People From Paris

"Louis XIV was the only king of France worthy the name, but though a great king, he was not, like Francis I and Henry IV, un militaire."

"No sovereign in the world was more a king than this prince. Obedience, under his reign, was a veritable cult, and never were the French more submissive and greater."

"Humans also start wars because of what Hobbes called ‘trifles’: ‘a word, a smile, a different opinion, and any other sign of undervalue, either direct in their persons or by reflection in their kindred, their friends, their nation, their profession, or their name’. Honour and glory are abstract concepts yet they can matter more than life itself. Alexander the Great, it is said, modelled himself on the great warrior Achilles, who would not suffer insults, and slept with a copy of the Iliad under his pillow. Louis XIV, the Sun King, beggared France and inflicted years of war on Europe in a search for glory, not for his country but for himself. ‘I shall not attempt to justify myself,’ he said after starting a war with the Dutch. ‘Ambition and [the pursuit of] glory are always pardonable in a prince …’ Victory in battle, the acquisition of territory, the quest to put the king’s relatives on other European thrones, even if the wars that followed did not benefit France, were for Louis’s glory. Napoleon, who seems to have admired Louis’s great antagonist the Duke of Marl-borough more than the king, shared the hunger."

"The personal qualities of the French King added to the respect inspired by the power and importance of his kingdom. No sovereign has ever represented the majesty of a great state with more dignity and grace."

"Your opinion is right, that the members of the Académie Royale des Sciences must not be pestered if it does not appear that they are pleased to see that which has been prepared for them. Those are fruits that grow best on their own soil, which is so well cultivated under the protection of one of the greatest kings that has ever been."

"This was a king, wise in his councils, valiant in his armies and magnanimous in his victories."

"The French people were quick to realize the deep significance of the King's ideas, or rather, perhaps, it was the King who grasped what it was that France required. France gave him a free hand and thus enabled him to abolish the final vestiges of ancient wrongs, and to display to the world the inspiring picture of a prince and his people working harmoniously to a common end, for the like of which we should search through history in vain. We know what came of it—the "pré carré" all but completed; in Europe, the prestige of France raised to a height that has never been surpassed; amazing prosperity at home; literature and the arts flourishing as never before; our frontiers inviolate for a century—in a word the Age of Louis XIV!"

"[A]s the country had nearly relapsed into Anarchy again, through the Frondist revolt, only one resource remained to it, the direct rule of the King; in other words, monarchical autocracy. That is why Louis XIV's first pronouncement on attaining his majority was the famous apophthegm "L’Etat, c’est moi!" All France applauded that utterance. And indeed the observation was interpreted as announcing, not a despotism, but a deliverance. Henceforth the State was, not a minister, nor the great nobles and fair ladies of the Fronde, nor the magistrates of Parliament, nor the lords of Finance (hence the importance and the significance of the Fouquet trial). The governing power would now be in the undisputed possession of its lawful representative, the heir to the Kings of France."

"Lewis XIV. was by far the ablest man who was born in modern times on the steps of a throne. He was laborious, and devoted nine hours a day to public business. He had an excellent memory and immense fertility of resource. Few men knew how to pursue such complex political calculations, or to see so many moves ahead. He was patient and constant and unwearied, and there is a persistent unity in his policy, founded, not on likes and dislikes, but on the unvarying facts in the political stage of Europe."

"J'ai failli attendre."

"L'État, c'est moi."

"Je m'en vais, mais l'État demeurera toujours."

"Il n'y a plus de Pyrénées."

"Toutes les fois que je donne une place vacante, je fais cent mécontents et un ingrat."

"One example of these kinds of statistics comes from Evolution: Possible or Impossible by James F. Coppedge [who] cites an article by Ulric Jelinek … which claims that the odds are 1 in 10^243 against "two thousand atoms" (the size of one particular protein molecule) ending up in precisely that particular order "by accident." Where did Jelenik get that figure? From Pierre Lecompte du Nouy... who in turn got it from Charles-Eugene Guye, a physicist who died in 1942. Guye had merely calculated the odds of these atoms lining up by accident if "a volume" of atoms the size of the Earth were "shaken at the speed of light," failing to factor in laws of chemistry, which create preferences for the formation and behavior of molecules, and ignoring that there are millions if not billions of different possible proteins. This calculation comes to Coppedge third-hand, and is now outdated (it was calculated before 1942, even before the discovery of DNA)."

"Let us admit that no matter how small the chance it could happen, one molecule could be created by such astronomical odds of chance. However, one molecule is of no use. Hundreds of millions of identical ones are necessary. Thus we either admit the miracle or doubt the absolute truth of science."

"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."

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

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

"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."

"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."

"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."

"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."

"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."

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

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

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

"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."

"Painting is an act, a sequence of movements one bears within oneself, whose source is one's inner being."

"Quand même"

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

"Si l'on veut abolir la peine de mort en ce cas, que MM. les assassins commencent: qu'ils ne tuent pas, on ne les tuera pas."

"Let us try to see things from their better side: You complain about seeing thorny rose bushes; Me, I rejoice and give thanks to the gods That thorns have roses."

"Plus ça change, plus c'est la même chose."

"Prince, aux dames Parisiennes De beau parler donnez le pris; Quoy qu'on die d'Italiennes, Il n'est bon bec que de Paris."

"But where is last year's snow? This was the greatest care that Villon, the Parisian poet, took."

"There has been no greater artist in French verse, as there has been no greater poet; and the main part of the history of poetry in France is the record of a long forgetting of all that Villon found out for himself."

"Villon, our sad bad glad mad brother's name."

"The Large Testament is a hurly-burly of cynical and sentimental reflections about life, jesting legacies to friends and enemies, and, interspersed among these many admirable ballades, both serious and absurd. With so free a design, no thought that occurred to him would need to be dismissed without expression; and he could draw at full length the portrait of his own bedevilled soul, and of the bleak and blackguardly world which was the theatre of his exploits and sufferings. If the reader can conceive something between the slap-dash inconsequence of Byron's Don Juan and the racy humorous gravity and brief noble touches that distinguish the vernacular poems of Burns, he will have formed some idea of Villon's style. To the latter writer – except in the ballades, which are quite his own, and can be paralleled from no other language known to me – he bears a particular resemblance."

"The vision that impels feminists to action was the vision of the Grandmothers' society, the society that was captured in the words of the sixteenth-century explorer Peter Martyr nearly five hundred years ago. It is the same vision repeated over and over by radical thinkers of Europe and America, from François Villon to John Locke, from William Shakespeare to Thomas Jefferson, from Karl Marx to Friedrich Engels, from Benito Juarez to Martin Luther King, from Elizabeth Cady Stanton to Judy Grahn, from Harriet Tubman to Audre Lorde, from Emma Goldman to Bella Abzug, from Malinalli to Cherrie Moraga, and from Iyatiku to me. That vision as Martyr told it is of a country where there are "no soldiers, no gendarmes or police, no nobles, kings, regents, prefects, or judges, no prisons, no lawsuits... All are equal and free," or so Friedrich Engels recounts Martyr's words."

"Vente, gresle, gelle, j'ay mon pain cuit. Ie suis paillart, la paillarde me suit. Lequel vault mieulx? Chascun bien s'entresuit. L'ung vault l'autre; c'est a mau rat mau chat. Ordure amons, ordure nous assuit; Nous deffuyons onneur, il nous deffuit, En ce bordeau ou tenons nostre estat."

"Mais, quoy que soit du laboureux mestier, Il n'est tresor que de vivre a son aise."

"Deux estions et n’avions qu'ung cuer."

"En ceste foy je vueil vivre et mourir."

"Folles amours font le gens bestes: Salmon en ydolatria, Samson en perdit ses lunettes. Bien est eureux qui riens n'y a!"

"De chiens, d'oyseaulx, d'armes, d'amous," Chascun le dit a la vollee, "Pour une joye cent doulours."

"Mais ou sont les neiges d'antan?"

"Mes jours s'en sont allez errant."

"Bien est verté que j'ay amé Et ameroie voulentiers; Mais triste cuer, ventre affamé Qui n'est rassasié au tiers M'oste des amoureux sentiers. Au fort, quelqu'ung s'en recompence, Qui est ramply sur les chantiers! Car la dance vient de la pance."

"Freres humains qui après nous vivez, N'avez les cuers contre nous endurcis."