Quotes about appearance
page 15

George Canning photo

“I for my part still conceive it to be the paramount duty of a British member of parliament to consider what is good for Great Britain…I do not envy that man's feelings, who can behold the sufferings of Switzerland, and who derives from that sight no idea of what is meant by the deliverance of Europe. I do not envy the feelings of that man, who can look without emotion at Italy – plundered, insulted, trampled upon, exhausted, covered with ridicule, and horror, and devastation – who can look at all this, and be at a loss to guess what is meant by the deliverance of Europe? As little do I envy the feelings of that man, who can view the peoples of the Netherlands driven into insurrection, and struggling for their freedom against the heavy hand of a merciless tyranny, without entertaining any suspicion of what may be the sense of the word deliverance. Does such a man contemplate Holland groaning under arbitrary oppressions and exactions? Does he turn his eyes to Spain trembling at the nod of a foreign master? And does the word deliverance still sound unintelligibly in his ear? Has he heard of the rescue and salvation of Naples, by the appearance and the triumphs of the British fleet? Does he know that the monarchy of Naples maintains its existence at the sword's point? And is his understanding, and his heart, still impenetrable to the sense and meaning of the deliverance of Europe?”

George Canning (1770–1827) British statesman and politician

Speech in 1798, quoted in Wendy Hinde, George Canning (London: Purnell Books Services, 1973), p. 66.

Henry John Stephen Smith photo

“If we except the great name of Newton (and the exception is one that the great Gauss himself would have been delighted to make) it is probable that no mathematician of any age or country has ever surpassed Gauss in the combination of an abundant fertility of invention with an absolute vigorousness in demonstration, which the ancient Greeks themselves might have envied. It may be admitted, without any disparagement to the eminence of such great mathematicians as Euler and Cauchy that they were so overwhelmed with the exuberant wealth of their own creations, and so fascinated by the interest attaching to the results at which they arrived, that they did not greatly care to expend their time in arranging their ideas in a strictly logical order, or even in establishing by irrefragable proof propositions which they instinctively felt, and could almost see to be true. With Gauss the case was otherwise. It may seem paradoxical, but it is probably nevertheless true that it is precisely the effort after a logical perfection of form which has rendered the writings of Gauss open to the charge of obscurity and unnecessary difficulty. The fact is that there is neither obscurity nor difficulty in his writings, as long as we read them in the submissive spirit in which an intelligent schoolboy is made to read his Euclid. Every assertion that is made is fully proved, and the assertions succeed one another in a perfectly just analogical order… But when we have finished the perusal, we soon begin to feel that our work is but begun, that we are still standing on the threshold of the temple, and that there is a secret which lies behind the veil and is as yet concealed from us. No vestige appears of the process by which the result itself was obtained, perhaps not even a trace of the considerations which suggested the successive steps of the demonstration. Gauss says more than once that for brevity, he gives only the synthesis, and suppresses the analysis of his propositions. Pauca sed matura—few but well matured… If, on the other hand, we turn to a memoir of Euler's, there is a sort of free and luxuriant gracefulness about the whole performance, which tells of the quiet pleasure which Euler must have taken in each step of his work; but we are conscious nevertheless that we are at an immense distance from the severe grandeur of design which is characteristic of all Gauss's greater efforts.”

Henry John Stephen Smith (1826–1883) mathematician

As quoted by Alexander Macfarlane, Lectures on Ten British Physicists of the Nineteenth Century (1916) p. 95, https://books.google.com/books?id=43SBAAAAIAAJ&pg=PA95 "Henry John Stephen Smith (1826-1883) A Lecture delivered March 15, 1902"

Gerald James Whitrow photo
Wilfred Owen photo
Joseph Priestley photo

“We more easily give our assent to any proposition when the person who contends for it appears, by his manner of delivering himself, to have a perfect knowledge of the subject of it.”

Joseph Priestley (1733–1804) English theologian, chemist, educator, and political theorist

A Course of Lectures on Oratory and Criticism (1777), Part III, Lecture XVI, p. 116

Edward Said photo
Diodorus Siculus photo
George Lyman Kittredge photo

“A good sonnet appears to be a confession-in a word either patently artificial, and then it is bad, or good, then it sounds like autobiography.”

George Lyman Kittredge (1860–1941) American scholar, literary critic, and folklorist

The Complete Works of Shakespeare, 1936. Chap XI

Paul Davies photo
Milan Kundera photo
Martial photo

“Let a defect, which is possibly but small, appear undisguised.
A fault concealed is presumed to be great.”

Simpliciter pateat vitium fortasse pusillum: Quod tegitur, magnum creditur esse malum

Variant translation: Conceal a flaw, and the world will imagine the worst.
III, 42.
Epigrams (c. 80 – 104 AD)

Enoch Powell photo
Jim Butcher photo
Nassim Nicholas Taleb photo

“What appears as disaster postponed is, in virtual reality, disaster expanded.”

Nick Land (1962) British philosopher

"Suspended Animation (Part 5)" https://web.archive.org/web/20121111032650/http://www.thatsmags.com/shanghai/article/1524/suspended-animation-part-5 (2011)

Georg Wilhelm Friedrich Hegel photo
Benjamin Banneker photo

“Presumption should never make us neglect that which appears easy to us, nor despair make us lose courage at the sight of difficulties.”

Benjamin Banneker (1731–1806) free African American scientist, surveyor, almanac author and farmer

This appeared in Banneker's Almanac in 1794, and is commonly attributed to him, but originates earlier in "Reflections on different Subjects of Morality, by Stanisław Leszczyński, King of Poland, Duke of Lorrain and Bar" in The Universal Magazine (1765), p. 119
Misattributed

Charles James Napier photo

“The emergence of abstract art is a sign that there are still men of feeling in the world. Men who know how to respect and follow their inner feelings, no matter how irrational or absurd they may first appear. From their perspective, it is the social world that tends to appear irrational and absurd.”

Robert Motherwell (1915–1991) American artist

1951; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory'
from his responding at the 1951 MoMA symposium, in which several artists were asked to respond to the prompt 'What Abstract Art Means to Me'
1950s

Ervin László photo
Herbert Marcuse photo
Eduard Hanslick photo
Victor Davis Hanson photo
Giorgio Vasari photo
Dennis Prager photo

“American values, or Americanism, refers to what I call the "American Trinity": "Liberty," "In God We Trust," and "E Pluribus Unum" ("Out of Many, One"), the three values that appear on all American coins.”

Dennis Prager (1948) American writer, speaker, radio and TV commentator, theologian

Dennis Prager. Still the Best Hope: Why the World Needs American Values to Triumph https://books.google.com/books?id=aAFSQWdwexEC, 2012.
2010s

Susan Faludi photo
Antonin Artaud photo
Poul Anderson photo
Pierre-Simon Laplace photo
Stanisław Leszczyński photo

“Presumption should never make us neglect that which appears easy to us, nor despair make us lose courage at the sight of difficulties.”

Stanisław Leszczyński (1677–1766) king of Poland

"Reflections on different Subjects of Morality, in The Universal Magazine (1765), p. 119.

John Dewey photo
Rensis Likert photo
L. Frank Baum photo
John Constable photo

“I know very well what I am about, & that my skies have not been neglected, though they often failed in execution — and often, no doubt, from an over-anxiety about them — which will alone destroy that easy appearance which nature always has — in all her movements.”

John Constable (1776–1837) English Romantic painter

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78
1820s

James Fenimore Cooper photo

“Parson Amen's speculations on this interesting subject, although this may happen to be the first occasion on which he has ever heard the practice of taking scalps justified by Scripture. Viewed in a proper spirit, they ought merely to convey a lesson of humility, by rendering apparent the wisdom, nay the necessity, of men's keeping them-selves within the limits of the sphere of knowledge they were designed to fill, and convey, when rightly considered, as much of a lesson to the Puseyite, with abstractions that are quite as unintelligible to himself as they are to others; to the high-wrought and dogmatical Calvinist, who in the midst of his fiery zeal, forgets that love is the very essence of the relation between God and man; to the Quaker, who seems to think the cut of a coat essential to salvation; to the descendant of the Puritan, who whether he be Socinian, Calvinist, Universalist, or any other "1st," appears to believe that the "rock" on which Christ declared he would found his church was the "Rock of Plymouth"; and to the unbeliever, who, in deriding all creeds, does not know where to turn to find one to substitute in their stead. Humility, in matters of this sort, is the great lesson that all should teach and learn; for it opens the way to charity, and eventually to faith, and through both of these to hope; finally, through all of these, to heaven.”

James Fenimore Cooper (1789–1851) American author

Source: Oak Openings or The bee-hunter (1848), Ch. XI

Cato the Elder photo

“When you have decided to purchase a farm, be careful not to buy rashly; do not spare your visits and be not content with a single tour of inspection. The more you go, the more will the place please you, if it be worth your attention. Give heed to the appearance of the neighbourhood, - a flourishing country should show its prosperity. "When you go in, look about, so that, when needs be, you can find your way out."”

Of buying a farm; Cited in John Claudius Loudon (1825) An Encyclopædia of Agriculture. Part 1. p. 14
Loudon commented: In the time of Cato the Censor, the author of The Husbandry of the Ancients observed, though the operations of agriculture were generally performed by servants, yet the great men among the Roman continued to give particular attention to it, studied its improvement, and were very careful and exact in the management of nil their country affairs. This appears from the directions given them by this most attentive farmer. Those great men had both houses in town, and villas in the country; and, as they resided frequently in town, the management of their country affairs was committed to a bailiff or overseer. Now their attention to the culture of their land and to every other branch of husbandry, appears, from the directions given them how to behave upon their arrival from the city at their villas.
De Agri Cultura, about 160 BC

G. K. Chesterton photo
Paul Karl Feyerabend photo
Jerzy Vetulani photo
Edwin Abbott Abbott photo
Hans Freudenthal photo
Robin Morgan photo

“[N]o one appeared to wonder whether this S-M proliferation was a lesbian copy of a faggot imitation of patriarchal backlash against feminism.”

Robin Morgan (1941) American feminist writer

"The Politics of Sado-Masochistic Fantasies", in Going Too Far: The Personal Chronicle of a Feminist, p 235.

Derren Brown photo
Rick Santorum photo
Theodore Dalrymple photo

“The real and most pressing question raised by any social problem is: “How do I appear concerned and compassionate to all my friends, colleagues, and peers?””

Theodore Dalrymple (1949) English doctor and writer

The Starving Criminal http://www.city-journal.org/html/12_4_oh_to_be.html (Autumn 2002).
City Journal (1998 - 2008)

John Calvin photo

“The aversion of the first Christians to the images, inspired by the Pagan simulachres, made room, during the centuries which followed the period of the persecutions, to a feeling of an entirely different kind, and the images gradually gained their favour. Reappearing at the end of the fourth and during the course of the fifth centuries, simply as emblems, they soon became images, in the true acceptation of this word; and the respect which was entertained by the Christians for the persons and ideas represented by those images, was afterwards converted into a real worship. Representations of the sufferings which the Christians had endured for the sake of their religion, were at first exhibited to the people in order to stimulate by such a sight the faith of the masses, always lukewarm and indifferent. With regard to the images of divine persons of entirely immaterial beings, it must be remarked, that they did not originate from the most spiritualised and pure doctrines of the Christian society, but were rejected by the severe orthodoxy of the primitive church. These simulachres appear to have been spread at first by the Gnostics,—i. e., by those Christian sects which adopted the most of the beliefs of Persia and India. Thus it was a Christianity which was not purified by its contact with the school of Plato,—a Christianity which entirely rejected the Mosaic tradition, in order to attach itself to the most strange and attractive myths of Persia and India,—that gave birth to the images.”

John Calvin (1509–1564) French Protestant reformer

Source: A Treatise of Relics (1549), p. 13

Georges Braque photo
David Eugene Smith photo

“It is difficult to say when algebra as a science began in China. Problems which we should solve by equations appear in works as early as the Nine Sections (K'iu-ch'ang Suan-shu) and so may have been known by the year 1000 B. C. In Liu Hui's commentary on this work (c. 250) there are problems of pursuit, the Rule of False Position… and an arrangement of terms in a kind of determinant notation. The rules given by Liu Hui form a kind of rhetorical algebra.
The work of Sun-tzï contains various problems which would today be considered algebraic. These include questions involving indeterminate equations. …Sun-tzï solved such problems by analysis and was content with a single result…
The Chinese certainly knew how to solve quadratics as early as the 1st century B. C., and rules given even as early as the K'iu-ch'ang Suan-shu… involve the solution of such equations.
Liu Hui (c. 250) gave various rules which would now be stated as algebraic formulas and seems to have deduced these from other rules in much the same way as we should…
By the 7th century the cubic equation had begun to attract attention, as is evident from the Ch'i-ku Suan-king of Wang Hs'iao-t'ung (c. 625).
The culmination of Chinese is found in the 13th century. …numerical higher equations attracted the special attention of scholars like Ch'in Kiu-shao (c.1250), Li Yeh (c. 1250), and Chu-Shï-kié (c. 1300), the result being the perfecting of an ancient method which resembles the one later developed by W. G. Horner”

David Eugene Smith (1860–1944) American mathematician

1819
Source: History of Mathematics (1925) Vol.2, Ch. 6: Algebra

Will Eisner photo

“”Jewish Peril” exposed.
Historic “Fake.”
Details of the forgery.
More parallels.
We published yesterday an article from our Constantinople Correspondent, which showed that the notorious “Protocols of the Elders of Zion” – one of the mysteries of politics since 1905 – were a clumsy forgery, the text being based on a book published in French in 1865. The book, without title page, was obtained by our correspondent from a Russian source, and we were able to identify it with a complete copy in the British Museum.
The disclosure, which naturally aroused the greatest interest among those familiar with Jewish questions, finally disposes of the “Protocols” as credible evidence of a Jewish plot against civilization.
We publish below a second article, which gives further close parallels between the language of the Protocols and that attributed to Machiavelli and Montesquieu in the volume dated from Geneva.
Plagiarism at Work.
(From our Constantinople Correspondent.)
While the Geneva Dialogue open with an exchange of compliments between Monsequieu and Machiavelli, which covers seven pages, the author of the Protocols plunges at once in medias res.
One can imagine him hastily turning over those first seven pages of the book which he has been ordered to paraphrase against time, and angrily ejaculating, “Nothing here.” But on page 8 of the Dialogues he finds what he wants.
Publisher: Good work Graves…we finally paid your émigré £ 300 for it…now if we can find Golovinski and get his confession…
Graves: He joined the Bolsheviks.
Golovinski became a party ‘’’activist’’’ and rose to be an adviser to Trotsky. But he ‘’’died’’’ last year!
Publisher: Well, that’s that!
Publisher: Oh but Graves, “The Times” is influential… after our expose we’ll probably hear no more of this fraud!
Graves: I’m not sure!
Anti-Bolsheviks, White Russians, published thousands of copies! Here’s a page from Nilus’ “The Great in the Small.”
Publisher: Astonishing…mystical symbols…eh?
The “Protocols” quickly began to circulate around the world.
A French edition this year…and in America Henry Ford, the auto magnate, has been serializing it in his paper, the “Dearborn independent”!
Publisher: When did it first appear in Europe?
Graves: The German edition…dated 1919, was the first!
This is an evil book…a fake designed to malign a whole group of people.
Publisher: I know, I know! …Ugly stuff, Graves.
Graves: Well, what are we to do about it?
Publisher: Your report exposed it as a foul fraud!
Publisher: Y’forget the power of the press, graves! “The Times” has tremendous worldwide influence.
This fraud will soon be well known everywhere…so, my boy, ‘’’what harm can the “protocols” possibly do now?”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), pp. 91-94

John Fletcher photo
Louis Althusser photo
Nicolaus Copernicus photo

“The forward and backward arcs appear greater in Jupiter than in Saturn and smaller than in Mars, and on the other hand greater in Venus than in Mercury.”

End of Ch. 10<!-- quoted in The Advancement of Science, and Its Burdens (1986) by p. 232 -->; the "Congregation of the Index" (the official inquisition censors) declared<!-- on 15 May 1620 --> that the last sentence of this statement was one of eleven passages which should be removed from the work, in this case because it was perceived as implying that God designed things in accord with the Copernican system, rather than that of Ptolemy.
De revolutionibus orbium coelestium (1543)
Context: The forward and backward arcs appear greater in Jupiter than in Saturn and smaller than in Mars, and on the other hand greater in Venus than in Mercury. This reversal in direction appears more frequently in Saturn than in Jupiter, and also more rarely in Mars and Venus than in Mercury. Moreover, when Saturn, Jupiter, and Mars rise at sunset, they are nearer to the earth than when they set in the evening or appear at a later hour. But Mars in particular, when it shines all night, seems to equal Jupiter in size, being distinguished only by its reddish color. Yet in the other configurations it is found barely among the stars of the second magnitude, being recognized by those who track it with assiduous observations. All these phenomena proceed from the same cause, which is the earth's motion.
Yet none of these phenomena appears in the fixed stars. This proves their immense height, which makes even the sphere of the annual motion, or its reflection, vanish from before our eyes. For, every visible object has some measure of distance beyond which it is no longer seen, as is demonstrated in optics. From Saturn, the highest of the planets, to the sphere of the fixed stars there is an additional gap of the largest size. This is shown by the twinkling lights of the stars. By this token in particular they are distinguished from the planets, for there had to be a very great difference between what moves and what does not move. So vast, without any question, is the divine handiwork of the most excellent Almighty.

Nigel Lawson photo

“To govern is to choose. To appear to be unable to choose is to appear to be unable to govern.”

Nigel Lawson (1932) British Conservative politician and journalist

Quoted in the Daily Mail (London, 26 March 1991), as cited in The Columbia Dictionary of Quotations https://en.wikiquote.org/wiki/Special:BookSources/0231071949, ed. Robert Andrews, Columbia University Press (1993), p. 381

George W. Bush photo
Nathanael Greene photo
Björn Ulvaeus photo

“We will never appear on stage again. There is simply no motivation to re-group. Money is not a factor and we would like people to remember us as we were. Young, exuburent, full of energy and ambition.”

Björn Ulvaeus (1945) Swedish musician

Daily Telegraph, 5 Jul 2008 http://www.telegraph.co.uk/culture/music/3555750/ABBAs-Bjorn-Ulvaeus-and-Benny-Anderson-We-will-never-reform.html

Philip Schaff photo

“In the progress of the work he founded a Collegium Biblieum, or Bible club, consisting of his colleagues Melanchthon, Bugenhagen (Pommer), Cruciger, Justus Jonas, and Aurogallus. They met once a week in his house, several hours before supper. Deacon Georg Rörer (Rorarius), the first clergyman ordained by Luther, and his proof-reader, was also present; occasionally foreign scholars were admitted; and Jewish rabbis were freely consulted. Each member of the company contributed to the work from his special knowledge and preparation. Melanchthon brought with him the Greek Bible, Cruciger the Hebrew and Chaldee, Bugenhagen the Vulgate, others the old commentators; Luther had always with him the Latin and the German versions besides the Hebrew. Sometimes they scarcely mastered three lines of the Book of Job in four days, and hunted two, three, and four weeks for a single word. No record exists of the discussions of this remarkable company, but Mathesius says that "wonderfully beautiful and instructive speeches were made."
At last the whole Bible, including the Apocrypha as "books not equal to the Holy Scriptures, yet useful and good to read," was completed in 1534, and printed with numerous woodcuts.
In the mean time the New Testament had appeared in sixteen or seventeen editions, and in over fifty reprints.
Luther complained of the many errors in these irresponsible editions.
He never ceased to amend his translation. Besides correcting errors, he improved the uncouth and confused orthography, fixed the inflections, purged the vocabulary of obscure and ignoble words, and made the whole more symmetrical and melodious.
He prepared five original editions, or recensions, of his whole Bible, the last in 1545, a year before his death.
The edition of 1546 was prepared by his friend Rörer, and contains a large number of alterations, which he traced to Luther himself. Some of them are real improvements, e. g., Die Liebe höret nimmer auf, for, Die Liebe wird nicht müde (1 Cor. 13:8). The charge that he made the changes in the interest of Philippism (Melanchthonianism), seems to be unfounded.”

Philip Schaff (1819–1893) American Calvinist theologian

Luther's Bible club

Miguel de Unamuno photo
Ernest Flagg photo

“Instead of the dormers, skylights… are easier to make and operate, need no double sash, cost less, and some may prefer their appearance.”

Ernest Flagg (1857–1947) American architect

Small Houses: Their Economic Design and Construction (1922)

Yoshida Kenkō photo
Tony Buzan photo
Henry Brougham, 1st Baron Brougham and Vaux photo
Patrick Modiano photo
Samuel Garth photo

“Harsh words, though pertinent, uncouth appear:
None please the fancy, who offend the ear.”

Samuel Garth (1661–1719) British writer

The Dispensary, Canto IV, line 204.

Walter Dill Scott photo
Patrick Matthew photo
Thomas Bradwardine photo
Filippo Tommaso Marinetti photo
David Hume photo
Joseph Strutt photo
John Stuart Mill photo
Vitruvius photo

“Voice is a flowing breath of air, perceptible to the hearing by contact. It moves in an endless number of circular rounds, like the innumerably increasing circular waves which appear when a stone is thrown into smooth water, and which keep on spreading indefinitely from the centre unless interrupted by narrow limits, or by some obstruction which prevents such waves from reaching their end in due formation. When they are interrupted by obstructions, the first waves, flowing back, break up the formation of those which follow.”

Alternate translation: The voice is a flowing breath, made sensible to the organ of hearing by the movements it produces in the air. It is propagated in infinite numbers of circular zones, exactly as when a stone is thrown into a pool of standing water countless circular undulations are generated therein, which, increasing as they recede from the center, spread out over a great distance, unless the narrowness of the locality or some obstacle prevent their reaching their termination; for the first line or waves, when impeded by obstructions, throw by their backward swell the succeeding circular lines of waves into confusion. Quoted by Ernst Mach, The Science of Mechanics: A Critical and Historical Account of its Development (1893, 1960) Tr. Thomas J. McCormack
Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book V, Chapter IV, Sec. 6

Sienna Guillory photo
Ignatius Sancho photo
David Attenborough photo
Robert M. Pirsig photo
Octavio Paz photo

“the reality beyond language is not completely reality, a reality that does not speak or say is not reality;
and the moment I say that, the moment I write, letter by letter, that a reality stripped of names is not reality, the names evaporate, they are air, they are a sound encased in another sound and in another and another, a murmur, a faint cascade of meanings that fade away to nothingness:
the tree that I say is not the tree that I see, tree does not say tree, the tree is beyond its name, a leafy, woody reality: impenetrable, untouchable, a reality beyond signs, immersed in itself, firmly planted in its own reality: I can touch it but I cannot name it, I can set fire to it but if I name it I dissolve it:
the tree that is there among the trees is not the tree that I name but a reality that is beyond names, beyond the word reality, it is simply reality just as it is, the abolition of differences and also the abolition of similarities;
the tree that I name is not the tree, and the other one, the one that I do not name and that is there, on the other side of my window, its trunk now black and its foliage still inflamed by the setting sun, is not the tree either, but, rather, the inaccessible reality in which it is planted:
between the one and the other there appears the single tree of sensation which is the perception of the sensation of tree that is vanishing, but
who perceives, who senses, who vanishes as sensations and perceptions vanish?”

Octavio Paz (1914–1998) Mexican writer laureated with the 1990 Nobel Prize for Literature

Source: The Monkey Grammarian (1974), Ch. 9

Luigi Russolo photo
Leo Tolstoy photo
William Blake photo

“God appears and god is light
To those poor souls who dwell in night
But does a human form display
To those who dwell in realms of day”

William Blake (1757–1827) English Romantic poet and artist

Source: 1800s, Auguries of Innocence (1803), Line 129

Georg Wilhelm Friedrich Hegel photo
Sören Kierkegaard photo
Mark Strand photo

“The excursus upon the origin of Odysseus’ scar is not basically different from the many passages in which a newly introduced character, or even a newly appearing object or implement, though it be in the thick of a battle, is described as to its nature and origin; or in which, upon the appearance of a god, we are told where he last was, what he was doing there, and by what road he reached the scene; indeed, even the Homeric epithets seem to me in the final analysis to be traceable to the same need for an externalization of phenomena in terms perceptible to the senses. Here is the scar, which comes up in the course of the narrative; and Homer’s feeling simply will not permit him to see it appear out of the darkness of an unilluminated past; it must be set in full light, and with it a portion of the hero’s boyhood. … To be sure, the aesthetic effect thus produced was soon noticed and thereafter consciously sought; but the more original cause must have lain in the basic impulse of the Homeric style: to represent phenomena in a fully externalized form, visible and palpable in all their parts, and completely fixed in their spatial and temporal relations. Nor do psychological processes receive any other treatment: here too nothing must remain hidden and unexpressed. With the utmost fullness, with an orderliness which even passion does not disturb, Homer’s personages vent their inmost hearts in speech; what they do not say to others, they speak in their own minds, so that the reader is informed of it. Much that is terrible takes place in the Homeric poems, but it seldom takes place wordlessly: Polyphemus talks to Odysseus; Odysseus talks to the suitors when he begins to kill them; Hector and Achilles talk at length, before battle and after; and no speech is so filled with anger or scorn that the particles which express logical and grammatical connections are lacking or out of place.”

Source: Mimesis: The Representation of Reality in Western Literature (1946), p. 5

Pierre Hadot photo
Anton Chekhov photo

“By nature servile, people attempt at first glance to find signs of good breeding in the appearance of those who occupy more exalted stations.”

Anton Chekhov (1860–1904) Russian dramatist, author and physician

A Futile Occurrence or A Trivial Incident (1886)