All Quotes

"At this point the being sprung from human genes shaped by Martian thought, and who could never be either one, completed one stage of his growth, burst out and ceased to be a nestling. The solitary loneliness of predestined free will was then his and with it the Martian serenity to embrace it, cherish it, savour its bitterness, and accept its consequences. With tragic joy he knew that this cusp was his, not Jill's. His water brother could teach, admonish, guide — but choice at a cusp was not shared. Here was "ownership" beyond any possible sale, gift, hypothecation; owner and owned grokked fully, inseparable — He eternally was the action he had taken at cusp. Now that he knew himself to be self he was free to grok ever closer to his brothers, merge without let. Self's integrity was and is and ever had been. Mike stopped to cherish all his brother selves, the many threes-fulfilled on Mars, both corporate and discorporate, the precious few on Earth — the as-yet-unknown powers of three on Earth that would be his to merge with and cherish now that at last long waiting he grokked and cherished himself."

"The Universe has variety, something for everybody — a fact you field workers often miss."

"There are times when we human females appreciate at least a semblance of jealousy — but I don't think there is the slightest chance that you will ever grok 'jealousy.'"

"I grok people. I am people… so now I can say it in people talk. I've found out why people laugh. They laugh because it hurts so much… because it's the only thing that'll make it stop hurting."

"I had thought — I had been told — that a 'funny' thing is a thing of a goodness. It isn't. Not ever is it funny to the person it happens to. Like that sheriff without his pants. The goodness is in the laughing itself. I grok it is a bravery … and a sharing … against pain and sorrow and defeat."

"Anybody can look at a pretty girl and see a pretty girl. An artist can look at a pretty girl and see the old woman she will become. A better artist can look at an old woman and see the pretty girl that she used to be. But a great artist — a master — and that is what Auguste Rodin was — can look at an old woman, portray her exactly as she is… and force the viewer to see the pretty girl she used to be…. and more than that, he can make anyone with the sensitivity of an armadillo, or even you, see that this lovely young girl is still alive, not old and ugly at all, but simply prisoned inside her ruined body. He can make you feel the quiet, endless tragedy that there was never a girl born who ever grew older than eighteen in her heart…. no matter what the merciless hours have done to her. Look at her, Ben. Growing old doesn't matter to you and me; we were never meant to be admired — but it does to them. Look at her!"

""A poor portrayal is about as effective as a good one for most people. They don't see the defects; they see a symbol which inspires their deepest emotions; it recalls to them the Agony and Sacrifice of God." "Jubal, I thought you weren't a Christian?" "Does that make me blind to human emotion? I was saying that the crummiest painted plaster crucifix can evoke emotions in the human heart so strong that many have died for them. The artistry with which such a symbol is wrought is irrelevant."

"Now here we have another emotional symbol — wrought with exquisite craftsmanship, but we won't go into that, yet. Ben, for almost three thousand years or longer, architects have designed buildings with columns shaped as female figures — it got to be such a habit that they did it as casually as a small boy steps on an ant. After all those centuries it took Rodin to see that this was work too heavy for a girl. But he didn't simply say, 'Look, you jerks, if you must design this way, make it a brawny male figure.' No, he showed it… and generalized the symbol. Here is this poor little caryatid who has tried — and failed, fallen under the load. She's a good girl — look at her face. Serious, unhappy at her failure, but not blaming anyone else, not even the gods… and still trying to shoulder her load, after she's crumpled under it. But she's more than good art denouncing some very bad art; she's a symbol for every woman who has ever tried to shoulder a load that was too heavy for her — over half the female population of this planet, living and dead, I would guess. But not alone women — this symbol is sexless. It means every man and every woman who ever lived who sweated out life in uncomplaining fortitude, whose courage wasn't even noticed until they crumpled under their loads. It's courage, Ben, and victory."

"Victory in defeat, there is none higher. She didn't give up, Ben; she's still trying to lift that stone after it has crushed her. She's a father going down to a dull office job while cancer is painfully eating away his insides, so as to bring home one more pay check for the kids. She's a twelve-year-old girl trying to mother her baby brothers and sisters because Mama had to go to Heaven. She's a switchboard operator sticking to her job while smoke is choking her and the fire is cutting off her escape. She's all the unsung heroes who couldn't quite cut it but never quit."

"Jubal, why isn't there stuff like this around where a person can see it?" "Because the world has gone nutty and contemporary art always paints the spirit of its times. Rodin died about the time the world started flipping its lid. His successors noted the amazing things he had done with light and shadow and mass and composition and they copied that part. What they failed to see was that the master told stories that laid bare the human heart. They became contemptuous of painting or sculpture that told a stories — they dubbed such work 'literary.' They went all out for abstractions. Jubal shrugged. "Abstract design is all right — for wall paper or linoleum. But art is the process of evoking pity and terror. What modern artists do is pseudo-intellectual masturbation. Creative art is intercourse, in which the artist renders emotional his audience. These laddies who won't deign to do that — or can't — lost the public."

"Mmm, one does have to learn to look at art. But it's up to the artist to use the language that can be understood. Most of these jokers don't want to use the language you and I can learn; they would rather sneer because we 'fail' to see what they're driving at. If anything. Obscurity is the refuge of the incompetent."

"Patricia Paiwonski gave Ben Caxton the all-out kiss of brotherhood before he knew what hit him."

"Patricia's nature was an endless wish to make other people as happy as she was."

"His idea is that whenever you encounter any other grokking thing — he didn't say 'grokking' at this stage — any other living thing, man, woman, or stray cat… you are simply encountering your 'other end'… and the universe is just a little thing we whipped up among us the other night for our entertainment and then agreed to forget the gag. He put it in a much more sugar-coated fashion, being extremely careful not to tread on competitors' toes."

"We're not trying to bring people to God; that's a contradiction in terms, you can't even say it in Martian. We're not trying to save souls, because souls can't be lost. We're not trying to get people to have faith, because what we offer is not faith but truth — truth they can check; we don't urge them to believe it. Truth for practical purposes, for here-and-now, truth as matter of fact as an ironing board and as useful as a loaf of bread… so practical that it can make war and hunger and violence and hate as unnecessary as…. as — well, as clothes here in the Nest. But they have to learn Martian first. That's the only hitch — finding people who are honest enough to believe what they see, and then are willing to do the hard work — it is hard work — of learning the language it can be taught in. A composer couldn't possibly write down a symphony in English… and this sort of symphony can't be stated in English any more than Beethoven's Fifth can be."

"A prude is a person who thinks that his own rules of propriety are natural laws. You are almost entirely free of this prevalent evil."

"Love is that condition in which the happiness of another person is essential to your own."

"Jealousy is a disease, love is a healthy condition. The immature mind often mistakes one for the other, or assumes that the greater the love, the greater the jealousy — in fact, they are almost incompatible; one emotion hardly leaves room for the other."

"Many sensible things banished from high life find an asylum among the mob."

"Oh, give me again the rover's life — the joy, the thrill, the whirl! Let me feel thee again, old sea! let me leap into thy saddle once more. I am sick of these terra firma toils and cares; sick of the dust and reek of towns. Let me hear the clatter of hailstones on icebergs, and not the dull tramp of these plodders, plodding their dull way from their cradles to their graves. Let me snuff thee up, sea-breeze! and whinny in thy spray. Forbid it, sea-gods! intercede for me with Neptune, O sweet Amphitrite, that no dull clod may fall on my coffin! Be mine the tomb that swallowed up Pharaoh and all his hosts; let me lie down with Drake, where he sleeps in the sea."

"Familiarity with danger makes a brave man braver, but less daring. Thus with seamen: he who goes the oftenest round Cape Horn goes the most circumspectly."

"In time of peril, like the needle to the loadstone, obedience, irrespective of rank, generally flies to him who is best fitted to command."

"We Americans are the peculiar, chosen people — the Israel of our time; we bear the ark of the liberties of the world."

"Though public libraries have an imposing air, and doubtless contain invaluable volumes, yet, somehow, the books that prove most agreeable, grateful, and companionable, are those we pick up by chance here and there; those which seem put into our hands by Providence; those which pretend to little, but abound in much."

"A man of true science... uses but few hard words, and those only when none other will answer his purpose; whereas the smatterer in science... thinks, that by mouthing hard words, he proves that he understands hard things."

"Are there no Moravians in the Moon, that not a missionary has yet visited this poor pagan planet of ours, to civilize civilisation and christianize Christendom?"

"I had now been on board the frigate upward of a year, and remained unscourged; the ship was homeward-bound, and in a few weeks, at most, I would be a free man. And now, after making a hermit of myself in some things, in order to avoid the possibility of the scourge, here it was hanging over me for a thing utterly unforeseen, for a crime of which I was as utterly innocent. But all that was as naught."

"I cannot analyse my heart, though it then stood still within me. But the thing that swayed me to my purpose was not altogether the thought that Captain Claret was about to degrade me, and that I had taken an oath with my soul that he should not. No, I felt my man's manhood so bottomless within me, that no word, no blow, no scourge of Captain Claret could cut me deep enough for that. I but swung to an instinct in me — the instinct diffused through all animated nature, the same that prompts even a worm to turn under the heel. Locking souls-with him, I meant to drag Captain Claret from this earthly tribunal of his to that of Jehovah and let Him decide between us. No other way could I escape the scourge."

"Nature has not implanted any power in man that was not meant to be exercised at times, though too often our powers have been abused. The privilege, inborn and inalienable, that every man has of dying himself, and inflicting death upon another, was not given to us without a purpose. These are the last resources of an insulted and unendurable existence."

"I let nothing slip, however small; and feel myself actuated by the same motive which has prompted many worthy old chroniclers, to set down the merest trifles concerning things that are destined to pass away entirely from the earth, and which, if not preserved in the nick of time, must infallibly perish from the memories of man. Who knows that this humble narrative may not hereafter prove the history of an obsolete barbarism? Who knows that, when men-of-war shall be no more, "White-Jacket" may not be quoted to show to the people in the Millennium what a man-of-war was? God hasten the time!"

"The worst of our evils we blindly inflict upon ourselves; our officers cannot remove them, even if they would. From the last ills no being can save another; therein each man must be his own saviour. For the rest, whatever befall us, let us never train our murderous guns inboard; let us not mutiny with bloody pikes in our hands. Our Lord High Admiral will yet interpose; and though long ages should elapse, and leave our wrongs unredressed, yet, shipmates and world-mates! let us never forget, that, Whoever afflict us, whatever surround, Life is a voyage that's homeward-bound!"

"Would that all excellent books were foundlings, without father or mother, that so it might be, we could glorify them, without including their ostensible authors. Nor would any true man take exception to this; — least of all, he who writes, — "When the Artist rises high enough to achieve the Beautiful, the symbol by which he makes it perceptible to mortal senses becomes of little value in his eyes, while his spirit possesses itself in the enjoyment of the reality.""

"In this world of lies, Truth is forced to fly like a scared white doe in the woodlands; and only by cunning glimpses will she reveal herself, as in Shakespeare and other masters of the great Art of Telling the Truth, — even though it be covertly, and by snatches."

"It is better to fail in originality, than to succeed in imitation. He who has never failed somewhere, that man can not be great. Failure is the true test of greatness. And if it be said, that continual success is a proof that a man wisely knows his powers, — it is only to be added, that, in that case, he knows them to be small. Let us believe it, then, once for all, that there is no hope for us in these smooth pleasing writers that know their powers."

"Certain it is, however, that this great power of blackness in him derives its force from its appeals to that Calvinistic sense of Innate Depravity and Original Sin, from whose visitations, in some shape or other, no deeply thinking mind is always and wholly free. For, in certain moods, no man can weigh this world, without throwing in something, somehow like Original Sin, to strike the uneven balance."

"You must have plenty of sea-room to tell the truth in."

"Genius, all over the world, stands hand in hand, and one shock of recognition runs the whole circle round."

"I found that but to glean after this man, is better than to be in at the harvest of others."

"The truth seems to be, that like many other geniuses, this Man of Mosses takes great delight in hoodwinking the world, — at least, with respect to himself. Personally, I doubt not, that he rather prefers to be generally esteemed but a so-so sort of author; being willing to reserve the thorough and acute appreciation of what he is, to that party most qualified to judge — that is, to himself. Besides, at the bottom of their natures, men like Hawthorne, in many things, deem the plaudits of the public such strong presumptive evidence of mediocrity in the object of them, that it would in some degree render them doubtful of their own powers, did they hear much and vociferous braying concerning them in the public"

"It is hard to be finite upon an infinite subject, and all subjects are infinite."

"William Sadler - Heywood"

"[Scrawled in a Bible he hollowed out to make space for the rock hammer he used to tunnel through his cell wall, and placed in the Warden's safe the night before his escape] "Dear Warden; You were right. Salvation lay within. Andy""

"[in a letter] Dear Red, If you're reading this, you've gotten out. And if you've come this far, maybe you're willing to come a little further. You remember the name of the town, don't you? I could use a good man to help me get my project on wheels. I'll keep an eye out for you and the chessboard ready. Remember, Red: hope is a good thing, maybe the best of things, and no good thing ever dies. I will be hoping that this letter finds you, and finds you well. Your friend, Andy."

"There must be a con like me in every prison in America. I'm the guy who can get it for you: cigarettes, a bag of reefer, if that's your thing, a bottle of brandy to celebrate your kid's high school graduation, damn near anything within reason. Yes sir, I'm a regular Sears and Roebuck."

"The first night's the toughest, no doubt about it. They march you in naked as the day you were born, skin burning and half blind from that delousing shit they throw on you, and when they put you in that cell, when those bars slam home, that's when you know it's for real. A whole life blown away in the blink of an eye. Nothing left but all the time in the world to think about it. Most new fish come close to madness the first night. Somebody always breaks down crying. Happens every time. The only question is, who's it gonna be? It's as good a thing to bet on as any, I guess. I had my money on Andy Dufresne. I remember my first night. Seems like a long time ago."

"These prison walls are funny. First you hate 'em, then you get used to 'em. Enough time passes, gets so you depend on them. That's institutionalized. They send you here for life, that's exactly what they take. The part that counts, anyways."

"Clancy Brown - Captain Byron T. Hadley"

"Gil Bellows - Tommy Williams"

"I have no idea to this day what those two Italian ladies were singing about. Truth is, I don't wanna know. Some things are best left unsaid. I'd like to think they were singing about something so beautiful it can't be expressed in words, and it makes your heart ache because of it. I tell you those voices soared, higher and farther than anybody in a grey place dares to dream. It was like some beautiful bird flapped into our drab little cage and made these walls dissolve away, and for the briefest of moments, every last man in Shawshank felt free."

"In 1966 Andy Dufresne escaped from Shawshank prison. All they found of him was a muddy set of prison clothes, a bar of soap, and an old rock hammer, damn near worn down to the nub. I remember thinking it would take a man six hundred years to tunnel through the wall with it. Old Andy did it in less than twenty."