“3523. Neither Fish, nor Flesh, nor good red Herring.”
Thomas Fuller (writer) (1654–1734) British physician, preacher, and intellectual
Introductio ad prudentiam: Part II (1727), Gnomologia (1732)
Ask the Dust (1939)
“3523. Neither Fish, nor Flesh, nor good red Herring.”
Thomas Fuller (writer) (1654–1734) British physician, preacher, and intellectual
Introductio ad prudentiam: Part II (1727), Gnomologia (1732)
Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada
Reuters News Agency (October 10, 2005)
2007, 2008
Stephen Sondheim (1930) American composer and lyricist
Halliwell's Who's Who in the Movies (2001 ed): Art. Stephen Sondheim p. 408
Miguel de Cervantes (1547–1616) Spanish novelist, poet, and playwright
Source: Don Quixote de la Mancha (1605–1615), Part II (1615), Book III, Ch. 33, as translated by Pierre Antoine Motteux in The History of the Ingenious Gentleman Don Quixote of La Mancha (1701)
Variant translations:
I'm kind-hearted by nature, and full of compassion for the poor; there's no stealing the loaf from him who kneads and bakes; and by my faith it won't do to throw false dice with me; I am an old dog, and I know all about 'tus, tus;' I can be wide-awake if need be, and I don't let clouds come before my eyes, for I know where the shoe pinches me; I say so, because with me the good will have support and protection, and the bad neither footing nor access. And it seems to me that, in governments, to make a beginning is everything; and maybe, after having been governor a fortnight, I'll take kindly to the work and know more about it than the field labour I have been brought up to.
Honesty's the best policy.
Context: I was ever charitable and good to the poor, and scorn to take the bread out of another man's mouth. On the other side, by our Lady, they shall play me no foul play. I am an old cur at a crust, and can sleep dog-sleep when I list. I can look sharp as well as another, and let me alone to keep the cobwebs out of my eyes. I know where the shoe wrings me. I will know who and who is together. Honesty is the best policy, I will stick to that. The good shall have my hand and heart, but the bad neither foot nor fellowship. And in my mind, the main point of governing, is to make a good beginning.
“I'm like a good clock, I neither gain nor lose. I can strike, too.”
Jean Ingelow (1820–1897) British writer
Source: Fated to Be Free: A Novel (1875), Ch. 19, p. 229.
Madeleine L'Engle (1918–2007) American writer
Penguins and Golden Calves (2003)
Context: I have advice for people who want to write. I don't care whether they're 5 or 500. There are three things that are important: First, if you want to write, you need to keep an honest, unpublishable journal that nobody reads, nobody but you. Where you just put down what you think about life, what you think about things, what you think is fair and what you think is unfair. And second, you need to read. You can't be a writer if you're not a reader. It's the great writers who teach us how to write. The third thing is to write. Just write a little bit every day. Even if it's for only half an hour — write, write, write.
Stevie Ray Vaughan (1954–1990) American guitarist, songwriter and recording artist
"Pride and Joy"
Song lyrics
Marianne von Werefkin (1860–1938) expressionist painter
Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona
“I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences.”
Kenneth Tynan (1927–1980) English theatre critic and writer
Letter to George Devine (10 March 1964), printed in Kenneth Tynan : A Life by Dominic Shellard<!-- Yale University Press, 2003, --> , p. 292
Context: I believe in neither a director’s nor a writer’s theatre, but a theatre of intelligent audiences. I count myself as a member of an intelligent audience, and I wrote to you as such. That you should disagree with me I can understand, but that you should resent my expressing my opinions is something that frankly amazes me. I thought we had outgrown the idea of theatre as a mystic rite born of secret communion between author, director, actors and an empty auditorium.