In this context, we shall see that Camus and Simone Weil provide different routes to individual authenticity and integrity in an absurd world."

"Most sins can be traced back to the social element. They spring from a thirst to appear and to dominate. It is not that Simone Weil rejects the social element as such; she knows that our environment, roots and traditions form bridges, metaxu between earth and heaven; what she repudiates is the totalitarian city — symbolized by the ‘Great Beast’ of Plato and the Beast of the Apocalypse — whose power and prestige usurp God’s place in the soul. Whether it shows itself under a conservative or a revolutionary aspect, whether it consists of adoring the present or the future city, social idolatry always tends to stifle and to replace the true mystic tradition. All the persecutions of prophets and saints are due to it; through it Antigone and Joan of Arc were condemned and Jesus Christ crucified. The social Beast offers man a substitute for religion which allows him to transcend his individuality without surrendering his self and so, at small cost, to dispense with God; a social imitation of the highest virtues is possible by which they are immediately degraded into pharisaism: "The pharisee is he who is virtuous out of obedience to the Great Beast.""

"Light for the spirit and nourishment for the soul, Simone Weil’s work does not have to be brought "up to date," since it emanates from that summit of being which overhangs all times and places. How could one put a date on a particular thought by Plato or Marcus Aurelius, a verse by Aeschylus, or the utterance of a Shakespearean hero ? The same is true, and in exemplary fashion, for Simone Weil. True light does not fade, and a true fountain need never be replenished. To speak of what is timeless is also to speak of what is universal. The undeserved privilege of presenting Simone Weil’s first book to the public has brought me countless favourable comments from the four corners of the globe. What strikes me most about these is that they come from individuals of such diverse backgrounds, social status, cultural milieu, etc, and that reading this work has left a deep impression on all their souls, as they found in it the revelation of an inner truth for which they had, up until then, been waiting in vain. At the twilight of a century whose accelerated history has led to the rise and fall of so many idols, this book increasingly appears like a message from eternity, addressed to eternal man, this "Nothingness capable of God," who is enslaved by gravity and liberated by grace."

"I knew her very well, I have had long discussions with her. For a period of time she was more or less in sympathy with our cause, but then she lost faith in the proletariat and in Marxism. It's possible that she will turn toward the left again."

"Ca va faire, je pense, 23 ans que tu as fait ton entrée dans le monde phénoménal pour le plus grand emmerdement des recteurs et des directrices."

"In mathematics, perhaps more than in any other branch of knowledge, ideas spring fully armed from the creator's brain; thus mathematical talent usually reveals itself at a young age; and second-rate researchers play a smaller role than elsewhere, the role of a sounding board for a sound they do not contribute to shape."

"... the geometry over p-adic fields, and more generally over complete local rings, can provide us only with local data; and the main tasks of algebraic geometry have always been understood to be of a global nature. It is well known that there can be no global theory of algebraic varieties unless one makes them "complete", by adding to them suitable "points at infinity," embedding them, for example, in projective spaces. In the theory of curves, for instance, one would not otherwise obtain such basic facts as that the number of poles and zeros of a function are equal, of that the sum of residues of a differential is 0."

"God exists since mathematics is consistent, and the Devil exists since we cannot prove it."

"First rank scientists recruit first rank scientists, but second rank scientists tend to recruit third rank scientists, third rank scientists recruit fifth rank, and so on. If the director of the Department is genuinely interested in preserving the high quality of his Institute, he must exercise all of his power to put things in their right place, otherwise the deterioration process is destined to diverge indefinitely."

"An important point is that the p-adic field, or respectively the real or complex field, corresponding to a prime ideal, plays exactly the role, in arithmetic, that the field of power series in the neighborhood of a point plays in the theory of functions: that is why one calls it a local field."

"It is hard for you to appreciate that modern mathematics has become so extensive and so complex that it is essential, if mathematics is to stay as a whole and not become a pile of little bits of research, to provide a unification, which absorbs in some simple and general theories all the common substrata of the diverse branches if the science, suppressing what is not so useful and necessary, and leaving intact what is truly the specific detail of each big problem. This is the good one can achieve with axiomatics (and this is no small achievement). This is what Bourbaki is up to."

"About ancient mathematics (whether Greek or Mesopotamian) and medieval mathematics (Western or Oriental), the would-be historian must of necessity confine himself to the description of a comparatively small number of islands accidentally emerging from an ocean of ignorance, and to tenuous conjectural reconstructions of the submerged continents which at one time must have bridged the gaps between them."

"We should ask our fellow physicists to invent a principle of anti-interference, which would bring light out of two obscurities (Leray and Grothendieck)."

"‘[…] his correspondence with Digby, and, through Digby, with the English mathematicians WALLIS and BROUCKNER occupies the next year and a half, from January 1657 to June 1658. It begins with a challenge to Wallis and Brouckner, but at the same time also to Frenicle, Schooten “and all others in Europe” to solve a few problems, with special emphasis upon what later became known (through a mistake of Euler’s) as “Pell’s equation”. What would have been Fermat’s astonishment if some missionary, just back from India, had told him that his problem had been successfully tackled there by native mathematicians almost six centuries earlier!’"

"Every mathematician worthy of the name has experienced, if only rarely, the state of lucid exaltation in which one thought succeeds another as if miraculously, and in which the unconscious (however one interprets this word) seems to play a role. In a famous passage, Poincaré describes how he discovered Fuchsian functions in such a moment. About such states, Gauss is said to have remarked as follows: "Procreare jucundum (to conceive is a pleasure)"; he added, however, "sed parturire molestum (but to give birth is painful)." Unlike sexual pleasure, this feeling may last for hours at a time, even for days. Once you have experienced it, you are eager to repeat it but unable to do so at will, unless perhaps by dogged work which it seems to reward with its appearance. It is true that the pleasure experienced is not necessarily in proportion with the value of the discoveries with which it is associated."

"In comparison with the wise man, the saint is perhaps just a specialist - a specialist in holiness; whereas the wise man has no specialty. This is not to say, far from it, that Dehn was not a mathematician of great talent; he left behind a body of work of very high quality. But for such a man, truth is all one, and mathematics is but one of the mirrors in which it is reflected - perhaps more purely than it is elsewhere."

"Hopf, back from Amsterdam, was teaching Brouwer's topology. He had helped arrange lodgings for me quite close to where he lived, rather far from the center of town, and together we would take the long tram ride to the university. One day I asked him what he would do when he got tired of topology. He replied in all seriousness: "But I'll never get tired of topology!""

"I began to combine this ordinary form of touring with a specifically mathematical variety. I had formed the ambition of becoming, like Hadamard, a "universal" mathematician: the way I expressed it was that I wished to know more than non-specialists and less than specialists about every mathematical topic. Naturally, I did not achieve either goal."

"Is it mere coincidence that in India Pāṇini's invention of grammar had preceded that of decimal notation and negative numbers, and that later on, both grammar and algebra reached the unparalleled heights for which the medieval civilization of the Arabic-speaking world is known?"

"Both the Jews and the brahmins of southern India are communities that, for twenty centuries, have devoted themselves tirelessly to the most abstract subtleties of grammar and theology. For the Jews it was the study of the Talmud, a task often passed down from father to son; for the brahmins, it was the Brahmanas and the Upanishads. It is hardly surprising that the younger generations, when their time came, turned toward the sciences, and preferably the most abstract among them: this trend was merely the natural extension of millennial traditions."

"[On meeting Raymond Paley] At first, we seemed to be on completely different wavelengths. Finally, it became apparent to me that he worked fruitfully only when competing with others: having the rest of the pack at his side spurred him to greater efforts as he tried to surpass them. In contrast, my style was to seek out topics that I felt exposed me to no competition whatsoever, leaving me free to reflect undisturbed for years. No doubt every scientific discipline has room for such differences of temperament. What does it matter if a given researcher is motivated primarily by hopes of winning the Nobel prize? Sometimes it seems to me that Ganesh, the Hindu god of knowledge, chooses the bait, noble or vulgar, best suited to each of his followers."

"I had also, unsuccessfully, looked for the works of Saint John of the Cross. The flashing beauty of his poems would probably have moved me more than did Saint Theresa, but it was not until much later that I came to know his work. I read a little of Saint Theresa and became quickly convinced that mystic thought is at bottom the same in all times and places: reading Suzuki's popular works on Zen was soon to confirm this conclusion. ... Speaking of a saint whose behavior was somewhat eccentric, one of the monks remarked gently: "But Christianity is madness" ("el cristianismo es una locum"). This perfectly orthodox statement often comes to mind when I think about my sister's life."

"Awaiting me upon my return to Strasbourg were Henri Cartan and the course on "differential and integral calculus," which was our joint responsibility. ... One point that concerned him was the degree to which we should generalize Stokes' formula in our teaching. ... In his book on invariant integrals, Elie Cartan, following Poincare in emphasizing the importance of this formula, proposed to extend its domain of validity. Mathematically speaking, the question was of a depth that far exceeded what we were in a position to suspect. ... One winter day toward the end of 1934,1 thought of a brilliant way of putting an end to my friend's persistent questioning. We had several friends who were responsible for teaching the same topics in various universities. "Why don't we get together and settle such matters once and for all, and you won't plague me with your questions any more?" Little did I know that at that moment Bourbaki was born."

"Otto Schmidt] called together the principal mathematicians in Moscow and Petrograd (later known as Leningrad) and spoke to them more or less as follows: "Whatever the regime, the work of mathematicians is too inaccessible to laymen for us to be criticized from the outside; as long as we stick together, we will remain invulnerable.""

"The major classic texts in analysis (Jordan, Goursat) which we had at first set out to replace aimed to set forth in a few volumes everything a beginning mathematician should know before specializing. At the end of the nineteenth century, such a claim could still be made seriously; by now it had become absurd. ... it soon became apparent that there was no alternative but to give up any idea of writing a text for college-level instruction. Above all it was important to lay a foundation that was broad enough to support the essential core of modern mathematics..."

"In establishing the tasks to be undertaken by Bourbaki, significant progress was made with the adoption of the notion of structure, and of the related notion of isomorphism. Retrospectively these two concepts seem ordinary and rather short on mathematical content, unless the notions of morphism and category are added. At the time of our early work these notions cast new light upon subjects which were still shrouded in confusion: even the meaning of the term "isomorphism" varied from one theory to another. That there were simple structures of group, of topological space, etc., and then also more complex structures, from rings to fields, had not to my knowledge been said by anyone before Bourbaki, and it was something that needed to be said. As for the choice of the word "structure," my memory fails me; but at that time, I believe, it had already entered the working vocabulary of linguists, a milieu with which I had maintained ties (in particular with Émile Benveniste)."

"Kantian ethic, or what passes for it today, has always seemed to me to be the height of arrogance and folly. Claiming always to behave according to the precepts of universal maxims is either totally inept or totally hypocritical; one can always find a maxim to justify whatever behavior one chooses. I could not count the times (for example, when I tell people I never vote in elections) that I have heard the objection: "But if everyone were to behave like you..." - to which I usually reply that this possibility seems to me so implausible that I do not feel obligated to take it into account."

"Already while at the Ecole Normale, I had been deeply struck by the damage wreaked upon mathematics in France by World War I. This war had created a vacuum that my own and subsequent generations were hard pressed to fill. In 1914, the Germans had wisely sought to spare the cream of their young scientific elite and, to a large extent, these people had been sheltered. In France a misguided notion of equality in the face of sacrifice - no doubt praiseworthy in intent - had led to the opposite policy, whose disastrous consequences can be read, for example, on the monument to the dead of the Ecole Normale. Those were cruel losses; but there was more besides. Four or more years of military life, whether close to death or far away from it - but in any case far from science -, are not good preparation for resuming the scientific life: very few of those who survived returned to science with the keenness they had felt for it. This was a fate that I thought it my duty, or rather my dharma, to avoid."

"Mozart's music, even at its most beautiful, often gives an impression of some being who, though very far above us in his incomprehensible serenity, nevertheless stops to remember us for a brief instant and comes within our reach, with gentle mockery and tender pity, to transcribe a fleeting message for us. But sometimes, in certain quartets and quintets, and in certain parts of The Magic Flute, this same being, without a thought for us, communicates with his fellow beings, and what we hear then is a world unknown to us, a world of which we are allowed only a furtive glimpse."

"(April 7) My mathematics work is proceeding beyond my wildest hopes, and I am even a bit worried - if it's only in prison that I work so well, will I have to arrange to spend two or three months locked up every year? In the meantime, I am contemplating writing a report to the proper authorities, as follows: "To the Director of Scientific Research: Having recently been in a position to discover through personal experience the considerable advantages afforded to pure and distinterested research by a stay in the establishments of the Penitentiary System, I take the liberty of, etc. etc.""

"One day it occurred to me to measure the speed with which such rumors were propagated. All I had to do was to start one - the more preposterous the better - at one end of the stadium, and then hasten to the other end to await the results."

"Alexandre Grothendieck was very different from Weil in the way he approached mathematics: Grothendieck was not just a mathematician who could understand the discipline and prove important results—he was a man who could create mathematics. And he did it alone."

"In his thesis, Weil generalized Mordell's theorem on the finite generation of the group of rational points on an elliptic curve, to abelian varieties of any dimension. Weil then hoped to use this finite generation result for the rational points on the jacobian of a curve to go on to show that when a curve of genus > 1 is imbedded in its jacobian, only a finite number of the rational points of the jacobian can lie on the curve. Not finding a way to do this, he decided to call his proof of finite generation (the "theorem of Mordell-Weill") a thesis, despite Hadamard's advice not to be satisfied with half a result!"

"Sometimes my sister and I dream of having a run-of-the-mill father. He would make coffee and toss salads. He would not prefer his work to us, and he would tell us instead: "How pretty you look, my dear, tell me what you did today." He would speak to us with words of affectionate banality."

"Yes, but there is the problem. It would have been banal. Mediocre. We had been trained to despise everything which was not excellent. How disgusting to see the father of one of our classmates or friends on vacation playing cards or, even worse, sitting on the sofa watching television. We blush with shame for our unfortunate little friend."

"When he was not busy doing math, he reads fat books covered with rough leather, on the pages of which can be seen very old, perfectly round holes dug out by medieval worms. Or else he passes through a museum while devoting himself to unbelievably profound notions about Van Gogh's paintings or Greek amphorae."

"For our genius of a father did not limit himself to math. His brain was an octopus, the tentacles of which extended in all directions. He could scan Latin verse and Greek verse as well, and it was as if he were hearing Homer or Theocritus in person. Not to mention the fact that he read Greek from volumes filled with characters which in no way resembled the ones in our Greek grammar or book of excerpts from Greek literature. He also read Sanskrit, with its truly bizarre letters. He spoke Italian like Dante, Spanish like Cervantes, and so for almost every living language."

"I cannot escape the objection that there is no state of mind, however simple, that does not change every moment."

"The present contains nothing more than the past, and what is found in the effect was already in the cause."

"All the living hold together, and all yield to the same tremendous push. The animal takes its stand on the plant, man bestrides animality, and the whole of humanity, in space and in time, is one immense army galloping beside and before and behind each of us in an overwhelming charge able to beat down every resistance and clear the most formidable obstacles, perhaps even death."

"Un philosophe digne de ce nom n'a jamais dit qu'une seule chose : encore a-t-il plutôt cherché à la dire qu'il ne l'a dite véritablement. Et il n'a dit qu'une seule chose parce qu'il n'a su qu'un seul point : encore fut-ce moins une vision qu'un contact..."

"The prestige of the Nobel Prize is due to many causes, but in particular to its twofold idealistic and international character: idealistic in that it has been designed for works of lofty inspiration; international in that it is awarded after the production of different countries has been minutely studied and the intellectual balance sheet of the whole world has been drawn up. Free from all other considerations and ignoring any but intellectual values, the judges have deliberately taken their place in what the philosophers have called a community of the mind."

"Je dirais qu'il faut agir en homme de pensée et penser en homme d'action."

"Intuition is a method of feeling one's way intellectually into the inner heart of a thing to locate what is unique and inexpressible in it."

"The remembrance of forbidden fruit is the earliest thing in the memory of each of us, as it is in that of mankind."

"Why did we obey? The question hardly occurred to us. We had formed the habit of deferring to our parents and teachers. All the same we knew very well that it was because they were our parents, because they were our teachers. Therefore, in our eyes, their authority came less from themselves than from their status in relation to us"

"The spectacle of what religions have been in the past, of what certain religions still are to-day, is indeed humiliating for human intelligence. What a farrago of error and folly!'"

"People talk, indeed, of a "primitive mentality", as, for example, to-day that of the inferior races, and in days gone by that of humanity in general, at whose door the responsibility for superstition should be laid."

"Religion is to mysticism what popularization is to science. What the mystic finds waiting for him, then, is a humanity which has been prepared to listen to his message by other mystics invisible and present in the religion which is actually taught. Indeed his mysticism itself is imbued with this religion, for such was its starting point. His theology will generally conform to that of the theologians. His intelligence and his imagination will use the teachings of the theologians to express in words what he experiences, and in material images what he sees spiritually. And this he can do easily, since theology has tapped that very current whose source is the mystical. Thus his mysticism is served by religion, against the day when religion becomes enriched by his mysticism. This explains the primary mission which he feels to be entrusted to him, that of an intensifier of religious faith."

"La société ouverte est celle qui embrasserait en principe l’humanité entière."

"Toute notre civilisation est aphrodisiaque"

"Men do not sufficiently realise that their future is in their own hands. Theirs is the task of determining first of all whether they want to go on living or not. Theirs is the responsibility, then, for deciding if they want merely to live, or intend to make just the extra effort required for fulfilling, even on their refractory planet, the essential function of the universe, which is a machine for the making of gods (la fonction essentielle de l'universe, qui est une machine à faire des dieux)."

"The eyes see only what the mind is prepared to comprehend."

"Fortunately, some are born with spiritual immune systems that sooner or later give rejection to the illusory worldview grafted upon them from birth through social conditioning. They begin sensing that something is amiss, and start looking for answers. Inner knowledge and anomalous outer experiences show them a side of reality others are oblivious to, and so begins their journey of awakening. Each step of the journey is made by following the heart instead of following the crowd and by choosing knowledge over ignorance."

"Berkeley, Hume, Kant, Fichte, Hegel, James, Bergson all are united in one earnest attempt, the attempt to reinstate man with his high spiritual claims in a place of importance in the cosmic scheme."

"Thérèse of Lisieux was one of the sources of inspiration for the philosopher Henri Bergson during the final stage of his search, in which he found God thanks to the testimony of mystics."

"The clock... is a piece of power-machinery whose "product" is seconds and minutes: by its essential nature it dissociated time from human events and helped create the belief in an independent world of mathematically measurable sequences: the special world of science. ...while human life has regularities of its own... time is measured not by the calendar but by the events that occupy it. ...if growth has its own duration and regularities, behind it are not simply matter and motion but the facts of development: in short, history. And while mechanical time is strung out in a succession of mathematically isolated instants, organic time—what Bergson calls duration—is cumulative in its effects. ...organic time moves only in one direction—through the cycle of birth, growth, development, decay, and death—and the past that is already dead remains present in the future that has still to be born."

"1919...Henri Bergson, Karl Barth, Ernst Cassirer, Havelock Ellis, Karl Jaspers, John Maynard Keynes, Rudolf Steiner—indelible figures—were all active in their various spheres."

"One of the bad effects of an anti-intellectual philosophy, such as that of Bergson, is that it thrives upon the errors and confusions of the intellect. Hence it is led to prefer bad thinking to good, to declare every momentary difficulty insoluble, and to regard every foolish mistake as revealing the bankruptcy of intellect and the triumph of intuition. There are in Bergson’s works many allusions to mathematics and science, and to a careless reader these allusions may seem to strengthen his philosophy greatly. As regards science, especially biology and physiology, I am not competent to criticize his interpretations. But as regards mathematics, he has deliberately preferred traditional errors in interpretation to the more modern views which have prevailed among mathematicians for the last eighty years. In this matter, he has followed the example of most philosophers. In the eighteenth and early nineteenth centuries, the infinitesimal calculus, though well developed as a method, was supported, as regards its foundations, by many fallacies and much confused thinking. Hegel and his followers seized upon these fallacies and confusions, to support them in their attempt to prove all mathematics self-contradictory. Thence the Hegelian account of these matters passed into the current thought of philosophers, where it has remained long after the mathematicians have removed all the difficulties upon which the philosophers rely. And so long as the main object of philosophers is to show that nothing can be learned by patience and detailed thinking, but that we ought rather to worship the prejudices of the ignorant under the title of ‘reason’ if we are Hegelians, or of ‘intuition’ if we are Bergsonians, so long philosophers will take care to remain ignorant of what mathematicians have done to remove the errors by which Hegel profited."

"The philosophy of Bergson, which is a spiritualist restoration, essentially mystical, medieval, Quixotesque, has been called a demi-mondaine philosophy. Leave out the demi; call it mondaine, mundane. Mundane — yes, a philosophy for the world and not for philosophers, just as chemistry ought to be not for chemists alone. The world desires illusion (mundus vult decipi) — either the illusion antecedent to reason, which is poetry, or the illusion subsequent to reason, which is religion."

"As the [nineteenth] century progressed, we find that truth itself tended to be regarded no longer as eternal and changeless but as time-dependent. ...This radically new point of view received its extreme formulation in the philosophy of the 'modern Heraclitus', Henri Bergson... for whom ultimate reality was neither 'being' nor 'being changed' but the continual process of 'change' itself, which he called la durée. An authoritative critical account of Bergson's eloquently expressed philosophy... has been given by... Leszek Kolakowski... Bergson achieved the unique distinction of being both scathingly criticized by Bertrand Russel (in 1912) and having his books placed on the Index Prohibitorum by the Holy Office in 1914—the year he was elected a member of the Académie Française! A more scientifically oriented philosophy of change than Bergon's was developed between the wars by... A. N. Whitehead... particularly in his book Process and Reality..."

"I am working in Paris. I cannot for a single day get the thought out of my head that there probably exists something essential, some immutable reality, and now that I have lost everything else (thank God, it gets lost all on its own) I am trying to preserve this and, what is more, not to be content. In a word: I am working."

"For me, Christ has always symbolized the true type of the Jewish martyr. That is how I understood him in 1908 when I used this figure for the first time.. .It was under the influence of the pogroms. Then I painted and drew him in pictures about ghettos, surrounded by Jewish troubles, by Jewish mothers, running terrified with little children in their arms."

"If Russian painters were condemned to become the pupils of the West they were, I think, rather unfaithful ones by their very nature. The best Russian realist conflicts with the realism of Courbet. The most authentic Russian Impressionism leaves on perplexed if one compares it with Monet and Pissaro. Here, in the Louvre, before the canvases of Manet, Millet and others, I understood why my alliance with Russia and Russian art did not take root. Why my language itself is foreign to them. Why people do not place confidence in me. Why the artistic circles fail to recognize me. Why in Russia I am entirely useless.. .In Paris, it seemed to me that I was discovering everything, above all a mastery of technique.. .It was not in technique alone that I sought the meaning of art then. It was as if the gods had stood before me.. .I had the impression that we are still only roaming on the surface of matter, that we are afraid to plunge into chaos, to shatter and overthrow beneath our feet the familiar surface. (reaction on his first arrival in Paris, 1910)"

"In response I am sending you some pictures which I painted in Paris out of homesickness for Russia. They are not very typical of me; I have selected the most modest ones for the Russian exhibition."

"My works are dear to me, each in its own way, I shall have to answer for them on the Day of Judgement. God alone knows whether I shall ever see them again. Quite apart from the money which I was going to receive for their sale there (exhibition in Gallery Der Sturm, Berlin June-July, 1914) and it is no small sum.."

"The sun has only ever shone for me in France (it certainly did that!). I have got used to beating the streets of Paris, happy beyond words dreaming of a life 125 years long - with the Louvre radiant in the distance. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914). Having ended up in the Russian provinces, << I have decided to die >>."

"..But it doesn't frighten me, because I studied in France, thank God, and I know of no artist in history who was not 'literary' when it came down to it. Not a single one. And even if they don't appear to be, I know of none and you at least don't recall them, because there is nothing to recall.. .Sometime or other I'd like to see a << pure >> artist, but I didn't even find one in France. Obviously the trouble is that one approaches painting from the other side, so that the word << sujet >> conceals the point of the thing. Yet even the most beautiful and << emptiest >> sujet (an apple, a grape or any << non-figurative painting >>) doesn't help if there are no foundations, either innate or acquired through hard work.. .Why don't we say clearly: << That is freedom, and this is commitment to the subject >> and << to each tree its berries >>, but let it be a tree and not a donkey.."

"Or is all this fuss actually important for << art history >>? Oh, no, never. If things only ever originated as a result of such competition (between subject- and subjectless art) , it wouldn't be worth living among them, like an accidental, capricious toy. Clearly there is a greater, a more serene and more modest power, but we are either too lazy to live by its laws, or we have no time, or it "hurts too much"."

"At present there is an extremely exaggerated formation of groups (students on the School of Art in Vitebsk) around 'trend'; there are 1. young people following Malevich and 2. young people following me. We both belong to the left-wing artistic movement, although we have different ideas about ends and means. Obviously it would take too long to talk about this problem now.. .But there is one thing I will tell you: Although I was born in Russia - and what is more: in the "settlement territory" – I was trained abroad and am all the more sensitive to everything that is taking place here in the field of art (the fine arts). The memory of the splendour of the original is much to painful for me..[to live – crossed out]"

"Now at least 'artists have the upper hand' in the town (Vitebsk). They get totally engrossed in their disputes about art (between constructivists and suprematists), I am utterly exhausted and 'dream' of 'abroad'.. .After all, there is no more suitable place for artists to be (for me, at least) than at the easel, and I dream of being able to devote myself exclusively to my pictures. Of course, little by little one paints something, but it's not the real thing. (Chagall was director of the Art School of Vitebsk, including many conflicts)"

"After completing my work [his murals for the Jewish Theater in Moscow) I thought, as has been agreed, that it would be shown in public as a series of my latest things. The management will agree with me that I can find no inner peace as a painter until the 'masses' see my work etc. It turned out that the things [the murals] had been put into a 'cage', as it were, where they can be seen at the very best by (if you will forgive me for saying so) Jews at close quarters. I like the Jews a lot (there's enough 'proof' of that) but I like the Russians as well and some other nationalities, and I am used to painting serious things for many 'nationalities'."

"I set to work. I pointed a mural for the main wall: Introduction to the New National Theatre. The other interior walls, the ceiling and the friezes depicted the forerunners of the contemporary actor – a popular musician, a wedding jester, a good woman dancing, a copyist of the Torah, the first poet dreamer, and finally a modern couple flying over the stage. The friezes were decorated with dishes and food, beigels and fruits spread out on well-laid tables. I looked forward to meeting the actors who passed me: 'Let us agree. Let's join forces and throw out all this old rubbish. Let's work a miracle!' (c. 1921)"

"In exasperation, I furiously attacked the floors and walls of the Moscow Theater. My mural paintings sight there, in obscurity. Have you seen them? Rant and rave, my contemporaries! In one way or another, my first theatrical alphabet gave you a belly-ache. Not modest? I'll leave that to my grandmother: it bores me. Despise me, if you like. (ca. 1921)"

"The stars were my best friends. The air was full of legends and phantoms, full of mythical and fair-tale creatures, which suddenly flew away over the roof, so that one was at one with the firmament."

"If I weren't a Jew (in the sense in which I use the word) then I wouldn't be an artist, or at least not the one I am now."

"The Jews might well, were they of such a mind (as I am, lament the disappearance of all those who painted the wooden synagogues in the small towns and villages (oh why haven't I gone to my grave with them!), and the carvers of the wooden 'school mallets' – 'quiet boy!' (and if you should see them in Ansky's collection, you’ll get a shock!). But is there really any difference between my ancestor from Mohiliev, who painted the synagogue there, and myself, who painted the Jewish theater in Moscow (and a good theater it is at that)?.. .I am convinced that, were I to stop shaving, you would see in me a deceptive likeness."

"Back in the days (a later reflection on his early Parish years) when I was in Paris in my studio in 'La Ruche', through the partition I heard two Jewish emigrants arguing: 'Well, what would you say? Wasn't Antokolsky a Jewish artist? And Israels? And what about Liebermann?' The dim light of the lamp lit up my picture, which was upside down (that's the way I work – so consider yourself yourselves lucky!). As morning came, and the Parisian sky started to brighten up, I had to laugh about the futile comments of my neighbours on the fate of Jewish art: 'You two wind-backs can carry on – but I've got work to do'."

"'There you are', said Efros [Granovsky, director of the State Jewish Chamber Theater, in 1920], leading me into a dark room, 'These walls are all yours, you can do what you like with them'. It was a completely demolished apartment that had been abandoned by bourgeois refugees. 'You see', he continued, 'the benches for the audience will be here; the stage there'. To tell the truth, all I could see there was the remains of a kitchen.. .And I flung myself at the walls. The canvases were stretched out on the floor. Workmen, actors walked over them. The rooms and corridors were in the process of being repaired; piles of shavings lay among my tubes of paint, my sketches. At every step one dislodged cigarette-ends, crusts of bread."

"Only the great distance that separates Paris from my native town prevented me from going back.. .It was the Louvre that put end to all these hesitations. When I walked around the circular Veronese room and the rooms that the works of Manet, Delacroix and Courbet are in, I desired nothing more. In my imagination Russia [where Chagall was born] took the form of a basket suspended from a parachute. The deflated pear of the balloon was hanging down, growing cold and descending slowly in the course of the years. This was how Russian art appeared to me, or something of the sort.. .It was as if Russian art had been fatally condemned to remain in the wake of the West. (a later quote on his first arrival in Paris, 1910)"

"..No academy could have given me all I discovered by getting my teeth into the exhibitions, the shop windows, and the museums of Paris. Beginning with the market – where, for lack of money, I bought only a piece of a long cucumber – the workman in his blue overall, the most ardent followers of Cubism, everything showed a definite feeling for proportion, clarity, an accurate sense of form, of a more painterly kind of painting, even in the canvases of second-rate artists."

"My grandfather, a teacher of religion, could think of nothing better than to place my father – his eldest son, still a child – as a clerk with a firm of herring wholesalers, and his youngest son with a barber. No, my father was not a clerk, but, for thirty-two years, a plain workman [in the Jewish ghetto of Vitebsk ]. He lifted heavy barrels, and my heart used to twist like a Turkish pretzel as I watched him carrying those loads and stirring the little herrings with his frozen hands.. .Sometimes my father's clothes would glisten with herring brine. The light played above him, besides him. But his face, now yellow, now clear, would sometimes break into a wan smile."

"Listen what happened to me when I was in the fifth form (ca. 1904), in the drawing lesson. An old-timer in the front row, the one who pinched me the most often, suddenly showed me a sketch on tissue paper, copied from the magazine "Niva": The Smoker. In this pandemonium! Leave me alone. I don't remember very well but this drawing, done not by me but by that fathead, immediately threw me into a rage. It roused a hyena in me. I ran to the library, grabbed that big volume of "Niva" and began to copy the portrait of the composer Rubinstein, fascinated by his crow's-feet and his wrinkles, or by a Greek woman and other illustrations; maybe I improvised some too, I hung them all up in my bedroom.."

"Two or three o'clock in the morning. The sky is blue. Dawn is breaking. Down there, a little way off, they slaughtered cattle, cows bellowed, and I painted them. I used to sit up like that all night long. It's already a week since the studio was cleaned out. Frames, eggshells, empty two-sou soup tins lie about higgledy-piggledy.. .On the shelves, reproductions of El Greco and Cézanne lay next tot the remains of a herring I had cut in two, the head for the first day, the tail for the next, and Thank God, a few crusts of bread."

"It's only my town (Chagall was born in Vitebsk), mine, which I have rediscovered. I come back to it with emotion. It was at that time that I painted my Vitebsk series of 1914. (Chagall couldn't go back to Paris because of the outbreak of the first World War in 1914) I painted everything that met my eyes. I painted at my window; I never walked down the street without my box of paint."

"But my knowledge of Marxism was limited to knowing that Marx was a Jew, and that he had a long white beard. I said to Lunatcharsky [the political communist commissar for Education, ca. 1918] 'Whatever you do, don't ask me why I painted in blue or green, and why you can see a calf inside the cow's belly, etc. On the other hand you're welcome: if Marx is so wise, let him come back to life and explain it himself'. I showed him my canvases."

"..In spite of everything, there is still no more wonderful vocation than to continue to tolerate events and to work on in the name of our mission, in the name of that spirit which lives on in our teaching and in our vision of humanity and art, the spirit which can lead us Jews down the true and just path. But along the way, peoples will spill our blood, and that of others."

"If a symbol should be discovered in a painting of mine, it was not my intention. It is a result I did not seek. It is something that may be found afterwards, and which can be interpreted according to taste."

"I know I must live in France, but I don't want to cut myself off from America. France is a picture already painted. America still has to be painted. Maybe that's why I feel freer there. But when I work in America, it's like shouting in a forest. There's no echo."

"Only a child had its place on the cross, and that was enough for me [to paint his Crucifixions, earlier].. ..in the exact sense there was no cross but a blue child in the air. The cross interested me less."

"When I painted Christ's parents I was thinking of my own parents. The bearded man is the Child's father. He is my father. [Chagall stated this in 1950]"

"When I write, I fly to another dimension. Like Eva Luna, I try to live life as I would like it to be, as in a novel. I am always half flying, like Marc Chagall's violinists."

"Jacques Lipchitz and Marc Chagall were among the European artists who settled in New York City during the war...Chagall, after his arrival in 1941, also continued to explore imagery he had developed earlier, including that of the Wandering Jew and the crucified Jesus as well as the inhabitants of East European shtetls or villages."

"Under his [Chagall's] sole impulse metaphor [comparison of images] made its triumphal entry into modern painting."

"When you did catch a glimpse of his eyes, they were as blue as if they’d fallen straight out of the sky. They were strange eyes.. ..long, almond-shaped.. ..and each seemed to sail along by itself, like a little boat."

"He prepared his charcoal pencils, holding them in his hand like a little bouquet. Then he would sit in a large straw chair and look at the blank canvas or cardboard or sheet of paper, waiting for the idea to come. Suddenly he would raise the charcoal with his thumb and, very fast, start tracing straight lines, ovals, lozenges, finding an aesthetic structure in the incoherence. A clown would appear, a juggler, a horse, a violinist, spectators, as if by magic. When the outline was in place, he would back off and sit down, exhausted like a boxer at the end of a round."

"Some art historians have sought to decrypt his symbols, but there's no consensus on what they mean. We cannot interpret them because they are simply part of his world, like figures from a dream."

"When Henri Matisse dies, Chagall will be the only painter left who understands what color really is. I'm not crazy about those cocks and asses and flying violinists and all the folklore, but his canvasses are really painted, not just thrown together. Some of the last thing's he's done in Venice [where Matisse painted his late frescoes in the chapel] convince me that there's never been anybody since Renoir who has the feeling for light that Chagall has. [Picasso is reacting to Chagall's daughter Ida, 1952]"

"I don't know where he [Marc Chagall] gets those images; he must have an angel in his head."

"Quand même"

"Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third. And to this end the actor must forget his personality and throw aside his joys and sorrows. He must present the public with the reality of a being who for him is only a fiction. With his own eyes, he must shed the tears of the other. With his own voice, he must groan the anguish of the other. His own heart beats as if it would burst, for it is the other's heart that beats in his heart. And when he retires from a tragic or dramatic scene, if he has properly rendered his character, he must be panting and exhausted."

"Me pray? Never! I'm an atheist."

"Life engenders life. Energy creates energy. It is by spending oneself that one becomes rich."

"Acting is all internal, but must be externalized."

"Victor Hugo could not promise without keeping his word. He was not like me: I promise everything with the firm intention of keeping my promises, and two hours after I have forgotten all about them. If any one reminds me of what I have promised, I tear my hair, and to make up for my forgetfulness I say anything, I buy presents — in fact, I complicate my life with useless worries. It has always been thus, and always will be so."

"My fame had become annoying for my enemies, and a little trying, I confess, for my friends. But at that time all this stir and noise amused me vastly. I did nothing to attract attention. My somewhat fantastic tastes, my paleness and thinness, my peculiar way of dressing, my scorn of fashion, my general freedom in all respects, made me a being quite apart from all others. I did not recognise the fact. I did not read, I never read, the newspapers. So I did not know what was said about me, either favourable or unfavourable. Surrounded by a court of adorers of both sexes, I lived in a sunny dream."

"Those who know the joys and miseries of celebrity when they have passed the age of forty know how to defend themselves. They are at the beginning of a series of small worries, thunderbolts hidden under flowers, but they know how to hold in check that monster advertisement. It is a sort of octopus with innumerable tentacles. It throws out to right and left, in front and behind, its clammy arms, and gathers in, through its thousand little suckers, all the gossip and slander and praise afloat, to spit out again at the public when it is vomiting its black gall. But those who are caught in the clutches of celebrity at the age of twenty two know nothing."

"I am so superstitious that if I had arrived when there was no sunshine I should have been wretched and most anxious until after my first performance. It is a perfect torture to be superstitious to this degree, and, unfortunately for me, I am ten times more so now than I was in those days, for besides the superstitions of my own country, I have, thanks to my travels, added to my stock all the superstitions of other countries. I know them all now, and in any critical moment of my life, they all rise up in armed legions for or against me. I cannot walk a single step or make any movement or gesture, sit down, go out, look at the sky or ground, without feeling some reason for hope or despair, until at last, exasperated by the trammels put upon my actions by my thought, I defy all superstitions and just act as I want to act."

"Life is short, even for those who live a long time, and we must live for the few who know and appreciate us, who judge and absolve us, and for whom we have the same affection and indulgence. The rest I look upon as a mere crowd, lively or sad, loyal or corrupt, from whom there is nothing to be expected but fleeting emotions, either pleasant or unpleasant, which leave no trace behind them. We ought to hate very rarely, as it is too fatiguing; remain indifferent to a great deal, forgive often and never forget."

"Chicago people are very fond of Madame Bernhardt. They want her to get a divorce and settle down with them."

"There are five kinds of actresses: bad actresses, fair actresses, good actresses, great actresses— and then there is Sarah Bernhardt"

"She is the Muse of Poetry herself. Neither intelligence nor artistry have anything to do with it. She is guided by a secret instinct. She recites as the nightingale sings, as the wind sighs, as water murmurs, as Lamartine once wrote."

"A symphony of golden flutes and muted strings; silver dawn lit by lambent lightnings, soft stars and a clear-cut crescent moon."

"When Machiavelli advises the Prince to carry out the Machiavellian scheme of action, he invests those actions with no sort of morality or beauty. For him morality remains what it is for everyone else, and does not cease to remain so because he observes (not without melancholy) that it is incompatible with politics. … For him evil, even if it aids politics, still remains evil. The modern realists are the moralists of realism. For them, the act which makes the State strong is invested with a moral character by the fact that it does so, and this whatever the act may be. The evil which serves politics ceases to be evil and becomes good."

"For M. Maurras the practical is the divine, and his “atheism” consists less in denying God than in shifting him to man and his political work. … It is the divinizing of politics."

"Up until our own times men had only received two sorts of teaching in what concerns the relations between politics and morality. One was Plato’s and it said: “Morality decides politics”; and the other was Machiavelli’s, and it said “Politics have nothing to do with morality.” Today we receive a third. M. Maurras teaches: “Politics decide morality.”"

"Formerly, leaders of states practiced realism, but did not honor it… With them morality was violated, but moral notions remained intact. … The modern governor, owing to the fact that he addresses crowds, is compelled to be a moralist, and to present his acts as bound up with a system of morality."

"Christianity exhorted man to set himself up against Nature, but did so in the name of his spiritual and disinterested attributes. Pragmatism exhorts him to do so in the name of his practical attributes. Formerly man was divine because he had been able to acquire the concept of justice, the idea of law, the sense of God; today he is divine because he has been able to create equipment which makes him the master of matter."

"The modern clercs have created in so-called cultivated society a positive romanticism of harshness. The have also created a romanticism of contempt."

"The modern moralists extol … the cult of practical activity in defiance of the disinterested life."

"What these thinkers despise in the man of study is precisely the man who … does not predicate the capture of its environment by the species, or who, if he does predicate it, as the scientist does by his discoveries, retains for himself only the joy of knowledge and abandons the practical exploitation of his discoveries to others."

"The desire to abase the values of knowledge before the values of action..."

"That teaching of modern metaphysics which exhorts man to feel comparatively little esteem for the truly thinking portion of himself and to honor the active and willing part of himself with all his devotion..."

"Philosophy, which formerly raised man to feel conscious of himself because he was a thinking being and to say, ‘I think therefore I am,” now raises him to say … “I think, therefore I am not,” (unless he takes thought into consideration only in that humble region where it is confused with action)."

"From his loftiest pulpit the modern clerc assures man that he is great in proportion as he is practical."

"Teachers … preach “the superiority of the intelligence”; but they preach it because in their opinion it is the intelligence which shows us the actions required for our interests, i.e. from exactly the same passion for the practical."

"That teaching according to which intellectual activity is worthy of esteem to the extent that it is practical and to that extent alone."

"Since the Greeks the predominant attitude of thinkers towards intellectual activity was to glorify it insofar as (like aesthetic activity) it finds its satisfaction in itself, apart from any attention to the advantages it may procure. Most thinkers would have agreed with … Renan’s verdict that the man who loves science for its fruits commits the worst of blasphemies against that divinity. … The modern clercs have violently torn up this charter. They proclaim the intellectual functions are only respectable to the extent that they are bound up with the pursuit of concrete advantage."

"One of the principle causes is that the modern world has made the clerc into a citizen, subject to all the responsibilities of a citizen, and consequently to despise lay passions is far more difficult for him than for his predecessors."

"If shame is cried upon him, … he will point out … that today he has to earn his living, and that it is not his fault if he is eager to support the class which takes a pleasure in his productions."

"The true clerc is Vauvenargues, Lamarck, Fresnel, … Spinoza, Schiller, Baudelaire, César Franck, who were never diverted from single-hearted adoration of the beautiful and the divine by the necessity of earning their daily bread. But such clercs are inevitably rare. … The rule is that the living creature condemned to struggle for life turns to practical passions, and thence to the sanctifying of those passions."

"I think I see another motive in the French writers who in 1914 adopted the attitude of M. Romain Rolland &ndash; the fear that they would fall into national partiality if they admitted that their nation was in the right. It may be asserted that these writers would have warmly taken up the cause of France, if France had not been their own country. Whereas Barrès said, "I always maintain my country is right even if it is in the wrong," these strange friends of justice are not unwilling to say: "I always maintain my country is in the wrong, even if it is right." There again we see that the frenzy of impartiality, like any other frenzy, leads to injustice."

"For the intellectual class, expertise has usually been a service rendered, and sold, to the central authority of society. This is the trahison des clercs of which Julien Benda spoke in the 1920s. Expertise in foreign affairs, for example, has usually meant the legitimization of the conduct of foreign policy and, what is more to the point, a sustained investment in revalidating the role of experts in foreign affairs. The same sort of thing is true of literary critics and professional humanists, except that their expertise is based upon noninterference in what Vico grandly calls the world of nations but which prosaically might just as well be called “the world.” We tell our students and our general constituency that we defend the classics, the virtues of a liberal education, and the precious pleasures of literature even as we also show ourselves to be silent (perhaps incompetent) about the historical and social world in which all these things take place. ...Humanists and intellectuals accept the idea that ... cultural types are not supposed to interfere in matters for which the social system has not certified them."

"Science is the future of mankind."

"Quantum physics is no longer an abstract theory for specialists. We must now absolutely include it in our education and also in our culture."

"History of science played a very important role for me. Before I knew well how to do an experiment, I knew why Joliot has missed the neutron, why his wife missed the fission, why they succeeded in having artificial radioactivity, and even why they almost missed the other things, by doing very nice experiments, but didn't come to the conclusion. That is science. Science is doubt, is research. It is not something which is – and that is the danger of teaching – which is too academic and which the people explain you it is like the logic thing that comes out of the computer, which is not true. You have intuition, you have passion."

"Si on veut faire quelque chose, il faut donc s'occuper d'éducation."

"The establishment of the state of Israel, accomplished through the expulsion of several hundred thousand Palestinians and the immigration of several hundred thousand Jews from Africa and Asia, introduced the 'Jewish Question,' hitherto essentially a European question, into the heart of the tragedy of the Arab people of Palestine dispossessed of their space. From this irruption there arose the 'Palestinian Question.'"

"There is no comparison between the suicidal terrorism of the desperate and the reasoned terrorism of an overarmed state."

"The rather unusual case of Ilan Halevi - a kind of a contemporary John Brown - evokes a long and troubling history of excommunication, first religious and later political, which stands in the way of dialogue and reconciliation."

"Un beau jour, ou peut-etre une nuit, Près d'un lac, je m'étais endormie, Quand soudain, semblant crever le ciel, Et venant de nulle part, Surgit un aigle noir."

"Et tant pis pour ceux qui s'etonnent Et que les autres me pardonnent Mais les enfants ce sont les memes A Paris ou a Gottingen."

"Mais il mourut à la nuit même Sans un adieu, sans un je t'aime Mon père, mon père le ciel de Nantes Rend mon coeur chagrin."

"Standing outside the house where she was born, in June 1930, I think some things in Paris never change...things like the smell of fresh-baked baguettes at daybreak, the Napoleonic arcades [-] the morning coffee that you drink standing up for double impact and the sound of a chanson that's not just popular, its intensely personal, to everyone who hears it, it's a song that evokes a place, an encounter, a moment in your life. It might be sung by Edith Piaf, or Jacques Brel, or Juliette Greco - but the one for me who delves deepest into the collective unconscious, is almost unknown outside France, and her song is the story of millions of private lives, of the spirit of Paris, of the narrative of our times, of my lifetime, she's known as Barbara, though that's not her real name, she called herself, the Black Eagle, and she always wore black."

"Each man is contained and constrained, on entering social life, to fit his own life in, just as he fits his words and thoughts into a language that was formed without and before him and which is impervious to his power. Entering the game, as it were, whether of belonging to a nation or of using a language, a man enters arrangements which it does not fall to him to determine, but only to learn and respect the rules."

"DeMaistre and Bonald … wanted to teach men submission, to give them the religion of established power, to substitute, in Bonald’s phrase, “the evidence of authority for the authority of evidence.”"

"For the traditionalists the Enlightenment boiled down to a fatal misunderstanding. All philosophes had been wrong about the nature and also, if one could put it that way, about the sex of prejudice. They had mistaken an earth mother who sustained and inspired her children for a bogeyman of a father. Then, seeking to overthrow this father, they had in reality done away with the mother-figure."

"According to … the French counterrevolutionaries and German Romantics, … the corpus of prejudices was a country’s cultural treasure, its ancient and tested intelligence, present as the consciousness and guardian of its thought. Prejudices were the “we” of every “I”, the past in the present, the revered vessels of the nation’s memory, its judgements carried from age to age. Pretending to spread enlightenment, the philosophes had set out to extirpate these precious residua. … The result was that they had uprooted men from their culture at the very moment when they bragged of how they would cultivate them. … Convinced that they were emancipating souls, they succeeded only in deracinating them. These calumniators of the commonplace had not freed understanding from its chains, but cut it off from its sources. The individual who, thanks to them, must now cast off childish things, had really abandoned his own nature. … The promises of the cogito were illusory: free from prejudice, cut off from the influence of national idiom, the subject was not free but shrivelled and devitalised. … Everyday opinion should therefore be regarded as the soil where thought was nourished, its hearth and sanctuary, … and not, as the philosophes would have it, as some alien authority which overwhelmed and crushed it. … The cogito needed to be steeped in the profundities of the collective mind; the broken links with the past needed repairing; the quest for independence should yield to that for authenticity. Men should abandon their scepticism and give themselves over to the comforting warmth of majoritarian ideas, bowing down before their infallible authority."

"L'utilité publique se fait sou vent du dommage des particuliers."

"Le venin guerit en quelque rencontre, et, ce cas-là, le venin n'est pas mauvais."

"Il n'y a personne qui soit tenu d'être habile; mais il n'y en a point qui ne soit obligé d'être bon."

"La solitude est certainement une belle chose, mais il y a plaisir d'avoir quelqu'un qui sache répondre, à qui on puisse dire de temps en temps, que c'est un belle chose."

"Il n'y a point d'enfants que nous aimions davantage que ceux qui naissent de notre esprit, et desquels nous sommes père et mère tout ensemble."

"Dieu est le poète et les hommes ne sont que les acteurs."

"Un peu d'esprit et beaucoup d'autorité, c'est ce qui a presque toujours gouverné le monde."

"Rien n'est si voisin du haut style que le galimatias: le ridicule est une des extrémités du subtil."

"We lived at the bottom of the Impasse Tarfoune, in a little room where I was born one year after my sister Kalla. With the Barouch family we shared the ground floor of a shapeless old building, a sort of two-room apartment. The kitchen, half of it roofed over and the rest an open courtyard, was a long vertical passage toward the light. But before reaching this square of pure blue sky, it received, from a multitude of windows, all the smoke, the smells, and the gossip of our neighbors. At night, each locked himself up in his room; but in the morning, life was always communal, running along the tunnel of a kitchen, mingling the waters from the kitchen sinks, the smells of coffee, and the voices still muffled with sleep."

"Sleep, when one has no worries, tastes like honey."

"Then the long walk in the sun brought us back to the coffeehouse where we always found the same crowd of Sabbath friends, cheerful and loud, smelling of eau de Cologne and of snuff. How blessed was the Sabbath coffeehouse where we remained pure because there was no cigarette smoke and where our conversation remained courteous because we were forbidden to play cards! In addition, I enjoyed a child’s privileges: everyone had a smile for me and welcomed me, making room for me. Seeing myself treated in this manner by grown men, I felt that I assumed a man’s dignity."

"Oh yes, poverty is something to be ashamed of, and this was clear to me from the mutterings of my own parents, from their remarks about the Oukala of the Birds and their pity for the Choulam family. As for me, I despised the poor. Fraji had to pay with shame the price of his poverty and I too, if we were poor, would have to pay with my own shame. In the disorder of my awareness, I made that day a great and unhappy step forward. I noted that I too wore new clothes only rarely and was forced to receive, like Fraji, bundles that stank of mildew and dirty linen and from which all the expensive buttons had been removed. I now understood his suffering fully, the shame that I had poured forth upon him in the presence of Chouchane and the other kids. His suffering and shame were my own too; on my own shoulders I now felt the burden of the same contempt, as if I had his hair, all clammy with filth, and his eyes like the headlights of a car. I felt that I had become Fraji."

"Since that day, I have slowly acquired the uneasiness about my clothes that characterizes the poor who are ashamed. I was no longer at my ease in any suit: I felt that I was badly dressed and that I attracted the attention of all. I feared, even when wearing a new suit, the mockery of others at my unsuccessful attempts. That is how I became what is known as careful of my clothes."

"My mother tongue is the Tunisian dialect, which I speak with the proper accent of the young Moslem kids of our part of town and of the drivers of horse-trucks who were customers of our shop. The Jews of Tunis are to the Moslems what the Viennese are to other Germans: they drag out their syllables in a singsong voice and soften and make insipid the guttural speech of their Mohammedan fellow-citizens. The relatively correct intonations of my speech earned me the mockery of all: the Jews disliked my strange speech and suspected me of affectation, while the Moslems thought that I was mimicking them."

"I was cornered, without any escape, and began to think of death for the first time in my life. Without being at all strange or foreign, this idea of suicide was born within me quite spontaneously and gently, like the world coming to life at dawn. At once, suicide seemed familiar to me, like a release, and I was surprised how convenient and tempting so serious an action could seem. The ultimate solution to my problems was within my own power."

"In moving to this new street that we called the Passage, Mother saw an old dream of hers come true. She was now living again with all her family... All day long, whether for a pinch of pepper or a sprig of parsley, to find out what time it might be or even for no good reason at all, the whole staircase re-echoed with their various names. Actually, they derived comfort and pleasure from constantly finding each other at home, and the other tenants felt like trespassers in this hive of solidarity. After dinner every evening there was a gathering of the clan in Uncle Aroun’s flat, where a detailed post-mortem of the day’s events would take place, while everyone gossiped and munched squash seeds. Thus, each of us remained completely visible to all the others, and the whole family, by pooling its problems and its hopes, acquired a collective soul."

"It was in the Passage that I discovered tribal life and learned to hate it. How happy had been the intimacy of our blind alley, now lost for good! As long as I had lived alone, I had lived in peace."

"How vain and futile are all theoretical and philosophical constructions of the mind when compared to the brutal realities of the world of men! The European philosophers build the most rigorous and virtuous moral codes, and their politicians, brought up by these teachers, foment murders as a means of government."

"Once I had overcome my rage against Vichy, the numerus clausus, and the Fascist Legion, I began to doubt the treason of France. To accept it would indeed have been unbearable. All my ambitions, my studies, and my life were founded on this choice. How much would I have to uproot in myself now? What would be left of me? It was in this dreadful moment that I finally caught a glimpse of my ruin. If I rejected what I was becoming would I be able to return to what I had been?"

"Travel if you wish, taste strange dishes, gather experience in dangerous adventures, but see that your soul remains your own. Do not become a stranger to yourself, for you are lost from that day on; you will have no peace if there is not, somewhere within you, a corner of certainty, calm waters where you can take refuge."

"If my nose had been too long that might have been fixed in a couple of weeks in a clinic, or a gangrenous arm could be amputated, but I had a heart that was defective. My misfortunes were never chance encounters, and I could not easily avoid them. The more I get to know myself, the more aware I become of this. To put an end to this state of affairs would mean putting an end to myself, to die or to go mad. My principal's temporary appointment would end one day, but I would never find the solution to my problem because I am that problem."

"Before one scoffs at national pride and the fatherland, at wealth and good manners, love of one's country, family, and traditions, one must have arrived at a proper evaluation of one's country, have had enough to eat, and have received a good education. Then one can look on from afar and make wisecracks. But I have no sense of humor and not enough courage to be cynical."

"If my principal had only known how I envied him! This average Frenchman from Burgundy, with his old culture and good background, a university man and a Republican of good family, suffered because he was in a foreign land! I am ill at ease in my own land and I know of no other. My culture is borrowed and I speak my mother tongue haltingly; I have neither religious beliefs nor tradition, and am ashamed of whatever particle of them has survived deep within me. To try to explain what I am, I would need an intelligent audience and much time; I am a Tunisian but of French culture... I am Tunisian, but Jewish, which means that I am politically and socially an outcast. I speak the language of the country with a particular accent and emotionally I have nothing in common with Moslems. I am a Jew who has broken with the Jewish religion and the ghetto, is ignorant of Jewish culture and detests the middle class because it is phony. I am poor but desperately anxious not to be poor, and at the same time, I refuse to take the necessary steps to avoid poverty."

"The most serious blow suffered by the colonized is being removed from history and from the community. Colonization usurps any free role in either war or peace, every decision contributing to his destiny and that of the world, and all cultural and social responsibility."

"Racism... is the highest expression of the colonial system and one of the most significant features of the colonialist."

"We would have liked to be Arab Jews. If we abandoned the idea, it is because over the centuries the Moslem Arabs systematically prevented its realization by their contempt and cruelty. It is now too late for us to become Arab Jews."

"As far back as my childhood memories go – in the tales of my father, my grandparents, my aunts and uncles – coexistence with the Arabs was not just uncomfortable, it was marked by threats periodically carried out."

"The Jews were at the mercy not only of the monarch but also of the man in the street. My grandfather still wore the obligatory and discriminatory Jewish garb, and in his time every Jew might expect to be hit on the head by any Moslem whom he happened to pass. This pleasant ritual even had a name – the chtaka; and with it went a sacramental formula which I have forgotten."

"Never, I repeat, never – with the possible exception of two or three very specific intervals such as the Andalusian, and not even then – did the Jews in Arab lands live in other than a humiliated state, vulnerable and periodically mistreated and murdered, so that they should clearly remember their place."

"I have described in Pillar of Salt how the French authorities coldly left us to the Germans. But I must add that we were also submerged in a hostile Arab population, which is why so few of us could cross the lines and join the Allies. Some got through in spite of everything, but in most cases they were denounced and caught."

"It must be acknowledged that not many Jews took an active part in the struggle for [Tunisian] independence, but neither did the mass of Tunisian non-Jews."

"I continued to defend the Arabs even in Europe, in countless activities, communications, signatures, manifestos. But it must be stated unequivocally, once and for all: we defended the Arabs because they were oppressed."

"But now there are independent Arab states, with foreign policies, social classes, with rich and poor. And if they are no longer oppressed, if they are in their turn becoming oppressors, or possess unjust political regimes, I do not see why they should not be called upon to render accounts."

"I arrived in France, and found myself up against the legend which was current in left-wing Parisian salons: the Jews had always lived in perfect harmony with the Arabs. I was almost congratulated for having been born in such a land where racial discrimination and xenophobia were unknown. It made me laugh."

"The Arab Jews are much more distrustful of the Moslems than are the European Jews, and they dreamed of the Land of Israel long before the Russian and Polish Jews did."

"[This] argument stems from the cogitations of a part of the European Left: the Arabs were oppressed, therefore they could not be anti-Semites. This is ridiculously manichaeistic – as though one could not be oppressed and also be a racist! As if workers have not been xenophobic!"

"Even today the official position of the Arabs, implicit or avowed, brutal or tactical, is nothing but a perpetuation of that anti-Semitism which we have experienced. Today, as yesterday, our life is at stake. But there will come a day when the Moslem Arabs will have to admit that we, the “Arab Jews” as well – if that is how they wish to call us – have the right to existence and to dignity."

"Racism rests upon and functions as a kind of seesaw: the persecutor rises by debasing and inferiorizing his victim."

"There is a strange kind of tragic enigma associated with the problem of racism. No one, or almost no one, wishes to see themselves as racist; still racism persists, real and tenacious."

"Racism does not limit itself to biology or economics or psychology or metaphysics; it attacks along many fronts and in many forms, deploying whatever is at hand, and even what is not, inventing when the need arises."

"Israel, however, is not a colonial settlement, which would therefore be legitimate to destroy, an idea the Arab states have tried to promulgate. Aside from its domination of the Palestinians, which is unacceptable, it has none of the characteristics of such a state. Nor is it a product of the Crusades, a religious excrescence of Europe, destined sooner or later to vanish off the map from Christianity's lassitude."

"Like Palestine for the Palestinians, Israel is a national fact, the response to an untenable condition and a collective desire, with its own imaginary, binding it, rightly or wrongly, to this earth. This is how the United Nations viewed the situation when it determined the constitutions of the two sovereign states."

"When seen in its proper context, compared to the magnitude of the problems—demographic, economic, political, social, cultural, and religious—that now face the Arab world, the Israeli–Palestinian conflict turns out to be a minor drama in a small corner of the world, just one among many."

"Obviously, the misfortune of the Arabs does not arise from the existence of Israel; even if the country didn't exist, none of these problems would be resolved."

"There is no mystery to the Arab texts used for domestic consumption; they openly discuss the destruction of Israel. Didn't the first president of the Algerian republic, Ben Bella, go so far as to declare that, if he had had an atomic bomb, he would have launched it against Israel, which had become a kind of absolute evil?"

"To speak of Israel in terms other than as a historical, even metaphysical, disease that the Arab world needed to be cleansed of became a form of blasphemy that had to be punished. Giving it a place on a map was a sacrilege, a felony. As if, by denying its existence, it could magically be made to disappear. This effort was facilitated by the fact that the Jews served as an excellent scapegoat for the problems of others. Israel's existence was far too convenient."

"There no longer exists, if there ever did in the Arab-Muslim world, that great public tribunal characteristic of democracy, where everyone can publicly give his opinion without unnecessary risk. True controversies are rare, except possibly for unimportant details, where disagreements occur against a background of underlying unity. As a result, any condemnation of wrongdoing and scandal always comes from the exterior, from those outside the community, leading to suspicions of bias or perversity."

"Hardly a word about the condition of women is heard. Not a single statement about the fate of minorities, some of whose members have contributed to the independence of their country at the risk of their life; not a sign of recognition. On the contrary, they most often find themselves being gradually eliminated from the country's civil-service bureaucracy. In this way a great occasion is lost to build, at least in words, an open and multicultural nation, one that includes the Algerian Kabyles, the Egyptian Copts, Jews and Christians … precisely what intellectuals living in the West demand for themselves in their host countries!"

"If you raise a baby crocodile in your apartment, one day he will eat you. The Americans gave aid to the Taliban in fighting the Russians and later went to war with them. The Israelis initially encouraged the Palestinian fundamentalists in Hamas, who then turned against them. The ruler knows this; he knows that if the fundamentalists gain power, he will be eliminated. To avoid this he will practice a balancing act, sometimes granting them favors, sometimes tightening the screws. The Islamic veil, the beard, the mosques, the confraternities serve as escape valves, but all the Arab governments know they are raising crocodiles in their midst. This providential aid, granted through the intermediary of the priests, is not disinterested. It is a poisoned alliance, where everyone, using his own weapons, tries to neutralize, then despoil, the others."

"The suicide bomber denies the rules so painfully acquired by human societies, the outline of a moralization of war. It is a reversal of the gradual humanization of human societies. They cut the throats of journalists, who are only doing their job, abduct or machine-gun tourists, who have arrived from another part of the world and had the misfortune to want to amuse themselves. A tract that appeared in Casablanca before a horrendous attack, one that was distributed only in the mosques, exhorted its readers to make no exceptions for women or children—all of them were considered guilty and deserved to die. The same justification has been advanced by Palestinian leaders: all Israelis without exception must be attacked. Islamic terrorism appears to have declared war on the entire world, including the Arab countries that fail to align themselves with its objectives. Tunisia, Morocco, even Saudi Arabia, the leading sanctuary of the Arab-Muslim world, have been struck. Until recently, Palestinian bombers concentrated on Israeli or Jewish targets; now the battle has extended to the world at large."

"One of history's ironies is that Kosovo, a Muslim territory, owes its survival to the assistance of the Americans, just as Nasser's pseudo-victory against France, England, and Israel was obtained through the intervention of the Americans and Russians."

"It was as if, by denouncing their rulers, I had insulted the people, which was exactly the opposite of my intent. For by illuminating these lapses, I believe, rather, that I have helped to demystify the situation. Therefore, I devoted exactly four pages to the conflict between Israel and Palestine. The subject is inexhaustible and convenient. I pointed out the deplorable situation of the Palestinians and urged the creation of a Palestinian state—something I have done for thirty years, even when no one else was willing to do so, including the Arab states (see my Juifs et Arabes [Jews and Arabs], Gallimard, 1967). But I wondered why there had been such emphasis on the conflict, with its four thousand dead—deplorable like all deaths but hardly comparable to the millions of deaths in Africa, for example. As I write this afterword, a massacre in Darfur has left thirty thousand dead and displaced close to a million people. I have suggested that such chaos has been one of the most effective pretexts for tyrants to excuse their hold on power and the state of catalepsy in which they maintain their populations."

"There has never been a moment when reading Freire that I have not remained aware of not only the sexism of the language but the way he (like other progressive Third World political leaders, intellectuals, critical thinkers such as Fanon, Memmi, etc.) constructs a phallocentric paradigm of liberation-wherein freedom and the experience of patriarchal manhood are always linked as though they are one and the same. For me this is always a source of anguish for it represents a blind spot in the vision of men who have profound insight."

"I started contemplating or doing my Yoga from the age of 4. There was a small chair for me on which I used to sit still, engrossed in my meditation. A very brilliant light would then descend over my head and produce some turmoil inside my brain. Of course I understood nothing, it was not the age for understanding. But gradually I began to feel, "I shall have to do some tremendously great work that nobody yet knows.""

"Yes, indeed, I do feel the weight of the world's miseries pressing upon me!"

"It is a rather unpleasant sensation to feel yourself pulled by the strings and made to do things whether you want to or not — that is quite irrelevant — but to be compelled to act because something pulls you by the strings, something which you do not even see — that is exasperating. … I knew nobody who could help me and I did not have the chance that you have, someone who can tell you: "This is what you have to do!" There was nobody to tell me that. I had to find it out all by myself. And I found it. I started at five."

"Between the ages of 11 and 13 a series of psychic and spiritual experiences revealed to me not only the existence of God, but man's possibility of uniting with Him, of realising Him integrally in consciousness and action, of manifesting Him upon earth in a life divine. This, along with a practical discipline for its fulfilment, was given to me during my body's sleep by several teachers, some of whom I met afterwards on the physical plane. Later on, as the interior and exterior development proceeded, the spiritual and psychic relation with one of these Beings became more and more clear and frequent."

"When I was a child of about thirteen, for nearly a year every night as soon as I had gone to bed it seemed to me that I went out of my body and rose straight up above the house, then above the city, very high above. Then I used to see myself clad in a magnificent golden robe, much longer than myself; and as I rose higher, the robe would stretch, spreading out in a circle around me to form a kind of immense roof over the city. Then I would see men, women, children, old men, the sick, the unfortunate coming out from every side; they would gather under the outspread robe, begging for help, telling of their miseries, their suffering, their hardships. In reply, the robe, supple and alive, would extend towards each one of them individually, and as soon as they had touched it, they were comforted or healed, and went back into their bodies happier and stronger than they had come out of them."

"Will you shut up now?"

"I knew a painter, a disciple of Gustave Moreau; he was truly a very fine artist, he knew his work quite well, and then … he was starving, he did not know how to make both ends meet and he used to lament. Then one day, a well-wishing friend sent a picture-dealer to his studio. The latter inspected all his works, without discovering anything of interest: the works of the painter were simply not fashionable and therefore without commercial value. But at last the dealer found a canvas with some palette-scrapings in a dusty corner and was suddenly full of enthusiasm: "Here you are! my friend, you are a genius, this is a miracle, it is this you should show! Look at this richness of tones, this variety of forms, and what an imagination."

"It is in accordance with the impression that the plate ought to be painted; it gives you an impact, you translate the impact, and it is this which is truly artistic. It is like this that modern art began. And note that he was right. His plates were not round, but he was right in principle."

"They do not feel bound by the customary rules of conduct and have not yet found an inner law that would replace them."

"Between the age of eighteen and twenty I had attained a conscious and constant union with the divine Presence and … I had done it all alone, with absolutely nobody to help me, not even books, you understand! When I found one — I had in my hands a little later Vivekananda's Raja Yoga — it seemed to me so wonderful a thing, you see, that someone could explain something to me! This made me gain in a few months what would have perhaps taken me years to do."

"The Gita was an important scripture which elucidated an important Truth, and yet one thing was missing in it: the idea of the transformation of the outer nature of man, which is one main object of Sri Aurobindo's Integral Yoga."

"I don't feel that you are sincere, neither you nor your flock. You all went there to fulfill a social duty and social custom, but not at all because you really wanted to enter into communion with God."

"Listen, even before your religion was born not even two thousand years ago the Chinese had a very high philosophy and knew a path leading them to the Divine; and when they think of Westerners, they think of them as barbarians. And you are going there to convert those who know more about it than you? What are you going to teach them? To be insincere, to perform hollow ceremonies instead of following a profound philosophy and a detachment from life which lead them to a more spiritual consciousness?"

"It matters little that there are thousands of beings plunged in the densest ignorance; He whom we saw yesterday is on earth; his presence is enough to prove that a day will come when darkness shall be transformed into light, and Thy reign shall actually be established upon earth."

"It seems to me that I am being born into a new life and that all the methods and habits of the past can no longer be of any use. It seems to me that what was once a result is now only a preparation … It is as if I was stripped of all my past, of my errors as well as my conquests, as if all that had disappeared to give place to one new-born whose whole existence has yet to take shape … An immense gratitude rises from my heart. I seem to have at last arrived at the threshold which I have long sought."

"He (Sri Aurobindo) did not keep me, what could I do? I had to go. But I left my psychic being with him, and in France I was once on the point of death: the doctors had given me Up."

"O Lord, this earth groans and suffers; chaos has made this world its abode. The darkness is so great that Thou alone canst dispel it. Come, manifest Thyself, that Thy work may be accomplished. Solitude, a harsh, intense solitude, and always this strong impression of having been flung headlong into an inferno of darkness! … Sometimes … I cannot prevent my total sub-mission from taking a hue of melancholy, and the calm and mute converse with the Master within is transformed for a moment into an invocation almost suppliant, O Lord, what have I done that Thou throwest me thus into the sombre night?"

"I was lying in an easy-chair, in front of a garden. I saw that the spiritual power was still active in me: I could go on with occult experiments in spite of the illness. I used to concentrate on things and persons and circumstances and wanted to see if the power worked. It worked very well on the mental and vital planes. Then I broadened the field of activity. I could go on doing my work in various parts of France and America and other places. I could clearly see the faces of the persons worked upon. They could be made to do what they by themselves could not. These were controlled experiments … I could see that nothing could stop the work: even without my body the work could go on … Wherever the call was, I could attend."

"For four years, from an artistic point of view, I lived from wonder to wonder."

"Not once do you have the feeling that you are in contact with something other than a marvellously organised mental-physical domain."

"Japan possesses the vitality and concentrated energies of a nation which has not yet reached its zenith. That energy is one of the most striking features of Japan. It is visible everywhere, in everyone; the old and the young, the workmen, the women, the children, the students, all … display in their daily life the most wonderful storage of concentrated energy."

"They know how to remain silent; and though they are possessed of the most acute sensitiveness, they are, among the people I have met, those who express it least. A friend here can give his life with the greatest simplicity to save yours, though he never told you before that he loved you in such a profound and unselfish way."

"At the end of the second day as I was lying all alone, I saw clearly a being, with a part of the head cut off, in a military uniform (or the remains of a military uniform) approaching me and suddenly flinging himself upon my chest, with that half a head to suck my force. I took a good look, then realised that I was about to die. He was drawing all my life out … I was completely nailed to the bed, without movement, in a deep trance. I could no longer stir and he was pulling. I thought: now it is the end. Then I called on my occult power, I gave a big fight and I succeeded in turning him back so that he could not stay there any longer. And I woke up … I know how much knowledge and force were necessary for me to resist. It was irresistible."

"Consciousness, to be sure, is more effective than packets of medicine."

"I was on the boat, at sea, not expecting anything (I was of course busy with the inner life, but I was living physically on the boat), when all of a sudden, abruptly, about two nautical miles from Pondicherry, the quality, I may even say physical quality, of the atmosphere of the air, changed so much that I knew we were entering the aura of Sri Aurobindo. It was a physical experience."

"… after a month's yoga I looked exactly eighteen. And someone who had seen me before, who had lived with me in Japan and came here, found it difficult to recognize me. He asked me, "But really, is it you?" I said, "Of course!""

"I took my little cat-it was really sweet -and put it on a table and called Sri Aurobindo. I told him, "Kiki has been stung by a scorpion, it must be cured." The cat stretched its neck and looked at Sri Aurobindo, its eyes already a little glassy. Sri Aurobindo sat before it and looked at it also. Then we saw this little cat gradually beginning to recover, to come round, and an hour later it jumped to its feet and went away completely healed."

"Suddenly, immediately, things took a certain shape a very brilliant creation was worked out in extraordinary detail, with marvellous experiences, contact with divine beings, and all kinds of manifestations which are considered miraculous; … One day, I went as usual to relate to Sri Aurobindo what had been happening — we had come to something really very interesting, and perhaps I showed a little enthusiasm in my account of what had taken place — then Sri Aurobindo looked at me. ..and said: 'Yes, this is an Overmind creation. It is very interesting, very well done. You will perform miracles which will make you famous throughout the world, you will be able to turn events on earth topsy-turvy, indeed, … ' and then he smiled and said: 'It will be a great success. But it is an Overmind creation. And it is not success that we want; we want to establish the Supermind on earth. One must know how to renounce immediate success in order to create the new world, the supramental world in its integrality."

"With my inner consciousness I understood immediately; a few hours later the creation was gone … and from that moment we started anew on other bases."

"The life we lead here is as far from ascetic abstinence as from an enervating comfort; simplicity is the rule here, but a simplicity full of variety, a variety of occupations, of activities, tasks, tendencies, natures; each one is free to organise his life as he pleases, the discipline is reduced to a minimum that is indispensable to organize the existence of 110 to 120 people and to avoid the movements which would be detrimental to the achievement of our yogic aim."

"Every morning, at the balcony, after establishing a conscious contact with each of those who are present, I identify myself with the Supreme Lord and merge myself completely in Him. Then my body, completely passive, is nothing but a channel through which the Lord passes freely His forces and pours on all His Light, His Consciousness and His Joy, according to each one's receptivity."

"In the days when Sri Aurobindo used to give Darshan, before he gave it there was always a concentration of certain forces or of a certain realisation which he wanted to give people. And so each Darshan marked a stage forward; each time something was added. But that was at a time when the number of visitors was very limited."

"The Best way to express one's gratitude to the Divine is to feel simply happy."

"Forward, for ever forward! at the end of the tunnel is the light … at the end of the flight is the victory."

"What Sri Aurobindos' represents in the worlds' history is not a teaching, not even a revelation; it is a decisive action direct from the Supreme."

"Who have undertaken to achieve self-mastery, those who want to find the path that leads to the Divine, and those who aspire to consecrate themselves more and more completely to the Divine Work."

"Humanity is not the last rung of the terrestrial creation. Evolution continues and man will be surpassed. It is for each individual to know whether he wants to participate in the advent of this new species."

"I belong to no nation, no civilization, no society, no race, but to the Divine. I obey no master, no ruler, no law, no social convention, but the Divine. To Him I have surrendered all, will, life and self; for Him I am ready to give all my blood, drop by drop, if such is His will, with complete joy, and nothing in His service can be sacrifice, for all is perfect delight."

"At the beginning of my present earthly existence I was put into touch with many people who said they had a great inner aspiration, an urge towards something deeper and truer, but were tied down, subjected, slaves of that brutal necessity of earning their living, and that this weighed down upon them so much, took way so much of their time and energy that they could not engage in any other activity, inner or outer. I heard that very often."

"I was very young at that time, and always I used to tell myself that if ever I could do it, I would try to create a little world — Oh! quite a small one, but still — a small world where people would be able to live without having to be preoccupied by problems of food and lodging and clothing and the imperious necessities of life, to see if all the energies freed by this certainty of an assured material living would spontaneously be turned towards the divine life and inner realization."

"If ever I leave my body, my consciousness will remain with you."

"The Mother (Mirra), Richard and I were going somewhere. We saw Richard going down to a place from which rising was impossible, Then we found ourselves sitting in a carriage the driver of which was taking it up and down a hill a number of times, At last he stopped on the highest peak. Its significance was quite clear to us."

"She was standing near the staircase when Sri Aurobindo was going upstairs after lunch. Such unearthly beauty I had never seen — she appeared to be about 20 whereas she was more than 43 years old."

"The Mother taught by her manner and speech, and showed us in actual practice what was the meaning of disciple and master. .. It was the Mother who opened our eyes …"

"During those early days, she herself used to prepare a pudding. Of that pudding she would put aside a small quantity in a small dish; she would add a little milk to it and stir it with a spoon till it became liquid and consistent. She showed me how to do it and was particular that no grains should be left unmashed … And do you know for whom this part of the pudding was meant? For cats. Later on I learnt that they were not really cats but something more."

"There were no monks and ascetics here, no idols, recitations, devotional chanting and other forms of traditional Indian Ashram life. When we got into the building, we saw a number of people, all in simple and neat dresses, and some even in pants and coats, but no saints or sannyasis, no monks or mahants, no shaven heads … no preaching or prayers, no siksha or sermons."

"In her gait there was majesty, in her face a glowing grace and her eyes flashed gleams that pierced the darkness below and around. My gaze was fixed at the fairy-like figure whose beautiful face was radiating light and making the whole atmosphere so supernatural that she looked every inch an angel descending from Heaven."

"The Mother does not provide the Sadhaks with comforts because she thinks that the desires, fancies, likings, preferences should be satisfied — in Yoga people have to overcome these things. In any other Ashram they would not get one-tenth of what they get here … The first rule of Yoga is that the Sadhak must be content with what comes to him, much or little; if things are there, he must be able to use them without attachment or desire; if they are not he must be indifferent to their absence."

"… a means by which the sadhak might receive something from the Mother by an interchange in the material consciousness."

"It was a very important function every evening. It impressed me like a snatch of the Ancient Mysteries. The atmosphere was as in some secret temple of Egyptian or Greek times."

"Auroville (City of Dawn) is an experimental township in Viluppuram district in the state of Tamil Nadu, India near Puducherry in South India, whose stated purpose is to realize human unity in diversity … this town was a vision of The Mother from the Sri Aurobindo Ashram at Pondicherry. She envisioned an international town where unity will be celebrated and all will have a spiritual vocation."

"In 1964 the Mother launched the project of Auroville, the city of human unity, "the City of Dawn" named after Sri Aurobindo. It is a city for 50,000 inhabitants and is hailed by people from all over the world. In 1968, the foundation stone of Auroville was laid and the Mother read out the charter herself."

"Auroville (City of Dawn) is an experimental township in South India whose stated purpose is to realize human unity in diversity. It is a popular tourist destination, and has been described as a New Age metropolis conceived as an alternative exercise in ecological and spiritual living."

"Auroville wants to be a universal town where men and women of all countries are able to live in peace and progressive harmony, above all creeds, all politics and all nationalities. The purpose of Auroville is to realise human unity."

"The project of Auroville is to work for the advent of a progressive universal harmony."

"The first condition for living in Auroville is to be convinced of the essential unity of mankind and the will to collaborate in the material realisation of that unity. I believe in a progressive universal harmony and want to work for it."

"I am settled in France, and as for the rest of my history as a painter, it is bound up with the impressionistic group."

"Lighten your palette [his remark to Cézanne circa 1873, to encourage Cézanne to use bright colors], paint only with the three primary colours and their derivatives."

"Renoir is a great success on the Salon; I think he is 'launched'. All the better! It's a very hard life, being poor."

"What I have suffered you cannot imagine. But what I'm going through [circa 1878] now is even worse, much more so than when I was young.. ..because now I feel as if I have no future. Even so, if I had to do it again, I still think I wouldn't hesitate."

"The next day he [uncle Alfred] took me to hear the 'Concert Colonne' at the Chatelet. First we lunched and then went to the hall. There was a fine program! Schumann, Bizet (new to me), Berlioz (ditto). - I can scarcely express how I marveled at the Hamlet and Romeo et Juliette of Berlioz. - He belongs with Delacroix, with Shakespeare, he is of the same family, he has the mark of these men of genius. He is prodigious in movement, imagination, strangeness, vigor, delicacy, sense of contrast, he is terrible and suave."

"The ones [compliments] I value most came from Edgar Degas who said he was happy to see my work becoming more and more pure. The etcher Bracquemond, a pupil of Ingres, said - possibly he meant what he said - that my work shows increasing strength. I will calmly tread the path I have taken, and try to do my best. At bottom, I have only a vague sense of its rightness or wrongness. I am much disturbed by my unpolished and rough execution. I should like to develop a smoother technique which, while retaining the old fierceness, would be rid of those jarring notes which make it difficult to see my canvases clearly except when the light falls in front. There lies the difficulty - not to speak of drawing."

"I well remember that around 1874, Duret, who is above reproach, Duret himself said to me with all sorts of circumlocutions that I was on the wrong track, that everyone thought so, including my best friends.. .I admit that when alone, with nobody to prompt me, I reproached myself similarly, - I plumbed myself, - decision was terribly hard. - Should I, yes or no, persevere [or seek] another way? I concluded in the affirmative, I took into account the risks of the unknown, and I was right to stick."

"I am hard at work, at least I work as much as the weather permits. - I began a work the motif of which is the river bank in the direction of St. Paul's Church. Looking towards Rouen I have before me all the houses on the quays lighted by the morning sun, in the background the stone bridge, to the left the island with its houses, factories, boats, launches, to the right a mass of pinnaces of all colors.. .Yesterday, not having the sun, I began another work on the same motif in grey weather, only I looked more to the right [603]. I must leave you for my motif. I have a room on the street. I shall start on a view of the street in fog for it has been foggy every morning until eleven o'clock—noon. It should be interesting, the square in the fog, the tramways, the goings and comings.."

"The day after your departure I started a new painting at Le Cours-la-Reine, in the afternoon in a glow of sun, and another in the morning by the water below St. Paul's Church. These two canvases are fairly well advanced, but I still need one session in fine weather without too much mist to give them a little firmness. Until now I have not been able to find the effect I want, I have even been forced to change the effect a bit, which is always dangerous. I have also an effect of fog.. .Until now I have not been able to find the effect I want, I have even been forced to change the effect a bit, which is always dangerous. I have also an effect of fog, another, same effect, from my window, the same motif in the rain, several sketches in oils, done on the quays near the boats; the next day it was impossible to go on, everything was confused, the motifs no longer existed ; one has to realize them in a single session."

"I recognize fully that you do not draw well, my dear Lucien [his son, also painter]. I told you any number of times that it is essential to have known forms in the eye and in the hand. It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character."

"I have just concluded my series of paintings, I look at them constantly. I who made them often find them horrible. I understand them only at rare moments, when I have forgotten all about them, on days when I feel kindly disposed and indulgent to their poor maker. Sometimes I am horribly afraid to turn round canvases which I have piled against the wall; I am constantly afraid of finding monsters where I believed there were precious gems !.. .Thus it does not astonish me that the critics in London relegate me to the lowest rank. Alas! I fear that they are only too justified! - However, at times I come across works of mine which are soundly done and really in my style, and at such moments I find great solace. But no more of that. Painting, art in general, enchants me. It is my life. What else matters?"

"I brought Durand eight pictures, among them my 'Sunset' and the motif done from my window. They have been praised, but I find them poor, - tame, grey, monotonous, - I am not at all satisfied. - I am working with fury and I have finally discovered the right execution, the search for which has tormented me for a year. I am pretty sure I have it now, all I need is to spend this coming autumn in Rouen or in some other place where I can find striking motifs."

"The weather is superb except for a very keen wind which causes me to lose much time. - I am doing a portrait of your mother in pastel, it seems it is not adequate as a likeness, it is too old, too red, not fine enough, in short, it won't do. This surprises me not at all. You know that everyone accepts the one I made pretty obvious, but that is not much good either."

"Yesterday Sisley was looking for me everywhere. Madame Latouche told me that he wanted some information about the technique of painting fans. Well, this means my fans are spoken of.. .I only fear one thing: that they will finally say that's all I am good for! [fans!]"

"Yesterday I had a violent run-in with M. Eugene Manet on the subject of Seurat and Paul Signac. The latter was present, as was Guillaumin. You may be sure I rated Manet roundly. - Which will not please Renoir. - But anyhow, this is the point, I explained to M. Manet, who probably didn't understand anything I said, that Seurat has something new to contribute which these gentlemen, despite their talent, are unable to appreciate, that I am personally convinced of the progressive character of his art and certain that in time it will yield extraordinary results. Besides I am not concerned with the appreciation of artists, no matter whom. I do not accept the snobbish judgments of "romantic impressionists" to whose interest it is to combat new tendencies. I accept the challenge, that's all.."

"Durand likes my paintings, but not the style of execution. His son, the one who went to New York with him, saw them but has not said a word to me. - Durand prefers the old execution, however he grants that my recent paintings have more light - in short, he isn't very keen. My 'Grey Weather' doesn't please him; his son and Caseburne [Durand's cashier] also dislike it.. .It appears that the subject is unpopular. They object to the red roof and backyard just what gave character to the painting which has the stamp of a modern primitive, and they dislike the brick houses, precisely what inspired me.."

"I wish it to be thoroughly under stood that it is Mr. Seurat, an artist of great worth, who has been the first to conceive the idea of applying the scientific theory after making a profound study of it. I have only followed, like my confreres, the example set by Seurat."

"I saw Guillaumin. We went to look at my two latest paintings which were bought by Durand. All he said was 'there's no firmness in the foreground'. It was evening, we were seeing the paintings by gas-light, which neutralized the orange tones. As Seurat says, what they [the Impressionists]] look for is thick impasto; but at Clauzet's I saw a Guillaumin, also in the evening, and it looked made of tar, so much shellac was used at the base of this painting, which in my view is really old stuff; it must be admitted that he made an effort to tighten the design but then the harmonies are insignificant and lack logic - there is no drawing, there is a flurry of colors, but no modeling; it is one step from [w: Jules Dupré|Jules Dupreé]] - modernized."

"My theory has been to discover the modern synthesis by methods based upon science, methods based upon the theory of colors discovered by M. Chevreul, in conformity with the experiments of Maxwell and the measurements of N. 0. Rood; to substitute the optical mingling for the mingling of pigments; in other words, the decomposition of all the colors into their constituent elements; because the optical mingling excites much more intense luminosity than the mingling of pigments. As for the execution, we regard it as nothing; it is at any rate only unimportant, art having nothing to do with it. According to us, the sole originality consists in the character of the drawing and the vision individual to each artist."

"I will have to leave for Paris as soon as you return. I did two drawings [black on paper] with pen and in little dots - a 'Little Market' and a 'St. Martin (Pig dealers)'. It would be a good thing if I could sell them to some newspaper, that would bring us a few pennies.. .I still don't know what I am going to do, for Heymann seems completely indifferent. He probably knows my position and naturally is waiting for me to reduce my prices, just as Durand did last time.. .If we could place these we could get a few cents while waiting for this terrible month of January to pass.. .These drawings matted look very well."

"Bracquemond tells me that he looked attentively at my works at our exhibition. Far from objecting to them, as I expected, he said they were compactly drawn, and modeled, but he is shocked by the dots; he enjoined me to stick to divisionism but not to use the dot. - I said nothing to him of our experiments. He told me that of all the impressionist painters he liked my work best; this was not the first time he had said this; to each one his own taste. He does completely accept my view that the old disorderly method of execution has become impossible."

"This morning I received a letter from . He writes that he does not believe scientific research into the nature of color and light can help the artist, neither can anatomy nor the laws of optics. He wants to discuss these questions with me and find out my views. Now everything depends on how this knowledge is to be used. But surely it is clear that we could not pursue our studies of light with much assurance if we did not have as a guide the discoveries of Chevreul and other scientists. I would not have distinguished between local color and light if science had not given us the hint; the same holds true for complementary colors, contrasting colors, etc. 'Yes', he will tell me: 'but these have always been taken into account, look at Monet' It is at this point that the question becomes serious!"

"Tell [[w:Portrait of Père Tanguy |[Père] Tanguy]] to send me some paints. What I need most are ten tubes of white, two of chrome yellow, one bright red, one brown lac, one ultramarine, five Veronese green, one cobalt j I have on hand only one tube of white ... I expect to begin to paint again from nature, and I need the colors."

"I can quite understand the effort he is making; it is a very good thing not to want to go on repeating oneself. But he has concentrated all his attention on line; the figures stand out against each other without any sort of relationship, and so the whole thing is meaningless. Renoir is no draughtman, and without the lovely colours he used to use so instinctively, he is incoherent."

"I have had a long talk with Renoir. He admitted that the whole crowd – Durand and his former admirers – were shouting at him, deploring his attempt to abandon his 'Romantic' period. He seems very sensitive to what we think of his exhibition. I told him that as far as we were concerned, the search for unity should be the aim of every intelligent artist. – that even in spite of serious faults, it was more intelligent and artistic than wallowing in romanticism."

"P.S. If you happen to see Seurat or if you write to Signac, tell them that I have tried the mixture of cadmium (well recommended by Contet) , with red, white and Veronese green. It becomes black in four or five days from the Veronese green. Even blacker than the chrome yellow mixture. Tell this to Contet."

"I hope that with the help of van Van Gogh and Durand we will be able to emerge from this situation [selling nothing]. It seems to me that I deserve no less, since I have worked conscientiously. I do not believe that anyone could devote - if not more talent - more care and good will to the service of his art; it takes me hours of reflection to decide on the slightest detail. Is this impatience?.. .I think not! For I do not wish to make a brush stroke when I do not feel complete mastery of my subject, there's the rub - that is the great difficulty; without sensation, nothing, absolutely nothing valid.. .I believe I have hit my stride. I have begun a series of things which will really be in my style."

"I work mostly in the studio; as I mentioned several times, the leaves are burgeoning and change so rapidly that I have been unable to prepare a single sketch. I am making little watercolors and pastels, I think they will come out all right; in the studio I am preparing five or six canvases, I work on one after another, I am getting used to working that way."

"I think continually of some way of painting without the dot. I hope to achieve this but I have not been able to solve the problem of dividing the pure tone without harshness.. .How can one combine the purity and simplicity of the dot with the fullness, suppleness, liberty, spontaneity and freshness of sensation postulated by our impressionist art? This is the question which preoccupies me, for the dot is meager, lacking in body, diaphanous, more monotonous than simple, even in the Seurat's, particularly in the Seurat's [paintings].. .I'm constantly pondering this question, I shall go to the Louvre to look at certain painters who are interesting from this point of view. Isn't it senseless that there are no Turners [here].."

"[ Seurat's pointilist style ].. ..inhibits me and hinders the development of spontaneity of sensation."

"I don't know what to write Feneon about the theory of 'passages'. I will write him what seems to me to be the truth of the matter, that I am at this moment looking for some substitute for the dot [which was the 'heart of [w:Neo-Impressionism|Neo-Impressionist]] painting]; so far I have not found what I want, the actual execution does not seem to me to be rapid enough and does not follow sensation with enough inevitability, but it would be best not to speak of this. The fact is I would be hard put to express my meaning clearly, although I am completely aware of what I lack."

"I began to understand my sensations, to know what I wanted, at around the age of forty.. ..but only vaguely. At fifty, that is in 1880, I formulated the idea of unity, without being able to render it. At sixty, I am beginning to see the possibility of rendering it."

"Each one of us [artists] has several facets. The surface often appears more important than what is inside, hence the errors of those who judge carelessly. How many times has that not happened to me! The surface is often complete in some people from the very beginning, but not the possession of their own sensations. From this come errors. Some natures achieve the surface very slowly j this is the least danger an artist runs. So one should not think of the surface or the appearance, but concentrate on what is inner!"

"What I dislike is that he [= Paul Gauguin ] copied these elements from the Japanese, the Byzantine painters and others. I criticize him for not applying his synthesis to our modern philosophy which is absolutely social, anti-authoritarian and anti-mystical. - There is where the problem becomes serious. This is a step backwards; Gauguin is not a seer, he is a schemer.. .The symbolists also take this line! What do you think? They must be fought like the pest!"

"Here I have been able to make some good spring studies in oils, and managed to finish my 'Cow-girl' and my 'seared Woman', and my 'London Park', Primrose Hill. I think these pictures have improved a great deal from the point of view of unity. How different from the studies! I am more than ever in favour of taking one's impression from memory; it is less the actual thing - vulgarity disappears, leaving only an aura of truth glimpsed, sensed. To think that this is not understood, so that my anxiety for the future continues as before, despite the success of the exhibition. – I have no news from Paris about my collectors."

"One can do such lovely things with so little. Subjects that are too beautiful end by appearing theatrical – take Switzerland, for example. Think of all the beautiful little things Corot did at Gisors; two willows, a little water, a bridge, like the picture in the Universal Exhibition. What a masterpiece!.. .Everything is beautiful, all that matters is to be able to interpret."

"..I saw Gauguin; he told me his theories about art and assured me that the young [artists] would find salvation by replenishing themselves at remote and savage sources. I told him that this art did not belong to him, that he was a civilized man and hence it was his function to show us harmonious things. We parted, each unconvinced. Gauguin is certainly not without talent, but how difficult it is for him to find his own way! He is always poaching on someone's ground; now he is pillaging the savages of Oceania."

"The weather today is frightful, rain and wind. You must be having the same at Epping; it's a pity. It had been so fine for the last few days and I had begun to grind away from nature. This is infuriating, for it's the loveliest time of the year, September and October. I can't stand the summer any more, with its heavy, monotonous green, its dry distances where everything can be seen, the torment of the great heat.. .Artistic sensations revive in September and October, but then it rains and blows!"

"It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.. .So much the better if it is painful for you to take even the first step, the more toilsome the work, the stronger you will emerge from it.. .I repeat, guard against facility."

"Work at the same time upon water, sky, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression."

"Don't be afraid of putting on color, refine the work little by little. Don't proceed according to rules and principles, but paint what you observe and feel.. .One must have only one master – nature; she is the one always be consulted."

"advice to a young painter, (1896); as quoted in Painting Outside the lines, Patterns of Creativity in Modern Art, ed. David W. Galenson, Harvard University Press, 30 Jun 2009, pp. 84-85, note 40."

"Look for the kind of nature that suits your temperament. The motif should be observed more for shape and color than for drawing. There is no need to tighten the form which can be obtained without that. Precise drawing is dry and hampers the impression of the whole, it destroys all sensations. Do not define too closely the outlines of things; it is the brushstroke of the right value and color which should produce the drawing. In a mass, the greatest difficulty is not to give the contour in detail, but to paint what is within. Paint the essential character of things, try to convey it by any means whatsoever, without bothering about technique.—When painting, make a choice of subject, see what is lying at the right and what at the left, and work on everything simultaneously. Don't work bit by bit but paint everything at once by placing tones everywhere, with brushstrokes of the right color and value, while noticing what is alongside. Use small brushstrokes and try to put down your perceptions immediately. The eye should not be fixed on one point, but should take in everything, while observing the reflections which the colors produce on their surroundings. Work at the same time upon the sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Cover the canvas at the first go, then work at it until you can see nothing more to add. Observe the aerial perspective as well, from the foreground to the horizon, the reflection of the sky, of foilage. Don't be afraid of putting on color, refine the work little by little.—Don't proceed according to rules and principles, but paint what you observe and feel. Paint generously and unhesitatingly, for it is best not to lose the first impression you feel. Don't be timid in front of nature: one must be bold, at the risk of being deceived and making mistakes. One must have only one master—nature; she is the one always to be consulted."

"Sisley, I hear, is seriously ill. He is a great and beautiful artist, in my opinion he is a master equal to the greatest. I have seen works of his of rare amplitude and beauty, among others an 'Inundation' [in the Camondo collection], which is a masterpiece."

"Decidedly, we are at cross-purposes. What's all this you tell [from England] about the modern movement, commercialism, etc, etc? It bears no relation to our concept of art, at any rate here.. .That is where the error lies. Trade serves those up to us as readily as anything else; so it is no use. Wouldn't it be better to steep ourselves in genuine nature again? I do not consider in the least that we are making a mistake, that we should turn to the steam-engine and follow the general public [ William Morris, the more traditional artist became very popular those days].. .No, a thousand times no! We are here to point the way.. ..the remedy is to be found in nature, more than ever. Let us follow what we consider to be the proper aim, we shall see who is right. After all, money is a fragile thing; let us earn some of it, since we must, but let us keep to our role."

"This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method.. .He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of , Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude."

"Work is a wonderful regulator of mind and body. I forget all sorrow, grief, bitterness, and I even ignore them altogether in the joy of working."

"Never paint except with the three primary colors [red, blue, and yellow] and their derivatives."

"Pisarro explained the Neo-Impressionist theories to his dealer Durand-Ruel in a letter written towards the end of 1886. He stressed the importance of Seurat's role as inventor of the theory, and described the new function of colour, which replaced the mechanical mixtures of pigments with optical mixtures, where colours partially fused in the spectator's eye. The component parts of each optical colour mixture were to be painted in separate touches so that they retained their colour purity. When colours were mixed on the palette, they could only be combined with close neighbors on the colour circle, so as to avoid excessive dulling of the hues. Pissaro noted that the great colour theorists who had influenced Seurat's thinking were Chevreul, the Scott Maxwell, and the American Ogden Rood. Optical colour mixtures, they argued, were more luminous than mixed pigments."

"If I dared, I should say that your letter is imprinted with sadness. The picture business isn't going well; I fear that your morale may be colored a little grey, but I'am sure that it's only a passing phase.. .I imagine that you would be delighted with the country where I am now.. ..in L'Estaque, by the sea.."

"I've started two little motifs of the sea, for Monsieur Chocquet [one of them became his painting 'The Sea at L'Estaque'], who had talked to me about it. It's like a playing card. Red roofs against the blue sea.. .There are the olive trees and the pines that always keep their leaves. The sun is so fierce that objects seem to be silhouetted, not only in black or white, but in blue, red, brown, violet. I may be wrong, but this seems to be the very opposite of 'modeling' How happy the gentle landscapists of Auvers would be here, and that [con, or 'bastard'?] Guillemet."

"That is why, perhaps, all of us derive Pissarro. He had the good luck to be born in the West Indies, where he learned how to draw without a teacher. He told me all about it. In 1865 he was already cutting out black, bitumen, raw sienna and the ocher's. That's a fact. Never paint with anything but the three primary colours and their derivatives, he used to say me. Yes, he was the first Impressionist."

"It's like Impressionism. They all do it at the Salons. Oh, very discreetly! I too was an Impressionist. I don't conceal the fact. Pissarro had an enormous influence on me. Bit I wanted to make out of Impressionism something solid and lasting like the art of the museums."

"Until the war, as you know, my life was a mess. I wasted it. It was only at l'Estaque, (1870-1871) when I thought things over, that I really understood Pissarro, a painter like myself.. .He was a determined man. I was overcome by a passion for work. It wasn't that I hadn't been working before, I was always working. But what I always missed, you know, was a comrade.."

"M. Camille Pissarro has painted a field bathed in sunlight, whose forms, colors and reflections are admirably synthesized. It is more field than any field we have ever seen. We cannot understand what interest the brutal paintings of M. Claude Monet and the simplicist works of M. Renoir can have. Both these artists have taken the wrong path."

"The impressionist paintings of Manet, Cezanne and Monsieur Degas, express with exemplary sincerity the new sensations, the new world our eyes experience. Now here the successors to these artists [ Seurat & Pissarro] are trying to perfect the forms created by them. They found in the notes of Delacroix, in the scientific discoveries of Chevreul and Rood, the suggestion for a type of painting in which color impressions are ordered by the combining of little multi-colored brush strokes. But while they were attentive to such improvement of the means, they forgot the true end of art, the sincere and complete expression of vivid sensations. The works of these painters - Pissarro and Seurat are the most notorious - are interesting only as the exercises of highly mannered virtuosos. Their paintings are lifeless for the painters did not strive for sincerity, being too taken up with external formulas."

"If we observe the totality of Pissarro' s works, we find there, despite the fluctuations, not only an extreme artistic will which never lies, but what is more, an essentially intuitive pure-bred art.. .He looked at everybody, you say! Why not? Everyone looked at him, too, but denied him. He was one of my masters and I do not deny him."

"There is M. Camille Pissarro, who has some very ardent admirers, and yet who is very foreign to me.. .It seems to me that he admits lines and masses that a stricter taste would alter or avoid, and that he includes objects that a more scrupulous artist would reject.. .He does not seem to care whether the line of shore is beautiful or not, and he has so little objection to ugly objects that in one of his pictures the tower of a distant cathedral is nearly obliterated by a long chimney and the smoke that issues from it, whilst there are other long chimneys close to the cathedral, just as they might present themselves in a photograph. By this needless degree of fidelity, M. Pissarro loses one of the great advantages of painting."

"[Pissarro]... who was not thinking of posing as a revolutionist and who was tranquilly working in Corot's style."

"Great as was my wonderment, it was tenfold increased on discovering that only six of these pictures were painted by the new man, Seurat, whose name was unknown to me; the other five were painted by my old friend Pissarro.. .The pictures were hung low, so I went down on my knees and examined the dotting in the pictures signed Seurat, and the dotting in those that were signed, Pissarro. After a strict examination I was able to detect some differences, and I began to recognize the well-known touch even through this most wild and most wonderful transformation. Yes, owing to a long and intimate acquaintance with Pissarro and his work, I could distinguish between him and Seurat, but to the ordinary visitor their pictures were identical."

"Your mother asks me to write to you to come and have dinner with us today. Because this is the evening when we celebrate 'la fete de Kipur' and on this solemn occasion the whole family should be together – and tomorrow not work, we should pass that day together."

"What dreadful weather always raining the poor flowers were hardly open when the rain killed them our big red poppies didn't even have time to appear before they disappeared and the roses, poor roses it's so sad and what mud, impossible to put your feet out of doors. ..it's so cold that the asparagus haven't come out, nor have the peas or the beans I planted. Most of them have rotted I'll have to plant them all over again. Luckily we are not ready to eat them yet, by the grace of God. Write to us and tell me what you are doing."

"It was then [c. 1873], as I remember that Paul Cézanne began to paint with vertical divisions and Papa adopted the long brush to paint in little comma's. A peasant who had watched them side by side at Auvers, remarked that 'M. Pissarro at working, made little stabs at the canvas ('il piquait'), and M. Cézanne laid on the paint like plaster ('il plaquait')."

"Pissarro wants to achieve delicacy by means of adjustments of nearly like tones; he keeps from juxtaposing two distant tones and does without the vibrant note which such contrast gives, but strives on the contrary to diminish the distance between two tints by introducing into each one of them intermediate elements which he calls 'passage'. But the neo-impressionist technique is based precisely on this type of contrast, for which he feels no need, and on the violent purity of tints which hurts his eye. He has kept of divisionism only the technique, the little dot, whose raison d'etre is exactly that it enables the transcription of this contrast and the conservation of this purity. So it is easy to understand why he [Pissarro] gave up this means, insufficient as it is by itself."

"Van Gogh] felt a growing desire to see the paintings by the impressionists of which Theo spoke so often in letters. He also began to be preoccupied by the problems of simultaneous contrast and complementaries, which formed the basis of Seurat's theories. ...Theo took it upon himself to introduce his brother to the painters with whom he had dealings. ...Van Gogh's work had hitherto been very dark, with scarcely any color, and he was at first bewildered by the rich coloring and the light which he discovered in the impressionist pictures. But when Pissarro explained to him the theory and technique of his own paintings, van Gogh began to experiment and immediately took to the new ideas with great enthusiasm. He completely changed his palette and his execution, even adopting for a while the neo-impressionist dot, although he used it without systematic ."

"While he warned his friends to avoid the influence of Gauguin, van Gogh and the neo-impressionists, Cézanne liked to speak of his former comrades, praising Renoir and especially Monet, evoking with particular tenderness the "humble and colossal" Pissarro. When he was invited by a group of Aix artists to exhibit with them in 1902 and again in 1906, Cézanne—now over sixty and acclaimed by the new generation as their undisputed leader—piously affixed to his name: pupil of Pissarro. Pissarro never learned of this tribute, just as he never learned that Gauguin, in spite of his sarcasm and longing for independence, had remained conscious of his debt of gratitude."

"It's still misery for - may I say it? - us other impressionists. I tried the overdoors again at Mme. Boivin's, but she says it is her husband and he says it is she who does not want them [buying Pissarro's paintings], even after having read your letter, he did not want me to hang a painting very high so that he might judge the effect. Thus I can do only one thing, which is to send you the enclosed 500 francs in advance on the business that we will do.. .When Miss Rogers comes, I shall show her all my paintings [of Pissarro]. . ..he must buy a painting of yours and not the least expensive. She ought to be able to afford a fine painting at the customary price and she must not let us down. Best regards from me and my wife, also to Mme. Pissarro. When you have something new, let me know."

"Try telling M. Pissarro that trees are not purple, or the sky the colour of butter; that the things he paints cannot actually be seen anywhere in nature.. ..try to explain to M. Renoir that a woman's torso is not a rotten mass of flesh, with violet-toned green spots all over it, indicating a corps in the final stage of decay."

"This [painting, Jalais Hill, Pontoise] is the modern countryside. One feels that man has passed by, turning and cutting the earth.. .And this little valley, this hill have a heroic simplicity and forthrightness. Nothing would be more banal were it not so grand. From ordinary reality the painter's temperament has drawn a rare poem of life and strength."

"[Pissarro is] one of the three of four great painters of the time. He possesses solidity and breadth of touch, he paints handsomely, following tradition, like the masters."

"I’m becoming daily more and more misanthropic and misogynous…nothing worthwhile, good or useful to do… no one to devote myself to. My situation makes me horridly sad and wretched. Even musical production has lost its attraction for me for I can’t see the point or goal."

"Alkan possessed the finest technique he had ever known, but preferred the life of a recluse."

"I AM NOTHING.Nothing but a pale shape."

"And that these directories and yearbooks constituted the most valuable and moving library you could imagine, as their pages listed people, things, vanished worlds , to which they alone bore witness."

"She committed suicide... "Why?" "She often told me, she was frightened of getting old.""

"We passed the Gardens and turned down Avenue de New York. There, under the embankment trees,I had the unpleasant sensation that I was dreaming.I had already lived my life and was just a ghost hovering in the tepid air of Saturday evening. Why try to renew ties which had been broken and look for paths that had been blocked off long ago? And the plump, moustachioed little man, walking beside me, hardly seemed real."

"You should never marry a lot younger than you...never....it never works ...there is not a single case of its working.."

"Hutte, for instance , used to quote the case of a fellow he called "the beach man ". This man had spent forty years of his life on beaches or by the sides of swimming pools, chatting pleasantly with summer visitors and rich idlers. He is to be seen, in his bathing costume, in the corners and backgrounds of holiday snaps, among groups of happy people, but no one knew his name and why he was there. And no one noticed when one day he vanished from the photographs. I did not dare tell Hutte, but I felt that " the beach man " was myself . Though it would not surprised him if I had confessed it. Hutte was always saying that, in the end, we we're all " beach men " and that the sand keeps the traces of our footsteps only a few moments ""

"There are moments when we are incapable of exchanging a single word with anybody…it’s beyond us…"

"Has a biographer the right to suppress certain details under the pretext that he considers them superfluous? Or do they all have their importance, and must he present them one after the other, impartially, so that not a single one is left out, as in the inventory of a distraint? Unless the line of life, once it has reached its term, purges itself of all its useless and decorative elements. In which case, all that remains is the essential: the blanks, the silences and the pauses."

"He (Rigaud) the unpleasant impression that he was returning to his point of departure, to the scene of his unhappy childhood, and that he was sensing the invisible presence of his mother, just when he had managed to forget the wretched woman: all his memory of her were unpleasant. And r once again he would have to remain a prisoner in the garden for hours upon hour …the thought made him shiver. The war was playing a dirty trick on him in forcing him to return to the prison that had been his childhood, from which he had escaped so long ago. Reality was now resembling the nightmares he regularly had: it was the beginning of new term in the school dormitory….."

"From one moment to another one can lose heart."

"Circumstance and settings are of no importance. One day this sense of emptiness and remorse submerges you. Then , like a tide, it ebbs and disappears. But in the end it returns in force, and she couldn’t shake it off. Nor could I?"

"I've never been good at saying no."

"But topographical details have a strange effect on me : instead of clarifying and sharpening images from past , they give me a harrowing sensation of emptiness and severed relationships."

"When you are young , you neglect certain details that might become precious later."

"A photograph can express silence."

"Of all the punctuation marks; he told me ellipses were his favorites."

"Certain coincidences risk passing unnoticed; certain people have appeared in our lives on several occasions without our realizing it."

"Rue Froidevaux seemed to go on forever, as if the distances stretched to infinity."

"He thought a photograph was nothing; that he should blend into the surroundings and become invisible, the better to work and capture –as he said natural light. One shouldn’t even hear the click of Rolleiflex. He would have liked to conceal his camera. The death of his friend Robert Capa could in fact be explained, as he saw it, by this desire, the giddiness of blending into the surrounding once and for all."

"All that would remain of me would be the raincoat I’d been wearing, rolled on a bench."

"But I wasn’t quite sure how to spell ‘ Cartaud, and I found listings for Cartau, Cartaud , Cartault , Cartaux, Carteau, Carteaud, Carteaux, (34 )"

"Ever since my childhood, I had seen my father carrying so many bags- suitcases with false bottoms , leather satchels or overnight bags, even those black briefcases that gave him a false air of repectability…. And I never knew just what was in them. ( 52 )"

"I was always amazed when people were kind to us."

"I was responsible to no one, I had no need mumble excuses or lies. I would become someone else and my metamorphosis would be so complete that no one I’d met over the past fifteen years would be able to recognize me. (116)"

"Then again, the term “Jew” meant nothing to the fourteen-year-old Dora. When it came down to it, what did people understand by the term “Jew”? For himself, he never gave it a thought. He was used to being put into this or that category by the authorities. Unskilled labourer. Ex –Austrian. French legionnaire. Non- suspect. Ex-serviceman 100% disabled. Foreign statute labourer. Jew."

"This feeling of not belonging to the same sensation which grips you in a dream, you find yourself walking through an unfamiliar district. On waking you realize, little by little, that the pattern of its streets had overlaid with the one with which, in day time, you are familiar."

"Like many writers before me, I believe in coincidence and, sometimes, in the novelist’s gift for clairvoyance- the word gift not being the right one, for it implies a kind of superiority. Clairvoyance is simply the part of profession: the essential leaps of imagination, the need to fix one’s mind on detail-to the point of obsession, in fact, so as not to lose the thread and to give in one’s natural laziness. All the, is tension, this cerebral exercise may well lead in the long run to “flashes of intuition concerning events past and future” , as defined by Larousse dictionary under “clairvoyance”."

"What makes us decide to run away? I remember my own flight on 18 January 1960…. . A calm ordinary winter, not to be compared with that eighteen years earlier. But it seems that the sudden urge to escape may be prompted by one of those cold, grey days which makes you more than ever aware of your solitude, intensifying your feeling that a trap is about to close."

"Perhaps it was one of those mild, sunny winter days when you have a feeling of holiday and eternity- the illusion that passage of time is suspended, and that you need only slip through this breach to escape the trap which is closing around you."

"Such photographs exist in every family. They were caught in a few seconds, the duration of the exposure, and these second have become an eternity."

"Why, one wonders, does lightning strike in one place rather than another?"

"Fredo Lampe. Am Rande Der Nacht. For me, name and title evoked those lighted windows from which you cannot tear your gaze. You are convinced that, behind them, somebody whom you have forgotten has been awaiting your return for years, or else that there is no longer anybody there. Only a lamp, left burning in the empty room."

"Children are liable to expect more from life than their parents, and faced with adversity their reaction is more violent. They go farther, much farther than their parents, and, thereafter, their parents are unable to protect them."

"The sign had been put up out of suspicion and a guilty conscience: “Military zone. Filming or photography prohibited"."

"Ever since, the Paris wherein I have tried to retrace her steps has remained as silent and deserted as it was on the day. I walk through empty streets. For me, they are always empty, even at dusk, during the rush hour, when the crowds are hurrying towards the mouth of metro. I think of her in spite of myself, sensing an echo of her presence in this neighbourhood or that. The other evening, it was near the Gare du Nord."

"I shall never know how she spent her days, where she hid, in whose company she passed the winter months of her first escape, or the few weeks of spring when she escaped for the second time. That is her secret. A poor and precious secret which not even the executioners the decrees, the occupying authorities, the Depot, the barracks, the camps, history, time – everything that corrupts and destroys you- have been able to take away from her."

"A novelist has more talent for written than oral assignments."

"His speech is hesitant because he is used to crossing out his words. It is true that after several redrafts, his style may be crystal clear. But when he takes the floor, he no longer has any means at his disposal to correct his stumbling speech."

"Writing is a strange and solitary activity."

"A novelist's lack of awareness of and critical distance to his own body of work is due to a phenomenon that I have noticed in myself and many others: as soon as it is written, every new book erases the last one, leaving me with the impression that I have forgotten it. I thought I was writing books one after the other in a disjointed way, in successive bouts of oblivion, but often the same faces, the same names, the same places, the same phrases keep coming back in book after book, like patterns on a tapestry woven while half asleep. While half asleep or while daydreaming. A novelist is often a sleepwalker, so steeped is he in what he must write, and it is natural to worry when he crosses the road in case he is run over. Do not forget, though, the extreme precision of sleepwalkers who walk over roofs without ever falling off."

"I always think twice before reading the biography of a writer I admire. Biographers sometimes latch onto small details, unreliable eyewitness accounts, character traits that appear puzzling or disappointing – all of which is like the crackling sound that messes with radio transmissions, making the music and the voices impossible to hear. It is only by actually reading his books that we gain intimacy with a writer. This is when he is at his best and he is speaking to us in a low voice without any of the static."

"With the passing of the years, each neighbourhood, each street in a city evokes a memory, a meeting, a regret, a moment of happiness for those who were born there and have lived there. Often the same street is tied up with successive memories, to the extent that the topography of a city becomes your whole life, called to mind in successive layers as if you could decipher the writings superimposed on a palimpsest. And also the lives of the thousands upon thousands of other, unknown, people passing by on the street or in the Métro passageways at rush hour."

"You can lose yourself or disappear in a big city. You can even change your identity and live a new life. You can indulge in a very long investigation to find a trace of malice, starting only with one or two addresses in an isolated neighbourhood. I have always been fascinated by the short note that sometimes appears on search records: Last known address. Themes of disappearance, identity and the passing of time are closely bound up with the topography of cities. That is why since the 19th century, cities have been the territory of novelists, and some of the greatest of them are linked to a single city: Balzac and Paris,Dickens and London, Dostoyevsky and Saint Petersburg, Tokyo and Nagai Kafū, Stockholm and Hjalmar Söderberg."

"A little stallion gallops across the leafing fingers- Black the gate leaps open, I sing; How did we live here?"

"Aspen tree, your leaves glance white into the dark."

"We stand by the window embracing, and people look up from the street: it is time they knew! It is time the stone made an effort to flower, time unrest had a beating heart. It is time it were time.It is time."

"You opened your eyes -I saw my darkness live. I see through it down to the bed; there too it is mine and lives."

"Am I not the poet of witness? Am I not a disciple of Nellie Sachs and Paul Celan trying to describe the horrors of the Holocaust, meanwhile inventing a new lyric, which questions the possibility/impossibility of poetry after the most heinous episodes of history?"

"To discover something in mathematics is to overcome an inhibition and a tradition. You cannot move forward if you are not subversive."

"Trotskyism gave me … a remarkable education, clearly more advanced and sophisticated than that of most youngsters of my age. But by the extremism and sectarianism of its ideas, and by its stereotyped language, it neutralised me during the occupation. My judgment remains extremely severe on my own actions as well as those of the majority of the Trotskyist party during that period."

"I have always thought that morality in politics was something essential, just like feelings and affinities."

"I was always deeply uncertain about my own intellectual capacity; I thought I was unintelligent. And it is true that I was, and still am, rather slow. I need time to seize things because I always need to understand them fully. Even when I was the first to answer the teacher's questions, I knew it was because they happened to be questions to which I already knew the answer. But if a new question arose,usually students who weren't as good as I was answered before me. Towards the end of the eleventh grade, I secretly thought of myself as stupid. I worried about this for a long time. Not only did I believe I was stupid, but I couldn't understand the contradiction between this stupidity and my good grades. I never talked about this to anyone, but I always felt convinced that my imposture would someday be revealed: the whole world and myself would finally see that what looked like intelligence was really just an illusion. If this ever happened, apparently no one noticed it, and I’m still just as slow. (...)At the end of the eleventh grade, I took the measure of the situation, and came to the conclusion that rapidity doesn't have a precise relation to intelligence. What is important is to deeply understand things and their relations to each other. This is where intelligence lies. The fact of being quick or slow isn't really relevant. Naturally, it's helpful to be quick, like it is to have a good memory. But it's neither necessary nor sufficient for intellectual success."

"Mathematics, politics and butterflies were the three great loves of Laurent Schwartz."

"Schwartz never offered blind allegiance to Left or Right. Above all he was, in his own words, a man who hated to see systems not working properly."

"Although I am not a legalist when it comes to the conquest of power, I am one when it comes to the exercise of power. If parliamentary processes result in our being called upon to exercise power within the framework of existing institutions, we should do so legally and fairly without taking advantage of our presence in government to fraudulently transform the exercise of power into the conquest of power."

"What the Nationalists are once again trying to revive is the state of mind, or rather, the passions of 1912–13... Hitler to-day is miles away from power. He may be a little nearer it than, say, Franklin-Bouillon, but he is infinitely farther away from it than General Boulanger on the night of 27th January, 1889, or than Paul Déroulède on the day of Félix Faure's funeral."

"Only now do I understand the harm done our nation's best interests by the rebuff administered to Poincaré's policy in 1924."

"In all this rallying of the forces which stand for peaceful and tolerant solutions of world problems, M. Blum has rendered a high personal service. Indeed, it was not in the power of any other Frenchman at this particularly juncture in the life of France or of Europe to do so much for the common good."

"By 1937 France's Prime Minister Léon Blum had embraced the notion that concessions to Germany in both Eastern Europe and overseas were necessary if peace were to be preserved. But Chamberlain had little confidence in the French and did practically nothing to make joint Anglo-French action effective. The Soviet Union was viewed with revulsion by most Conservatives, Chamberlain among them, on ideological grounds. Even Churchill found it hard to contemplate having Moscow in his grand alliance, though that was clearly a logical inference to be drawn from his own analysis of the situation. Much hope was pinned on Mussolini, who in 1934 had appeared to take a firm line against an abortive Nazi putsch in Vienna; this was to exaggerate Italy's strength and to underestimate Mussolini's desire to overturn the status quo, which he revealed when he invaded Abyssinia and ignored all inducements to negotiate a settlement. The 1935 'Stresa Front' of Britain, France and Italy proved to be just that: a front. When Italy defected, Britain and France could not agree what to do first: get Mussolini out of Abyssinia or keep Hitler out of the Rhineland. They did neither. This pattern of Anglo-French mal-coordination, not helped by the divergence of domestic politics in the two countries when France briefly had a Popular Front government, was to continue until the outbreak of war."

"What interested me in Blum as a Jew was precisely that: the hatred he aroused. We find it hard today even to imagine the degree of overt, unapologetic prejudice and dislike that someone like Blum could inspire in those years, primarily and simply on account of his Jewish origin. On the other hand Blum himself was often deaf to the scale and implications of public anti-Semitism and its invocation against him. There was, of course, a certain ambivalence in Blum’s own identity: unashamedly and totally French, he was no less overtly and proudly Jewish. In later years he combined great sympathy for the newborn Jewish state in the Middle East with near indifference to the Zionist message itself. These ostensibly incompatible identifications and enthusiasms were perhaps not so far from my own at various times, which may explain my long-standing interest in the man."

"On a personal level, it turns out that Blum was, in an unusual sort of way, charismatic. He was so obviously honest, so manifestly meant what he said, so clearly wasn’t trying to be anything other than he was, that he was actually quite appealing and accepted on his own terms. His style—which to us would seem rather romantic and a bit elegantly over-polished for political use, especially on the left—was actually regarded as evidence that the Left had a leader of class. And of course one deeply hated by communists, on the one hand, and the French right on the other. Blum was also the only person who understood what his party, the Socialist Party, had to do to remain a political force in France. If socialists abandoned Marxism and tried to become a sort of social democratic party on the northern European model, they would simply blend into the existing Radical party, with whose social base they had much in common. On the other hand, socialists could not compete with the communists as a revolutionary, anti-system party. And so Blum walked a narrow path between pretending to lead a revolutionary party committed to the overthrow of capitalism, while functioning in practice as the nearest thing France had to a social democratic party."

"[H]e was converted by Jaurès to Socialism, became his most faithful disciple and succeeded him as leader. Along with his intellectual distinction, his idealism and his personal probity, Blum took over some of Jaurès' worst illusions. If anything, Blum was even more of a pacifist, more bent on disarmament; he placed an equal trust in German Social Democracy—with less reason, for there was the experience of the war and post-war Germany to learn from. He exemplified and encouraged by his leadership and his undoubted intellectual distinction all the illusions endemic in social democracy. There was no danger, he said, from the Fascists: he was badly beaten up in the streets of Paris to prove the worthlessness of his illusions. Hitler was miles away from power, he said, in 1930: Hitler was in complete possession of power in 1933. Blum and the Socialists had opposed the raising of Army service from one to two years, an indispensable measure of defence: he and they lived to regret the gap in French defences in 1940. And yet Blum was a noble man, as Jaurès had been before him."

"[About the trauma of the cows when they are separated from their calves] By proceeding in this manner, you empty the world of both the mother and the very young animal; you provoke extremely intense suffering, true despair. These are not nociceptive pathways that are stimulated here, but mental representations that are affected. Both cow and calf have been deprived of what made sense for them."

"A spectre is haunting Europe - the spectre of student revolt. All the powers of old Europe have entered into a holy alliance to exorcize this spectre : Pope and Central Committee, Kissinger and de Gaulle, French Communists and German police-spies."

"On reading Trotsky's History of the Russian Revolution we are struck by a fundamental contradiction: as an honest historian he shows us just how much the Party lagged behind the masses, and as a Bolshevik theorist he must reaffirm that the Party was necessary for the succession of the revolution."

"What is the future? We cannot produce a blueprint, the future alone can evolve that. What we must agree on, rather are the general principles of the society we want to create. The politicians tell us we live in age of technological miracles. But it is up to us to apply them to a new society, to use the new media so as to gain greater mastery over the environment. While people today simply watch televisions a surrogate for the lives they have ceased to live; in the new society they will use it as a means of widening their experience, of mastering the environment and of keeping in touch the real lives of other people. If television programmes they induce the maximum hypnosis in the greatest numbers, they would enable us to extend the real democracy to the entire population."

"... In the case of ordinary differential equations, the arbitrary elements being numerical parameters, we have to determine them by an equal number of numerical equations, so that, at least theoretically, the question may be considered as solved, being reduced to ordinary algebra; but for partial differential equations, the arbitrary elements consist of functions, and the problem of their determination may be the chief difficulty in the question. ..."

"In the case of partial differential equations employed in connection with physical problems, their use must be given up in most circumstances, for two reasons: first, it is in general impossible to get the general solution or general integral, and second, it is in general of no use even when it is obtained."

"Just after the discovery of infinitesmal calculus, physicists began by needing only very simple methods of integration, the problems in general reducing to elementary differential equations. But when higher partial differential equations were introduced, the corresponding problems almost immediatelly proved to be far above the level of those which contemporary mathematics could treat."

"We are going to speak of the role of analysis situs in our modern mathematics. This theory is also called the geometry of situation. It is the study of connection between different parts of geometrical configurations which are not altered by any continuouse deformation. For instance, a sphere and a cube are considered as one and the same thing from the point of view of the geometry of situation, because one can be transformed into the other without separating parts, or uniting parts which formerly were separated."

"... Let a perturbation be produced anywhere, like sound; it is not immediately perceived at every other point. There are then points in space which the action has not reached in any given time. Therefore the wave, in that sense a surface, separates the medium into two portions (regions): the part which is at rest, and the other which is in motion due to the initial vibration. These two portions of space are contiguous. It was only in 1887 that Hugoniot, a French mathematician, who died prematurely, showed what the surface of the wave can be; and even his work was not well known until Duhem pointed out its importance in his work on mathematical physics."

"The systematic study of the singularities of analytic functions was begun by Hadamard. In 1901, a very valuable account of his own investigations together with those of other early workers, as Fabry, Leau, LeRoy, Borel and others, was presented by Hadamard in his now classic little book La Série de Taylor et son Prolongement Analytique published in the Collection Scientia (No. 12)."

"... Professor Hadamard concludes that the general pattern of invention, or, as it might also be put, of original work, is three-fold : conscious study, followed by unconscious maturing, which leads in turn to the moment of insight or illumination. Thereupon another period of conscious work ensues, the purpose of which is to achieve a synthesis of several elements: the novel idea, its logically deduced consequences including proof, and the traditional knowledge to which the new item is added."

"All those who were acquainted with Hadamard know that until the end of his very long life, he retained an extraordinary freshness of mind and character: in many respects, his reactions remained those of a fourteen-year-old boy. His kindness knew no bounds. The warmth with which Hadamard received me in 1921 eliminated all distance between us. He seemed to me more like a peer, infinitely more knowledgeable but hardly any older; he needed no effort at all to make himself accessible to me."

"Without the Talmud, we would not be able to understand passages in the Bible ... God has handed this authority to the sages and tradition is a necessity as well as scripture ... Anyone who does not study the Talmud cannot understand Scripture."

"Charity towards mankind as a whole, Hope in the future welfare of the human race, Faith in the possibility of furthering, through co-operation between nations, the cause of knowledge and culture, of everything that the eighteenth century, the most Anglo-French century in history, called by a fine name, "enlightenment"—Les Lumières. It is in this philosophical spirit that I mean to approach my difficult subject."

"Modern socialism is a doctrine with a double aspect... It is a doctrine of emancipation...and it is a doctrine of organisation."

"The Labour leaders are men whose doctrine requires them to make the state stronger, and whose good British instinct is to make the state as weak as possible."

"I can still hear Sidney Webb explaining to me that the future lay with the great administrative nations, where governing was done by the bureaucrats and order was maintained by the policemen."

"M. Brunschvicg has said of L'Angleterre en 1815 that it is not only a model of what an exhaustive study of a civilization should be: it is also a masterpiece of psychological insight. The praise is just. It is no wonder that English scholars, and the English public in general, have come to recognize Halévy as the great interpreter of nineteenth-century England."

"James Mill and Jeremy Bentham lived for him: Canning and Peel were his companions: the Wesleyans were not abstractions, but human flesh and blood. Above all, he had a justice and a balance in his views, and a clarity in his expression, which made him a master of exposition. Perhaps he had not eloquence, though he could lecture as few men can: perhaps he had not the gift of style, though he could say exactly, and with a rigorous economy of words, just what he wished to say. Such things would have been incompatible with the severe simplicity which was his essence. He had no artifices: he laboured simply to understand, and to set down simply his understanding. His book on the formation of philosophic radicalism, and the first volume of his history, are standing witnesses, and they are likely to be enduring witnesses, that he succeeded in his endeavour. His interpretation of English thought and English life, through all the long years from the youth of Bentham to the end of the World War, is one of the greatest gifts which the genius of France could have made to England, and it is a gift which English scholars will not forget."

"The first volume, England in 1815, a comprehensive and concise panoramic study, is widely regarded as Halévy's masterpiece. The book is unique in both conception and execution. I do not know of any other historical work which arrests the stream of history at a particular moment in time, in order to portray the whole condition of a society at one critical juncture. Nor does any other work come to mind which, to put it a little flatly perhaps, includes so much information in so manageable a compass... Whatever scholars may eventually decide about his interpretation, the descriptive aspects of the volume are not likely to be superseded."

"Halévy's account of foreign policy, however, is, in my opinion, the weakest aspect of his History... [I]t remains true that Halévy's innate distaste for power politics growing out of his general dislike for the factor of force in public affairs did prevent him from treating diplomacy with the sympathetic penetration that characterized his discussion of internal problems."

"Professor E. Halévy is best known in England for his Historie du peuple anglais au XIXe siècle, the first volume of which appeared in 1913. English critics generally agreed that it ranked among the best histories of the period."

"[I]n these 'early' societies, social phenomena are not discrete; each phenomenon contains all the threads of which the social fabric is composed. In these total social phenomena, as we propose to call them, all kinds of institutions find simultaneous expression: religious, legal, moral, and economic. In addition, the phenomena have their aesthetic aspect and they reveal morphological types."

"The connection of exchange contracts among men with those between men and gods explains a whole aspect of the theory of sacrifice. It is best seen in those societies where contractual and economic ritual is practised between men. Where the men are masked incarnations, often shamanistic, being possessed by the spirit whose name they bear, they act as representatives of the spirits. In that case the exchanges and contracts concern not only men and things but also the sacred beings that are associated with them."

"Among the first groups of beings with whom men must have made contracts were the spirits of the dead and the gods. They in fact are the real owners of the world's wealth. With them it was particularly necessary to exchange and particularly dangerous not to; but, on the other hand, with them exchange was easiest and safest."

"Sacrificial destruction implies giving something that is to be repaid. All forms of North-West American and North-East Asian potlatch contain this element of destruction. It is not simply to show power and wealth and unselfishness that a man puts his slaves to death, burns his precious oil, throws coppers into the sea, and sets his house on fire. In doing this he is also sacrificing to the gods and spirits, who appear incarnate in the men who are at once their namesakes and ritual allies."

"We see how it might be possible to embark upon a theory and history of contractual sacrifice. Now this sacrifice presupposes institutions of the type we are describing, and conversely it realizes them to the full, for the gods who give and repay are there to give something great in exchange for something small. Perhaps then it is not the result of pure chance that the two solemn formulas of contract, the Latin do ut des and the Sanskrit dadami se, dehi me have come down to us through religious texts."

"Anthropology found its Galileo in Rivers, its Newton in Mauss."

"I never thought I was at home [in Algeria], nor that Algeria was my country, nor that I was French."

"My own writing was born in Algeria out of a lost country of the dead father and the foreign mother."

"Woman will return to the body which has been more than confiscated from her, which has been turned into the uncanny stranger on display."

"I shall speak about women’s writing about what it will do."

"Sous son règne, la France était grande et les Français malheureux."

"The nations which have been converted to Christianity are in a way like branches which have been grafted upon Judaism. They were Jews who announced the Gospel to the world, and they were Jews who composed the first Christian community, to which all the other peoples of the world are successively joining themselves. Evidently, therefore, these Jews in becoming Christians did not change their religion, for they only acknowledged the Messias whom they were expecting ; it was the Greeks, the Romans, and the Egyptians, and all the heathen who, in embracing the faith, renounced the worship of idols."