Alfred Jarry quote: “The work of art is a stuffed crocodile. [L'objet d'art, par définition, est le crocodile empaillé. ] (Source: Alfred Ja…”

“Clichés are the armature of the Absolute. (Source: Alfred Jarry, Selected Works, edited by Roger Shattuck and Simon Watson Taylor. Cape, London, 1965).”

Alfred Jarry (1873–1907) French writer

“The work of art is a stuffed crocodile.”

Alfred Jarry (1873–1907) French writer

L'objet d'art, par définition, est le crocodile empaillé.
Source: Alfred Jarry, Selected Works, edited by Roger Shattuck and Simon Watson Taylor. Cape, London, 1965

“More mud, more crocodiles.”

James Joyce book A Portrait of the Artist as a Young Man

A Portrait of the Artist as a Young Man

“As a white man is to a negro so is a negro to a crocodile; and as the negro may rightfully treat the crocodile, so may the white man rightfully treat the negro. This”

Abraham Lincoln (1809–1865) 16th President of the United States

1860s, Allow the humblest man an equal chance (1860)
Context: So that saying, "in the struggle between the negro and the crocodile," &c., is made up from the idea that down where the crocodile inhabits a white man can't labor; it must be nothing else but crocodile or negro; if the negro does not the crocodile must possess the earth; [Laughter; ] in that case he declares for the negro. The meaning of the whole is just this: As a white man is to a negro so is a negro to a crocodile; and as the negro may rightfully treat the crocodile, so may the white man rightfully treat the negro. This very dear phrase coined by its author, and so dear that he deliberately repeats it in many speeches, has a tendency to still further brutalize the negro, and to bring public opinion to the point of utter indifference whether men so brutalized are enslaved or not.

“Really the best way to understand anything about dinosaurs is by looking at living animals. You look at birds and then look at the closest living ancestor of birds, which is the crocodile. If you look at characteristics that birds and crocodiles have in common, the explanation is that the trait was in the common ancestor that birds and crocodiles had at one time.”

Mark Norell (1957) American paleontologist

As quoted in "How Dinosaurs Loved: An Interview with Dr. Mark Norell on Dino Relations" http://motherboard.vice.com/blog/t-rexxx-how-dinosaurs-lived-loved-and-tasted-q-a-with-dr-mark-norell-american-museum-of-natural-history, Vice (March 20, 2012)

“Upon my word," said Dantes, "you make me shudder. Is the world filled with tigers and crocodiles?"

"Yes; and remember that two legged tigers and crocodiles are more dangerous than the others.”

Alexandre Dumas book The Count of Monte Cristo

Source: The Count of Monte Cristo

“To these crocodile tears they will add sobs, fiery sighs, and sorrowful countenance.”

Robert Burton book The Anatomy of Melancholy

Section 2, member 2, subsection 4.
The Anatomy of Melancholy (1621), Part III

“An appeaser is one who feeds a crocodile — hoping it will eat him last.”

Winston S. Churchill (1874–1965) Prime Minister of the United Kingdom

In Reader's Digest (December 1954).
Post-war years (1945–1955)
Variant: An appeaser is one who feeds a crocodile, hoping it will eat him last.

“The copious literature on the work of artist Robert Smithson has made very little of the many parallels between the inventor of earthworks and the nineteenthcentury author of pataphysics, despite the established fact that the artist read and made notes from Alfred Jarry’s Dr. Faustroll (1898) while working on the Spiral Jetty in 1970, which undoubtedly influenced the subsequent Broken Circle &/ Spiral Hill (1971, Emmen). Given the insightful literature reassessing Jarry’s influence on twentieth-century artists including Marcel Duchamp, John Cage and Rodney Graham, a consideration of Smithson’s spiral earthworks in connection with Jarry is long overdue. In contrast to prevailing art research practices today, Smithson’s work is much more aligned with the pataphysical pursuit of ‘imaginary solutions’ that examine ‘the laws governing exceptions’ and describe ‘a universe which can be – and perhaps should be – envisaged in place of the traditional one’.”

Edward A. Shanken (1964) American art historian

Edward A. Shanken (2013). " Broken Circle &/ Spiral Hill: Smithson’s Spirals, Pataphysics, Syzygy, and Survival http://artexetra.files.wordpress.com/2009/02/shanken-smithson-2013.pdf."

“… if you look at crocodiles today, they aren’t really representative of what the lineage of crocodiles look like. Crocodiles are represented by about 23 species, plus or minus a couple. Along that lineage the more primitive members weren’t aquatic. A lot of them were bipedal, a lot of them looked like little dinosaurs. Some were armored, others had no teeth. They were all fully terrestrial. So this is just the last vestige of that radiation that we’re seeing. And the ancestor of both dinosaurs and crocodiles would have, to the untrained eye, looked much more like a dinosaur.”

Mark Norell (1957) American paleontologist

As quoted in "How Dinosaurs Loved: An Interview with Dr. Mark Norell on Dino Relations" http://motherboard.vice.com/blog/t-rexxx-how-dinosaurs-lived-loved-and-tasted-q-a-with-dr-mark-norell-american-museum-of-natural-history, Vice (March 20, 2012)

“The work of art is a stuffed crocodile. [L'objet d'art, par définition, est le crocodile empaillé. ] (Source: Alfred Jarry, Selected Works, edited by Roger Shattuck and Simon Watson Taylor. Cape, London, 1965).”

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