People From Vienna

"We live in stormy and unsettled times. Hence we may confer a benefit, not only on ourselves, but on others, by diverting attention from the exciting circumstances of the present day—from the disheartening eccentricities of a literature which meanders in a thousand frivolous directions—to the calm regions where the inner man, self-examined, submits himself to moral treatment. Here our connection with things, our object, our duty, become clear; and, while we quietly separate ourselves from a world which is unable to assure us of anything, we feel that the joy we thought lost again returns, and that a second innocence spreads its clear and tranquillizing light over human existence. The child may amuse himself with childish rhymes. Man should find his recreation in reflecting on his relation to the things of this life. To all has this power been vouchsafed; by all should it be exercised."

"Our minds are so constituted that a change of objects brings nearly as much relief as actual repose."

"We have aimed at popularity in the best sense of that term. The truly popular writer never sinks into the vulgar crowd. He rather raises the masses by bringing the highest subjects within their comprehension, making them, without a show of erudition, easily understood"

"It is not enough to contemplate ourselves objectively; we must also treat ourselves objectively."

"We are all inclined to accept conventional forms or colours as the only correct ones. Children sometimes think that stars must be star-shaped, though naturally they are not. The people who insist that in a picture the sky must be blue, and the grass green, are not very different from these children. They get indignant if they see other colours in a picture, but if we try to forget all we have heard about green grass and blue skies, and look at the world as if we had just arrived from another planet on a voyage of discovery and were seeing it for the first time, we may find that things are apt to have the most surprising colours."

"One never finishes learning about art. There are always new things to discover. Great works of art seem to look different every time one stands before them. They seem to be as inexhaustible and unpredictable as real human beings."

"Even though I came from a Jewish home myself, it never entered my head that such horrors might be repeated in my own lifetime."

"If you want to do anything new you must first make sure you know what people have tried before."

"The beginning of the sixteenth century, the Cinquecento, is the most famous period of Italian art, one of the greatest periods of all time. This was the time of Leonardo da Vinci and Michelangelo, of Raphael and Titian, of Correggio and Giorgione, of Dürer and Holbein in the north, and of many other famous masters. One may well ask why it was that all these great masters were born in the same period, but such questions are more easily asked than answered. One cannot explain the existence of genius. It is better to enjoy it."

"Our memory is like that burning scrap of paper. We use it to light up the past. First of all our own, and then we ask old people to tell us what they remember. After that we look for letters written by people who are already dead. And in this way we light our way back. There are buildings that are just for storing old scraps of paper that people once wrote on – they are called archives. In them you can find letters written hundreds of years ago. In an archive, I once found a letter which just said: 'Dear Mummy, Dear Mummy, Yesterday we ate some lovely truffles, love from William.' William was a little Italian prince who lived four hundred years ago."

"Images apparently occupy a curious position somewhere between the statements of language, which are intended to convey a meaning, and the things of nature, to which we only can give a meaning."

"The true miracle of the language of art is not that it enables the artist to create the illusion of reality. It is that under the hands of a great master the image becomes translucent. In teaching us to see the visible world afresh, he gives us the illusion of looking into the invisible realms of the mind - if only we know, as Philostratus says, how to use our eyes."

"There really is no such thing as Art. There are only artists."

"Like art, science is born of itself, not of nature. There is no neutral naturalism. The artist, no less than the writer, needs a vocabulary before he can embark on a 'copy' of reality."

"Anyone who can handle a needle convincingly can make us see a thread which is not there."

"I hope and believe cultural history will make progress if it also fixes its attention firmly on the individual human being. Movements, as distinct from periods, are started by people. Some of them are abortive, others catch on. Each movement in its turn has a core of dedicated souls, a crowd of hangers-on, not to forget a lunatic fringe. There is a whole spectrum of attitudes and degrees of conversion. Even within the individual there may be various levels of conviction, various conscious and unconscious fluctuations in loyalty. What seemed acceptable during the mass rally or revivalist meeting may look pretty crazy on the way home. But movements would not be movements if they did not have their badges, their outward signs, their style of behaviour, style of speech and of dress. Who can probe the motives which prompt individuals to adopt some of these, and who would venture in every case to pronounce on the completeness of the conversion this adoption may express? Knowing these limitations, the cultural historian will be a little wary of the claims of cultural psychology."

"Whether we know it or not, we always approach the past with some preconceived ideas, with a rudimentary theory we wish to test. In this as in many other respects the cultural historian does not differ all that much from his predecessor, the traveller to foreign lands. Not the professional traveller who is only interested in one particular errand, be it the exploration of a country’s kinship system or its hydroelectric schemes, but the broad-minded traveller who wants to understand the culture of the country in which he finds himself."

"The point is rather that all of them felt, consciously or unconsciously, that if they let go of the magnet that created the pattern, the atoms of past cultures would again fall back into random dust-heaps. In this respect the cultural historian was much worse off than any other historian. His colleagues working on political or economic history had at least a criterion of relevance in their restricted subject matter. They could trace the history of the reform of Parliament, of Anglo-Irish relations, without explicit reference to an all-embracing philosophy of history."

"In my own field, the History of Art, it was Alois Riegl who, at the turn of the century, worked out his own translation of the Hegelian system into psychological terms."

"[About The Story of Art by E.H. Gombrich] It's the introductory bible to our history. And I love it because it is for everyone. The fact that he writes in such beautiful prose that anyone can understand, you want to — you have heard of a term such as the Renaissance or the Baroque, and you can look that up in Gombrich. But he doesn't include any woman artist. He only includes one in his 16th edition, which is crazy. And the fact that I loved this book growing up, I wanted to write — if he was going to leave that women, I thought I'd leave out men."

"If Van Eyck's patrons had all been Buddhists he would neither have painted the Adoration of the Lamb nor, for that matter, the Hunting of the Otter, but though the fact that he did is therefore trivially connected with the civilization in which he worked, there is no need to place these works on the periphery of the Hegelian wheel and look for the governing cause that explains both otter hunting and piety in the particular form they took in the early decades of the fifteenth century, and which is also expressed in Van Eyck’s new technique."

"Women have been artists for millennia, since the cave paintings. And yet Gombrich and Janson, their first editions didn’t include a single woman artist. So it’s actually down to who has been able to tell the story of art history."

"All science is full of statements where you put the best face on your ignorance, where you say: true enough, we know awfully little about this, but more or less irrespective of the stuff we don't know about, we can make certain useful deductions."

"The landscape has been so totally changed, the ways of thinking have been so deeply affected, that it is very hard to get hold of what it was like before... It is very hard to realize how total a change in outlook Isaac Newton has produced."

"The kind of lecture which I have been so kindly invited to give, and which now appears in book form, gives one a rare opportunity to allow the bees in one's bonnet to buzz even more noisily than usual."

"Time is that which is measured by a clock. This is a sound way of looking at things. A quantity like time, or any other physical measurement, does not exist in a completely abstract way. We find no sense in talking about something unless we specify how we measure it. It is the definition by the method of measuring a quantity that is the one sure way of avoiding talking nonsense about this kind of thing."

"On the most usual assumption, the universe is homogeneous on the large scale, i. e. down to regions containing each an appreciable number of nebulae. The homogeneity assumption may then be put in the form: An observer situated in a nebula and moving with the nebula will observe the same properties of the universe as any other similarly situated observer at any time."

"My biggest dream in life is the one about catching a tram in my underwear and then Helen Mirren gets on and blows up a balloon in the shape of Walter Slezak. I’m most grateful for any attention I get."

"Papa told her about a Lohengrin performance. It was just before his first entrance. He was ready to step into the boat, which, drawn by a swan, was to take him on-stage. Somehow the stagehand on the other side got his signals mixed, started pulling, and the swan left without Papa. He quietly turned around and said: "What time's the next swan?" That story has since become a classic in operatic lore."

"I never lie unless it is absolutely necessary. Or convenient."

"After America had entered the war in December 1941 all postal service with Germany and Austria was stopped. But Papa had faithfully kept on writing to me, a ten-page letter nearly every week. They were never mailed and I found them, neatly bundled, sealed and addressed to me. … And now, on the plane, winging back home, I began to read his letters. They are remarkable documents. It's the whole war, as seen from the other side, through the eyes of a man who detested the fascist system, who hated the Nazis with a white fury. In the midst of the astonishing German victories in the early part of the war he was firmly convinced that Hitler MUST and WOULD lose. He dreaded communism, and all his predictions have come true. He told of all the spying that went on, the denunciations to the Gestapo, the sudden disappearances of innocent people, of the daily new edicts and restrictions, of confiscations that were nothing but robberies, arrests, and executions; how every crime committed was draped in the mantilla of legality. His great perception, intelligence, decency, his wonderful humanity, his love of music and above all his worshipful adoration for his Elsa — through every page they shimmered with luminescent radiance."

"Walter Slezak says he's tired of arguing with his kids about borrowing the car. "The next time I want it," he says, "I'm just going to take it.""

"Spending money you don't have for things you don't need to impress people you don't like."

""Overwrite — put down everything that comes to your mind," I was told. "Be explicit, elaborate. Judicious pruning will be done later. Don't be afraid to name names. Lawyers will tooth-comb the book before it gets into print and protect you from libel suits. Don't be afraid to shock people. Be daring. Be spicy. Tell all!" I did. I followed everybody's advice. About seven hundred thirty pages were judiciously pruned in order to protect the innocent, to make it possible for the book to be sent through the U.S. mails, and to prevent me from spending the twilight years of my life in jail for criminal libel. What's left is here. PLEASE LIKE IT."

"Biographies usually begin with the smack on the bottom and the first lusty cry of the subject. I deplore this literary custom, because it is impossible to remember anything about one's birth firsthand. It is bound to be hearsay, and embellished, gilded hearsay at that."

"Until I was about 12 or 13, it was just, “Oh sure, okay, fine.” Then when I was about 14, my father asked, “Are you serious about this? Do you really want to be an actor?” I said, “Yes, yes, yes, yes, yes.” So, he took me in his little office, sat me down for about an hour and told me everything bad about this business. He said, “You have to be prepared for all the awful things that happen to actors, the rejection, humiliation, and embarrassment and receiving bad reviews if you do get a job. You have to be prepared for all of that.”"

"You have to work five or six years in the theatre—in hit shows—to make people sick and tired of you, but this you can accomplish in only a few weeks on television. It's a remarkable medium."

"In that wonderful musical show Knickerbocker Holiday Maxwell Anderson defined the outstanding characteristics of an American as "one who refuses to take orders!" I think that I qualified for that, my chosen nationality, at an early age. As far back as I can remember, an expressly given order triggered instant defiance. My little mind started functioning like an IBM machine; signals flashed in my resistance center, lights flickered around my resentment glands, bell and buzzer alerted all the cunning of a five-year-old. Strategy and tactics went to work, not to rest till they had circumvented or defied that specific order. I don't know if that character trait was deplorable or laudable; I only know that I have never been able to lose it. And I am extremely grateful that I was too young to serve in the First World War and too old for the Second; I surely would have been court-martialed for insubordination, and expired in front of a firing squad. Even today, at my ripe old age, if someone suggests I do something and this suggestion is tinged with an excessive amount of authority, I immediately turn into a bristling fortress of resistance."

"Between stimulus and response lies a space. In that space lie our freedom and power to choose a response. In our response lies our growth and our happiness."

"Maslow's psychology, firmly based upon Freud and Watson, simply points out that the optimistic side of the picture has been overlooked; the deterministic laws of our 'lower nature' hold sway in their won field; but there are other laws. Man's freedom is a reality -- a reality that makes a difference to his physical, as well as his mental health. When Frankl's prisoners ceased to believe in the possibility of freedom, they grew sick and died. On the other hand, when they saw that Dachau had no chimney, standing out all night in the rain seemed no great hardship; they laughed and joked. The conclusion needs to be stated in letters ten feet high. In order to realise his possibilities, man must believe in an open future; he must have a vision of something worth doing. And this will not be possible until all the determinism and pessimism that we have inherited from the 19th century -- and which has infected every department of our culture, from poetry to atomic physics -- has been dismissed as fallacious and illogical. Twentieth century science, philosophy, politics, literature -- even music -- has been constructed upon a weltanschauung that leaves half of human nature out of account."

"What man actually needs is not a tensionless state but rather the striving and struggling for some goal worthy of him. What he needs is not the discharge of tension at any cost, but the call of a potential meaning waiting to be fulfilled by him."

"Ultimately, man should not ask what the meaning of his life is, but rather must recognize that it is he who is asked. In a word, each man is questioned by life; and he can only answer to life by answering for his own life; to life he can only respond by being responsible."

"You may of course ask whether we really need to refer to "saints." Wouldn't it suffice just to refer to decent people? It is true that they form a minority. More than that, they always will remain a minority. And yet I see therein the very challenge to join the minority. For the world is in a bad state, but everything will become still worse unless each of us does his best. So, let us be alert — alert in a twofold sense: Since Auschwitz we know what man is capable of. And since Hiroshima we know what is at stake."

"A thought transfixed me: for the first time in my life I saw the truth as it is set into song by so many poets, proclaimed as the final wisdom by so many thinkers. The truth — that love is the ultimate and the highest goal to which man can aspire. Then I grasped the meaning of the greatest secret that human poetry and human thought and belief have to impart: The salvation of man is through love and in love. … For the first time in my life I was able to understand the meaning of the words, "The angels are lost in perpetual contemplation of an infinite glory.""

"There is nothing in the world, I venture to say, that would so effectively help one to survive even the worst conditions, as the knowledge that there is a meaning in one’s life."

"The way in which a man accepts his fate and all the suffering it entails, the way in which he takes up his cross, gives him ample opportunity — even under the most difficult circumstances — to add a deeper meaning to his life. It may remain brave, dignified and unselfish. Or in the bitter fight for self-preservation he may forget his human dignity and become no more than an animal. Here lies the chance for a man either to make use of or to forgo the opportunities of attaining the moral values that a difficult situation may afford him. And this decides whether he is worthy of his sufferings or not."

"Frankl writes: "There is nothing in the world, I venture to say, that would so effectively help one to survive even the worst conditions as the knowledge that there is a meaning in one's life." Those most likely to survive the camps, Frankl tells us, were those who had a reason to keep fighting to live-a loved one, God, socialism, a vision of a future world they were fighting for. They saw a reason to keep going, so they took agency, even if only in tiny ways-like searching hard for that extra calorie to make it through one more day. Frankl writes: "Everything can be taken from a man but one thing: the last of the human freedoms-to choose one's attitude in any given set of circumstances, to choose one's own way.""

"It is true, Logotherapy, deals with the Logos; it deals with Meaning. Specifically I see Logotherapy in helping others to see meaning in life. But we cannot “give” meaning to the life of others. And if this is true of meaning per se, how much does it hold for Ultimate Meaning?"

"An abnormal reaction to an abnormal situation is normal behavior. p. 32 in the 1992 edition, , Beacon Press"

"If there is a meaning in life at all, then there must be a meaning in suffering. Suffering is an ineradicable part of life, even as fate and death."