“His use of rhythm, his timing, his footwork. Ray Robinson was the greatest combination of speed and power that ever came together in one fighter.”

“Ray Robinson was the perfect fighter because he had no weakness. He had one greatest chins of all time. He was never really knocked out in a 25 year career. Another special thing about Robinson was how many times he was able to get off the floor to win. He always rose to the occasion.”

“Morphy's principal strength does not rest upon his power of combination but in his position play and his general style…. Beginning with la Bourdonnais to the present, and including Lasker, we find that the greatest stylist has been Morphy. Whence the reason, although it might not be the only one, why he is generally considered the greatest of all.”

“Morphy's principal strength does not rest upon his power of combination but in his position play and his general style…. Beginning with la Bourdonnais to the present, and including Lasker, we find that the greatest stylist has been Morphy. Whence the reason, although it might not be the only one, why he is generally considered the greatest of all.”

“Nobody beat Ray twice until he was 40 years old. His intelligence, his versatility, and his will to win were the reasons he won all those rematches. He created a new place for the imagination of a fighter.”

“Paul Morphy was the greatest chess player that ever lived. Every student of the game, who has delved into the stories of the past, realizes that no one ever was so far superior to the players of his time, or ever defeated his opponents with such ease, and no one ever offered knight odds to the men who considered themselves his equal.”

“There is only one who is all powerful, and his greatest weapon is love.”

“Each of us has his own rhythm of suffering.”

“The dawn speeds a man on his journey, and speeds him too in his work.”

“I think he Pollock responded to rhythm more than anything else in art. Indeed, perhaps it is not to much to assert that his greatest works are marked by the intensity and violence of his rhythm, modified by an incorruptible respect for the work's flat surface, an art masculine and lyrical and, as in a Celtic dance, measured, despite its original primitive impulse. That he also meant to me, his rhythm…”