"Since 1900 there must have been published far more than twenty thousand novels. No man could read them all; if he did, a new spate of fiction would foam and swirl round him while he was at the task, and he would never catch up. Selection, voluntary and involuntary, there is bound to be. And it is bound to involve injustice."

"No one says a novel has to be one thing. It can be anything it wants to be, a vaudeville show, the six o’clock news, the mumblings of wild men saddled by demons."

"The novel is dead. As dead as alchemy."

"He shivered. His coat was thin, and it was obvious he would not get his kiss, which he found puzzling. The manly heroes of the penny dreadfuls and shilling novels never had these problems getting kissed."

"Fairy tales and more fairy tales."

"Believable fairy-stories must be intensely practical. You must have a map, no matter how rough. Otherwise you wander all over the place. In The Lord of the Rings I never made anyone go farther than he could on a given day. The reader must approach Faerie with a willing suspension of disbelief. If a thing can be technologically controlled, it ceases to be magical."

"A fairytale, like a butterfly or a bee, helps itself on all sides, sips at every wholesome flower, and spoils not one. The true fairytale is, to my mind, very like the sonata. We all know that a sonata means something; and where there is the faculty of talking with suitable vagueness, and choosing metaphor sufficiently loose, mind may approach mind, in the interpretation of a sonata, with the result of a more or less contenting consciousness of sympathy."

"The best thing you can do for your fellow, next to rousing his conscience, is — not to give him things to think about, but to wake things up that are in him; or say, to make him think things for himself. The best Nature does for us is to work in us such moods in which thoughts of high import arise. Does any aspect of Nature wake but one thought? Does she ever suggest only one definite thing? Does she make any two men in the same place at the same moment think the same thing? Is she therefore a failure, because she is not definite? Is it nothing that she rouses the something deeper than the understanding — the power that underlies thoughts? Does she not set feeling, and so thinking at work? Would it be better that she did this after one fashion and not after many fashions? Nature is mood-engendering, thought-provoking: such ought the sonata, such ought the fairytale to be."

"Entertainment written for children was no less grisly. In 1815 Jacob and Wilhelm Grimm published a compendium of old folktales that had gradually been adapted for children. Commonly known as Grimm’s Fairy Tales, the collection ranks with the Bible and Shakespeare as one of the bestselling and most respected works in the Western canon. Though it isn’t obvious from the bowdlerized versions in Walt Disney films, the tales are filled with murder, infanticide, cannibalism, mutilation, and sexual abuse—grim fairy tales indeed. Take just the three famous stepmother stories: During a famine, the father and stepmother of Hansel and Gretel abandon them in a forest so that they will starve to death. The children stumble upon an edible house inhabited by a witch, who imprisons Hansel and fattens him up in preparation for eating him. Fortunately Gretel shoves the witch into a fiery oven, and “the godless witch burned to death in a horrible way.” Cinderella’s stepsisters, when trying to squeeze into her slippers, take their mother’s advice and cut off a toe or heel to make them fit. Doves notice the blood, and after Cinderella marries the prince, they peck out the stepsisters’ eyes, punishing them “for their wickedness and malice with blindness for the rest of their lives.” Snow White arouses the jealousy of her stepmother, the queen, so the queen orders a hunter to take her into the forest, kill her, and bring back her lungs and liver for the queen to eat. When the queen realizes that Snow White has escaped, she makes three more attempts on her life, two by poison, one by asphyxiation. After the prince has revived her, the queen crashes their wedding, but “iron slippers had already been heated up for her over a fire of coals.... She had to put on the red-hot iron shoes and dance in them until she dropped to the ground dead.” As we shall see, purveyors of entertainment for young children today have become so intolerant of violence that even episodes of the early Muppets have been deemed too dangerous for them."

"I'm in love with a fairytale, even though it hurts. 'Cause I don't care if I lose my mind; I'm already cursed."

"I hate good wizards in fairy tales; they always turn out to be him."

"Doctor Who has never pretended to be hard science fiction … At best Doctor Who is a fairytale, with fairytale logic about this wonderful man in this big blue box who at the beginning of every story lands somewhere where there is a problem."

"When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up."

"I have a duty to my people and that is something you can never understand. I loved living in Louisiana and I wish my life could be like this everyday. But this is not reality. You think my life as a princess is some fairytale? This here is a fairytale and I cannot hide here anymore. Soon I'll be queen of Costa Luna. My country needs me."

"I would not for any quantity of gold part with the wonderful tales which I have retained from my earliest childhood, or have met with in my progress through life."

"Were I asked, what is a fairytale? I should reply, Read Undine: that is a fairytale ; then read this and that as well, and you will see what is a fairytale. Were I further begged to describe the fairytale, or define what it is, I would make answer, that I should as soon think of describing the abstract human face, or stating what must go to constitute a human being. A fairytale is just a fairytale, as a face is just a face; and of all fairytales I know, I think Undine the most beautiful."

""Suppose my child ask me what the fairytale means, what am I to say?" If you do not know what it means, what is easier than to say so? If you do see a meaning in it, there it is for you to give him. A genuine work of art must mean many things; the truer its art, the more things it will mean. If my drawing, on the other hand, is so far from being a work of art that it needs THIS IS A HORSE written under it, what can it matter that neither you nor your child should know what it means? It is there not so much to convey a meaning as to wake a meaning. If it do not even wake an interest, throw it aside. A meaning may be there, but it is not for you. If, again, you do not know a horse when you see it, the name written under it will not serve you much."

"Some of my youthful readers are developing wonderful imaginations. This pleases me. Imagination has brought mankind through the Dark Ages to its present state of civilization. Imagination led Columbus to discover America. Imagination led Franklin to discover electricity. Imagination has given us the steam engine, the , the talking-machine, and the automobile, for these things had to be dreamed of before they became realities. So I believe that dreams — day dreams, you know, with your eyes wide open and your brain machinery whizzing — are likely to lead to the betterment of the world. The imaginative child will become the imaginative man or woman most apt to create, to invent, and therefore to foster civilization. A prominent educator tells me that fairy tales are of untold value in developing imagination in the young. I believe it."

"The enduring appeal of fairy tales is not just due to their fantastical elements—dragons, enchanted sleeping princesses, fairy godmothers—or the wish-fulfillment of happily-ever-after, but their encapsulation of truths about man and morality. Indeed, beneath the fluff, fairy tales are often brutally realistic about the world. This is why so many modern efforts to write (or rewrite) fairy tales fall flat: they are being written by those with a poor grasp of reality."

"The dogmas we really hold are far more fantastic, and, perhaps, far more beautiful than we think. In the course of these essays I fear that I have spoken from time to time of rationalists and rationalism, and that in a disparaging sense. Being full of that kindliness which should come at the end of everything, even of a book, I apologize to the rationalists even for calling them rationalists. There are no rationalists. We all believe fairy-tales, and live in them. Some, with a sumptuous literary turn, believe in the existence of the lady clothed with the sun. Some, with a more rustic, elvish instinct, like Mr. McCabe, believe merely in the impossible sun itself. Some hold the undemonstrable dogma of the existence of God; some the equally undemonstrable dogma of the existence of the man next door."

"Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon. Exactly what the fairy tale does is this: it accustoms him for a series of clear pictures to the idea that these limitless terrors had a limit, that these shapeless enemies have enemies in the knights of God, that there is something in the universe more mystical than darkness, and stronger than strong fear."

"The nature of fairy tales is to evolve over time and to portray eternal themes that resonate with people of all cultures and time periods."

"I have a dream, a song to sing, To help me cope with anything. If you see the wonder of a fairy tale You can take the future even if you fail. I believe in angels, something good in everything I see. I believe in angels, when I know the time is right for me, I'll cross the stream, I have a dream."

"Like so many other fairy tales, I thought it was a horror story."

"A fairytale is not an allegory. There may be allegory in it, but it is not an allegory. He must be an artist indeed who can, in any mode, produce a strict allegory that is not a weariness to the spirit."

"Broadly speaking, and in most cases, the fairy tale is a dramatic projection in symbolic images of the life of the psyche, and it can travel from one country to another, one culture to another culture, whenever what it has to say holds good for human nature in both, despite their differences. […] a genuine myth, like the Chaplin clown, can always be recognized by the fact that its appeal cuts across all differences between highbrow and lowbrow tastes."

"Even the tyrant never rules by force alone; but mostly by fairy tales. And so it is with the modern tyrant, the great employer."

"Something that everyone wants to have read but no one wants to read."

"The fact is, the public make use of the classics of a country as a means of checking the progress of Art. They degrade the classics into authorities. They use them as bludgeons for preventing the free expression of Beauty in new forms."

"In order to be able thus to misjudge, and thus to grant left-handed veneration to our classics, people must have ceased to know them. This, generally speaking, is precisely what has happened. For, otherwise, one ought to know that there is only one way of honoring them, and that is to continue seeking with the same spirit and with the same courage, and not to weary of the search. But to foist the doubtful title of “classics” upon them, and to “edify” oneself from time to time by reading their works, means to yield to those feeble and selfish emotions which all the paying public may purchase at concert-halls and theatres. Even the raising of monuments to their memory, and the christening of feasts and societies with their names—all these things are but so many ringing cash payments by means of which the Culture-Philistine discharges his indebtedness to them, so that in all other respects he may be rid of them, and, above all, not bound to follow in their wake and prosecute his search further. For henceforth inquiry is to cease: that is the Philistine watchword."

"People who read only the classics are sure to remain up-to-date."

"The way to become a classic is by not resembling the classics in any way."

"I am not one who was born in the possession of knowledge; I am one who is fond of antiquity, and earnest in seeking it there."

"Fame is a form—perhaps the worst form—of incomprehension."

"It goes against the grain for me to do what so often happens, to speak inhumanly about the great as if a few millennia were an immense distance. I prefer to speak humanly about it, as if it happened yesterday, and let only the greatness itself be the distance."

"Thinking, meditating, imagining are not anomalous acts – they are the normal respiration of the intelligence. To glorify the occasional exercise of that function, to treasure beyond price ancient and foreign thoughts, to recall with incredulous awe what some doctor universalis thought, is to confess our own languor, or our own barbarie. Every man should be capable of all ideas, and I believe that in the future he shall be."

"The more rigorously criticism historicizes a work of art, in the sense of lodging it in the context of the moment of its production, the less likely it becomes for criticism to be able to explain either its own subsequent interest in the work or the possibility of lay—that is, nonacademic—interest in reading it."

"The neo-conservative critics of leftist critics of mass culture ridicule the protest against Bach as background music in the kitchen, against Plato and Hegel, Shelley and Baudelaire, Marx and Freud in the drugstore. Instead, they insist on recognition of the fact that the classics have left the mausoleum and come to life again, that people are just so much more educated. True, but coming to life as classics, they come to life as other than themselves; they are deprived of their antagonistic force, of the estrangement which was the very dimension of their truth."

"At home these men’s works [Kant, Schiller and Goethe] were kept in the bookcase with the green glass panes in Papa’s study, and Törless knew this bookcase was never opened except to display its contents to a visitor. It was like the shrine of some divinity to which one does not readily draw nigh and which one venerates only because one is glad that thanks to its existence there are certain things one need no longer bother about."

"I do not know what meaning classical studies could have for our time if they were not untimely—that is to say, acting counter to our time and thereby acting on our time and, let us hope, for the benefit of a time to come."

"Those who raise the objection of the distance in time, will certainly recall many golden words of long-dead sages and poets which strike such a deep and kindred chord in our own hearts that we very vividly feel a living and intimate contact with those great ones who have left this world long ago. Such experience contrasts with the ‘very much present’ silly chatter of society, newspapers or radio, which, when compared with those ancient voices of wisdom and beauty, will appear to emanate from the mental level of stone-age man tricked out in modern trappings. True wisdom is always young, and always near to the grasp of an open mind."

"I will venture to give one word by way of advice, and to express a hope that the study of the ancient classics will not be abandoned when they are no longer compulsory. Believe me, that to the man who wishes to study politics, or the art of persuasion, nothing can be more necessary than to imbue his mind with the spirit of the ancient poets and historians, that he may be able to infuse into his own arguments and compositions, and to draw from that pure and crystal fountain, some of the copious diction, high sentiment, and masculine thought, which so eminently distinguished those great men, but whom there is no hope of successfully rivalling."

"Our understanding of the thought of the past is liable to be the more adequate, the less the historian is convinced of the superiority of his own point of view, or the more he is prepared to admit the possibility that he may have to learn something, not merely about the thinkers of the past, but from them."

"“Our ideas” are only partly our ideas. Most of our ideas are abbreviations or residues of the thought of other people, of our teachers (in the broadest sense of the term) and of our teachers’ teachers; they are abbreviations and residues of the thought of the past. These thoughts were once explicit and in the center of consideration and discussion. It may even be presumed that they were once perfectly lucid. By being transmitted to later generations they have possibly been transformed, and there is no certainty that the transformation was effected consciously and with full clarity."

"To live classically and to realize antiquity practically within oneself is the summit and goal of philology."

"These discoveries in old books of new beauties and aspects of interest may persuade us, therefore, that we are not only still ourselves, but more ourselves than ever: that our spirit has not only persisted in its being, but has become more lucid in the process."

"Since the citation and the reference have different referents and are actually each other's mirror image, it does not seem very wise to blur the distinction between them. This distinction has moreover the advantage that the quest for a citation theory in scientometrics and the sociology of science splits into two different, analytically independent research problems: the patterns in the citing behaviour of scientists, social scientists and scholars in the humanities on the one hand, and the theoretical foundation of citation analysis on the other."

"The citation as used in scientometric analysis and science and technology indicators is not identical to the reference produced at the scientist's desk. In other words, the citation is the product of the citation indexer, not of the scientist."