
“I would rather die of passion than of boredom.”
Emile Zola book Au Bonheur des Dames
Source: The Ladies' Paradise
Kevin
Johnson
USA Today
2003-01-01
http://usatoday30.usatoday.com/tech/news/2003-01-02-email-book_x.htm
He spread the words, one e-mail at a time
“I would rather die of passion than of boredom.”
Emile Zola book Au Bonheur des Dames
Source: The Ladies' Paradise
“I would rather die of passion than of boredom”
Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)
Not by van Gogh, but from Emile Zola's novel The Ladies' Paradise (1883)
Misattributed
“Authors and actors and artists and such - Never know nothing, and never know much.”
Dorothy Parker (1893–1967) American poet, short story writer, critic and satirist
Jiddu Krishnamurti (1895–1986) Indian spiritual philosopher
1st Question & Answer Meeting, Brockwood Park, UK (7 September 1971)
1970s
Penn Badgley (1986) American actor and musician
Source: "Penn Badgley Explores Joe Goldberg's 'Primal' Parenting In You Season 3" in ELLE https://www.elle.com/culture/movies-tv/a37886117/penn-badgley-you-season-3-interview/ (18 October 2021)
Song Kang-ho (1967) South Korean actor
As quoted in "Interview: Song Kang-ho, Parasite" in Cinevue (5 February 2020) https://cine-vue.com/2020/02/interview-song-kang-ho-parasite.html
Nick Land (1962) British philosopher
Modernity is a blast. <br class="br"> "A Quick-and-Dirty Introduction to Accelerationism" https://jacobitemag.com/2017/05/25/a-quick-and-dirty-introduction-to-accelerationism/ (2017)
Sarah Bernhardt (1844–1923) French actress
The Art of the Theatre (1925), p. 171
Context: 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.