Historians From France

"Levinas teaches us that to be entitled with the adjective of human, you must first acknowledge the humanity of the other, and particularize the other within multitude, the one, the specific."

"If every pure character in the Old Testament announces the Messiah, if every unworthy person is his torturer and every woman his Mother, does not the Book of Books lose all life with this obsessive theme?"

"Winning medals wasn’t the point of the Olympics. It’s the participating that counts."

"The important thing in the Olympic Games is not to win, but to take part; the important thing in Life is not triumph, but the struggle; the essential thing is not to have conquered but to have fought well. To spread these principles is to build up a strong and more valiant and, above all, more scrupulous and more generous humanity."

"A better world could be brought about only by better individuals."

"In the name of all the competitors I promise that we shall take part in these Olympic Games, respecting and abiding by the rules which govern them, in the true spirit of sportsmanship, for the glory of sport and the honour of our teams."

"I therefore think that I was right in trying from the outset of the Olympic revival to rekindle a religious awareness."

"The aggressor has always already been attacked. Why are relations of rivalry never seen as symmetrical? Because people always have the impression that the other is the first to attack, that they are never the ones who begin, though in a way they are always the ones. Individualism is a formidable lie. We make others understand that we recognize the signs of aggressiveness which they manifest, and they in turn interpret our posture as aggression."

"There is no culture without a tomb and no tomb without a culture; in the end the tomb is the first and only cultural symbol. The above-ground tomb does not have to be invented. It is the pile of stones in which the victim of the unanimous stoning is buried. It is the first pyramid."

"When the father is no longer an overbearing patriarch the son looks everywhere for the law - and finds no lawgiver."

"[Girard] overturned three widespread assumptions about the nature of desire and violence: first, that our desire is authentic and our own; second, that we fight from our differences, rather than our sameness; and third, that religion is the cause of violence, rather than an archaic solution for controlling violence within a society, as he would assert."

"The God of Christianity isn’t the violent God of archaic religion, but the non-violent God who willingly becomes a victim in order to free us from our violence."

"There is always an attempt to move away from the Cross, that is, to perpetuate man’s misrecognition of his violence and protect his pride from the revelation. Without the Cross, there is no revelation of the fundamental injustice of the scapegoat mechanism, which is the founder of human culture, with all its repercussions in our relationships with each other."

"It was Plato who determined once and for all the cultural meaning of imitation, but this meaning is truncated, torn from the essential dimension of acquisitive behavior, which is also the dimension of conflict. If the behavior of certain higher animals, particularly the apes, seems to foreshadow human behavior, it does so almost exclusively, perhaps, because the role of acquisitive mimesis is so important in their behavior, although it is not as central as it is for the human being. If one ape observes another reach for an object, it is immediately tempted to imitate the gesture. It also happens that the animal visibly resists the temptation, and if the imitative gesture amuses us by reminding us of human beings, the failure to complete it, that is to say the repression of what already can be nearly defined as a desire, amuses us even more. It makes the animal a sort of brother to us by showing it subject to the same fundamental rule as humanity—that of preventing conflict, which the convergence of two or several avid hands toward one and the same object cannot help but provoke."

"An examination of our terms, such as competition, rivalry, emulation, etc., reveals that the traditional perspective remains inscribed in the language. Competitors are fundamentally those who run or walk together, rivals who dwell on opposite banks of the same river, etc…The modern view of competition and conflict is the unusual and exceptional view, and our incomprehension is perhaps more problematic than the phenomenon of primitive prohibition. Primitive societies have never shared our conception of violence. For us, violence has a conceptual autonomy, a specificity that is utterly unknown to primitive societies. We tend to focus on the individual act, whereas primitive societies attach only limited importance to it and have essentially pragmatic reasons for refusing to isolate such an act from its context. This context is one of violence. What permits us to conceive abstractly of an act of violence and view it as an isolated crime is the power of a judicial institution that transcends all antagonists. If the transcendence of the judicial institution is no longer there, if the institution loses its efficacy or becomes incapable of commanding respect, the imitative and repetitious character of violence becomes manifest once more; the imitative character of violence is in fact most manifest in explicit violence, where it acquires a formal perfection it had not previously possessed. At the level of the blood feud, in fact, there is always only one act, murder, which is performed in the same way for the same reasons in vengeful imitation of the preceding murder. And this imitation propagates itself by degrees. It becomes a duty for distant relatives who had nothing to do with the original act, if in fact an original act can be identified; it surpasses limits in space and time and leaves destruction everywhere in its wake; it moves from generation to generation. In such cases, in its perfection and paroxysm mimesis becomes a chain reaction of vengeance, in which human beings are constrained to the monotonous repetition of homicide. Vengeance turns them into doubles."

"The production of a work of art is determined by the material and intellectual climate in which a man lives and dies."

"One puts in the hands of each adult a ballot, but on the back of each soldier a knapsack: with what promises of massacre and bankruptcy for the Twentieth Century, with what exasperation of ill will and distrust, with what loss of wholesome effort, by what a perversion of productive discoveries, accompanied by what an improvement in the means of destruction, by what recoil toward the inferior and unhealthy forms of the old combative societies, by what a backward step toward egoistic and brutal instincts, toward the sentiments, manner and morality of ancient cities and barbaric tribes, we know all too well."

"J'ai beaucoup étudié les philosophes et les chats. La sagesse des chats est infiniment supérieure."

"[Concerning the love La Fontaine felt for animals] He follows their emotions, he represents their reasonings, he becomes tender, he becomes gay, he participates in their feelings. The fact is, he lived in them. […] The animals contain all the materials of man-sensations, judgments, images."

"Napoleon, far more Italian than French, Italian by race, by instinct, imagination, and souvenir, considers in his plan the future of Italy, and, on casting up the final accounts of his reign, we find that the net profit is for Italy and the net loss is for France."

"The critic who attempted to carry on 's ideas, who developed them in his own way and added his own distinct and remarkable contribution, was Hippolyte Taine. As an influence on all literary output since their time, the effect of the ideas of these two men is still extraordinary ..."

"M. Taine, looking as usual for formulas and labels, says that the most complete description of Balzac is that he was a man of business—a man of business in debt."

"A mathematician, then, will be defined in what follows as someone who has published the proof of at least one non-trivial theorem."

"Rien n'est plus capable d'inspirer du courage à une femme que l'intrépidité d'un homme qu'elle aime."

"Combien trouve-t-on de déserteurs de la sévère vertu et combien en trouvez-vous peu de l'amour?"

"Il faut compter ses richesses par les moyens qu'on a de satisfaire ses désirs."

"Crois-tu qu'on puisse être bien tendre lorsqu'on manque de pain?"

"C'est un fonds excellent de revenu pour les petits, que la sottise des riches et des grands."

"Rien n'est plus admirable et ne fait plus d'honneur à la vertu, que la confiance avec laquelle on s'adresse aux personnes dont on connaît parfaitement la probité."

"Un cœur de père est le chef-d'œuvre de la nature."

"Il n'y a que l'expérience ou l'exemple qui puisse déterminer raisonnablement le penchant du cœur. Or l'expérience n'est point un avantage qu'il soit libre à tout le monde de se donner; elle dépend des situations différentes où l'on se trouve placé par la fortune. Il ne reste donc que l'exemple qui puisse servir de règle à quantité de personnes dans l'exercice de la vertu."

"J'ai à peindre…un caractère ambigu, un mélange de vertus et de vices, un contraste perpétuel de bons sentiments et d'actions mauvaises."

"On ne peut réfléchir sur les precepts de la morale sans être étonné de les voir tout à la fois estimés et négligés; et l'on se demande la raison de cette bizarrerie du cœur humain, qui lui fait goûter des idées de bien et de perfection dont il s'éloigne dans la pratique."

"Une des joies d'orgueil de l'homme de lettres, — quand cet homme de lettres est un artiste, — c'est de sentir en lui la faculté de pouvoir immortaliser, à son gré, ce qu'il lui plait d'immortaliser. Dans ce peu de chose qu'il est, il a comme la conscience d'une divinité créatrice. Dieu crée des existences; l'homme d'imagination crée des vies fictives, qui laissent dans la mémoire du monde un souvenir plus profond, plus vécu pour ainsi dire."

"L'Anglais, filou comme peuple, est honnête comme individu. Il est le contraire du Français, honnête comme peuple et filou comme individu."

"S'il y a un Dieu, l'athéisme doit lui sembler une moindre injure que la religion."

"Un livre n'est jamais un chef-d'œuvre, il le devient. Le génie est le talent d'un homme mort."

"Il n'y a que deux grands courants dans l'histoire de l'humanité: la bassesse qui fait les conservateurs et l'envie qui fait les révolutionnaires."

"Évidemment, les critiques n'ont été créés que le septième jour. S'ils avaient été créés le premier, qu'auraient-ils eu à faire?"

"On a souvent essayé de définir le Beau en art. Ce que c'est? Le beau, est ce qui paraît abominable aux yeux sans éducation."

"Ne jamais parler de soi aux autres et leur parler toujours d'eux-mêmes: c'est tout l'art de plaire. Chacun le sait et tout le monde l'oublie."

"Dans la langue de la bourgeoisie, la grandeur des mots est en raison directe de la petitesse des sentiments."

"Vous y trouverez le langage doux et aggreable, d'une naïfve simplicité, la narration pure, et en laquelle la bonne foy de l'autheur reluit evidemment, exempte de vanité parlant de soy, et d'affection et d'envie parlant d'autruy : ses discours et enhortemens, accompaignez, plus de bon zele et de verité, que d'aucune exquise suffisance, et tout par tout de l'authorité et gravité, representant son homme de bon lieu, et élevé aux grans affaires."

"Les roys et princes en sont trop plus forts, quand ils l'entreprennent du consentement de leurs subjets, et en sont plus craints de leurs ennemis."

"Or, selon mon advis, entre toutes les seigneuries du monde, dont j'ay connoissance, où la chose publique est mieux traictée, et où règne moins de violence sur le peuple, et où il n'y a nuls édifices abatus, ni démolis pour guerre, c'est Angleterre; et tombe le sort et le malheur sur ceux qui font la guerre."

"Qui a le profit de la guerre, il en a l'honneur."

"Deux grands princes qui se voudroient bien entr'aymer, ne se devroient jamais voir, mais envoyer bonnes gens et sages les uns vers les autres, et ceux là les entretiendroient ou amenderoient les fautes."

"Ces deux ducs dessusdits estoient sages après le coup (comme l'on dit des Bretons)."

"Car on ne doit point tenir pour conseil ce qui se fait après disner."

"At Queen Philippa's court his fastidious eyes were spared the sight, which was moving Langland to realism, of the disbanded soldiery begging their bread along the countryside. Most of his busy days were spent with princes and potentates, and it is idle to ask how far this experience suits the impartial muse of history…He possessed, too, a prodigious memory; and his keen eye for detail and the wealth and colour of his narrative produced such a record of the fourteenth century as Langland could never have composed. Posterity can but return thanks that the picture has been drawn from both aspects."