All Quotes

"You will always find some Eskimos ready to instruct the Congolese on how to cope with heat waves."

"Hay smells different to lovers and horses."

"Do not ask God the way to heaven; he will show you the hardest one."

"The window to the world can be covered by a newspaper."

"Tłum krzyczy jednymi wielkimi ustami, ale je tysiącem małych."

"Politics: a Trojan horse race."

"Thoughts, like fleas, jump from man to man, but they don't bite everybody."

"Satirists, be careful. In the 1931 film by René Clair Vive la Liberte a song says, "Work is freedom." In 1940 the sign on the gates to Auschwitz said: "Arbeit macht frei.""

"Burząc pomniki, oszczędzajcie cokoły. Zawsze mogą się przydać."

"Optimists and pessimists differ only on the date of the end of the world."

"Every great writer has one single obsession, and Lec tells us: "I wanted to tell the world just one word. Unable to do it I became a writer." And in another aphorism one is reminded of Picasso as he characteristically moves towards his creation through a continual grappling with and destruction of chaotic forms: "What is chaos? It is the Order destroyed during Creation." It was also Picasso who memorably called art "a lie which tells the truth", and Lec comes pretty close to the maestro with this one: "A beautiful lie? Listen! That's creativity." Lec sums up the predicament of the one gifted with creative powers, the well-known neurotic, pathological condition of the artist, in such words: "The richer your imagination, the poorer you feel." But then Lec also assures him: "Every bush can burn if you fire it with your imagination." Yet all that anguish and loneliness may be worth it for: "To suffer heartaches and not be a poet? Whatever for?""

"I had the radio on."

"A jest breaks no bones."

"One does not learn how to die by killing others."

"Achilles exists only through Homer. Take away the art of writing from this world, and you will probably take away its glory."

"I am Bourbon as a matter of honour, royalist according to reason and conviction, and republican by taste and character."

"In living literature no person is a competent judge but of works written in his own language. I have expressed my opinion concerning a number of English writers; it is very possible that I may be mistaken, that my admiration and my censure may be equally misplaced, and that my conclusions may appear impertinent and ridiculous on the other side of the Channel."

"Perfect works are rare, because they must be produced at the happy moment when taste and genius unite; and this rare conjuncture, like that of certain planets, appears to occur only after the revolution of several cycles, and only lasts for an instant."

"Aussitôt qu'une pensée vraie est entrée dans notre esprit, elle jette une lumière qui nous fait voir une foule d'autres objets que nous n'apercevions pas auparavant."

"Every institution goes through three stages — utility, privilege, and abuse."

"J'ai pleuré et j'ai cru."

"L’écrivain original n’est pas celui qui n’imite personne, mais celui que personne ne peut imiter."

"Though we have not employed the arguments usually advanced by the apologists of Christianity, we have arrived by a different chain of reasoning at the same conclusion: Christianity is perfect; men are imperfect. Now, a perfect consequence cannot spring from an imperfect principle. Christianity, therefore, is not the work of men. If Christianity is not the work of man, it can have come from none but God. If it came from God, men cannot have acquired a knowledge of it except by revelation. Therefore, Christianity is a revealed religion."

"I have explored the seas of the Old World and the New, and trodden the soil of the four quarters of the Earth. Having camped in the cabins of Iroquois, and beneath the tents of Arabs, in the wigwams of Hurons, in the remains of Athens, Jerusalem, Memphis, Carthage, Granada, among Greeks, Turks and Moors, among forests and ruins; after wearing the bearskin cloak of the savage, and the silk caftan of the Mameluke, after suffering poverty, hunger, thirst, and exile, I have sat, a minister and ambassador, covered with gold lace, gaudy with ribbons and decorations, at the table of kings, the feasts of princes and princesses, only to fall once more into indigence and know imprisonment."

"I have borne the musket of a soldier, the traveller’s cane, and the pilgrim’s staff: as a sailor my fate has been as inconstant as the wind: a kingfisher, I have made my nest among the waves. I have been party to peace and war: I have signed treaties, protocols, and along the way published numerous works. I have been made privy to party secrets, of court and state: I have viewed closely the rarest disasters, the greatest good fortune, the highest reputations. I have been present at sieges, congresses, conclaves, at the restoration and demolition of thrones. I have made history, and been able to write it. ... Within and alongside my age, perhaps without wishing or seeking to, I have exerted upon it a triple influence, religious, political and literary."

"Memory is often the attribute of stupidity; it generally belongs to heavy spirits whom it makes even heavier by the baggage it loads them down with."

"It is a long way from Combourg to Berlin, from a youthful dreamer to an old minister. I find among the words preceding these: ‘In how many places have I already continued writing these Memoirs, and in what place will I finish them?'"

"Aristocracy has three successive ages, — the age of superiorities, the age of privileges, and the age of vanities; having passed out of the first, it degenerates in the second, and dies away in the third."

"I halt at the beginning of my travels, in Pennsylvania, in order to compare Washington and Bonaparte. I would rather not have concerned myself with them until the point where I had met Napoleon; but if I came to the edge of my grave without having reached the year 1814 in my tale, no one would then know anything of what I would have written concerning these two representatives of Providence. I remember Castelnau: like me Ambassador to England, who wrote like me a narrative of his life in London. On the last page of Book VII, he says to his son: ‘I will deal with this event in Book VIII,’ and Book VIII of Castelnau’s Memoirs does not exist: that warns me to take advantage of being alive."

"A degree of silence envelops Washington’s actions; he moved slowly; one might say that he felt charged with future liberty, and that he feared to compromise it. It was not his own destiny that inspired this new species of hero: it was that of his country; he did not allow himself to enjoy what did not belong to him; but from that profound humility what glory emerged! Search the woods where Washington’s sword gleamed: what do you find? Tombs? No; a world! Washington has left the United States behind for a monument on the field of battle. Bonaparte shared no trait with that serious American: he fought amidst thunder in an old world; he thought about nothing but creating his own fame; he was inspired only by his own fate. He seemed to know that his project would be short, that the torrent which falls from such heights flows swiftly; he hastened to enjoy and abuse his glory, like fleeting youth. Following the example of Homer’s gods, in four paces he reached the ends of the world. He appeared on every shore; he wrote his name hurriedly in the annals of every people; he threw royal crowns to his family and his generals; he hurried through his monuments, his laws, his victories. Leaning over the world, with one hand he deposed kings, with the other he pulled down the giant, Revolution; but, in eliminating anarchy, he stifled liberty, and ended by losing his own on his last field of battle. Each was rewarded according to his efforts: Washington brings a nation to independence; a justice at peace, he falls asleep beneath his own roof in the midst of his compatriots’ grief and the veneration of nations. Bonaparte robs a nation of its independence: deposed as emperor, he is sent into exile, where the world’s anxiety still does not think him safely enough imprisoned, guarded by the Ocean. He dies: the news proclaimed on the door of the palace in front of which the conqueror had announced so many funerals, neither detains nor astonishes the passer-by: what have the citizens to mourn? Washington’s Republic lives on; Bonaparte’s empire is destroyed. Washington and Bonaparte emerged from the womb of democracy: both of them born to liberty, the former remained faithful to her, the latter betrayed her. Washington acted as the representative of the needs, the ideas, the enlightened men, the opinions of his age; he supported, not thwarted, the stirrings of intellect; he desired only what he had to desire, the very thing to which he had been called: from which derives the coherence and longevity of his work. That man who struck few blows because he kept things in proportion has merged his existence with that of his country: his glory is the heritage of civilisation; his fame has risen like one of those public sanctuaries where a fecund and inexhaustible spring flows."

"My downfall made a great noise: those who appeared most satisfied criticized the manner of it."

"How small man is on this little atom where he dies! But how great his intelligence! He knows when the face of the stars must be masked in darkness, when the comets will return after thousands of years, he who lasts only an instant! A microscopic insect lost in a fold of the heavenly robe, the orbs cannot hide from him a single one of their movements in the depth of space. What destinies will those stars, new to us, light? Is their revelation bound up with some new phase of humanity? You will know, race to be born; I know not, and I am departing."

"New storms will arise; one can believe in calamities to come which will surpass the afflictions we have been overwhelmed by in the past; already, men are thinking of bandaging their old wounds to return to the battlefield. However, I do not expect an imminent outbreak of war: nations and kings are equally weary; unforeseen catastrophe will not yet fall on France: what follows me will only be the effect of general transformation. No doubt there will be painful moments: the face of the world cannot change without suffering. But, once again, there will be no separate revolutions; simply the great revolution approaching its end. The scenes of tomorrow no longer concern me; they call for other artists: your turn, gentlemen! As I write these last words, my window, which looks west over the gardens of the Foreign Mission, is open: it is six in the morning; I can see the pale and swollen moon; it is sinking over the spire of the Invalides, scarcely touched by the first golden glow from the East; one might say that the old world was ending, and the new beginning. I behold the light of a dawn whose sunrise I shall never see. It only remains for me to sit down at the edge of my grave; then I shall descend boldly, crucifix in hand, into eternity."

"A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which. He simply pursues his vision of excellence through whatever he is doing, and leaves others to determine whether he is working or playing. To himself, he always appears to be doing both."

"He has abundant views on the future, particularly on the subject of religion and the social rôle which he believed it called upon to play. His influence on literature is unanimously acknowledged. Romanticism may be traced back to him, and it may even be said that the whole literary movement characteristic of the nineteenth century begins with him."

"In the twenty-sixth book of his Mémoires d'outre-tombe, Chateaubriand recounts his 1821 arrival at the French embassy in Berlin. He cites a flattering portrait of him written by the Baroness of Hohenhausen and published in the morning press on March 22: "M. de Chateaubriand is of a somewhat short, yet slender, stature. His oval face has an expression of reverence and melancholy. He has black hair and black eyes that glow with the fire of his mind." At this point, Chateaubriand flatly adds: "Mais j'ai les cheveux blancs; j'ai plus d'un siècle, en outre, je suis mort" ("But I have white hair; I am more than a century old, besides, I am dead") ... Of course, those startling words, "en outre, je suis mort" do not refer to the year 1821, nor to the time Chateaubriand is writing this account. Rather, they refer to the time we, readers, turn to this specific page of the Mémoires: as you are reading this, Chateaubriand reminds us, I am dead. The words wrest us away from the event he is relating, his arrival in Berlin, to remind us in the most direct terms that our reading of these words necessarily entails the death of their author. Moreover, the French en outre brings us back to the very title of the Mémoires d'outre-tombe: outre-tombe, from beyond the grave. In 1836, Chateaubriand signed a contract with a society of shareholders: in exchange for an immediate payment of 156,000 francs and a life annuity, he sold "the literary ownership of his Mémoires as they existed and as they would exist at his death." Commenting on this transaction, Maurice Levaillant notes: "With this agreement, Chateaubriand bought material security at the price of a concession that he never got over: instead of appearing after a period he had first prescribed as fifty years after his death, his Mémoires would suddenly appear, so to speak, live from his grave.""

"I will be Chateaubriand or nothing."

"It's a bad habit, I know, but I believe that you shouldn't do anything in life until you're ready. Half of life's heartaches come from decisions made in a hurry. One should make haste slowly."

"Everyone's childhood plays itself out. No wonder no one knows the other or can completely understand. By this, I don't know if I'm just giving up with this conclusion or resigning myself — or maybe for the first time connecting with reality. How do we know the pain or another's earlier years, let alone all that he drags with him since along the way at best a lot of leeways is needed for the other — yet how much is unhealthy for one to bear? I think to love bravely is the best and accept — as much as one can bear."

"For life: It is rather a determination not to be overwhelmed. For work: The truth can only be recalled, never invented."

"I know I will never be happy but I know I can be gay! Remember I told you Kazan said I was the gayest girl he ever knew; believe me, he has known many. But he loved me for one year and once rocked me to sleep one night when I was in great anguish. He also suggested that I go into analysis and later wanted me to work with Lee Strasberg. Was it Milton who wrote: "The happy ones were never born"? I know at least two psychiatrists who are looking for a more positive approach."

"I'm a failure as a woman. My men expect so much of me, because of the image they've made of me — and that I've made of myself — as a sex symbol. They expect bells to ring and whistles to whistle, but my anatomy is the same as any other woman's and I can't live up to it."

"Unfortunately, I am involved in a freedom ride protesting the loss of the minority rights belonging to the few remaining earthbound stars. All we demanded was our right to twinkle."

"I think that when you are famous every weakness is exaggerated. ... Goethe said, "Talent is developed in privacy," you know? And it's true. ... Creativity has got to start with humanity and when you're a human being, you feel, you suffer. You're gay, you're sick, you're nervous or whatever."

"Say goodbye to Pat, say goodbye to the president, and say goodbye to yourself because you're a nice guy. ... I'll see, I'll see."

"Please don't make me a joke. End the interview with what I believe. I don't mind making jokes, but I don't want to look like one... I want to be an artist, an actress with integrity... If fame goes by, so long, I've had you, fame. If it goes by, I've always known it was fickle. So at least it's something I experienced, but that's not where I live."

"Say good-bye to Pat, say good-bye to Jack and say good-bye to yourself, because you're a nice guy."

"An actress is not a machine, but they treat you like a machine. A money machine."

"Why? — It paid the rent."

"I restore myself when I'm alone. A career is born in public — talent in privacy."