“To whom it may concern: the present writer, at any rate, is neither a Hindu nor a nationalist.”

The William Saroyan Reader (1958)
Context: The writer is a spiritual anarchist, as in the depth of his soul every man is. He is discontented with everything and everybody. The writer is everybody's best friend and only true enemy — the good and great enemy. He neither walks with the multitude nor cheers with them. The writer who is a writer is a rebel who never stops.

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.

Book II, sec. 1.
Naturalis Historia

VIII, 36
Meditations (c. 121–180 AD), Book VIII
Context: Remember that neither the future nor the past pains thee, but only the present. But this is reduced to a very little, if thou only circumscribest it, and chidest thy mind, if it is unable to hold out against even this.

Source: Cosmos (1980), p. 250

From 'Om man så må sige – 350 Dronning Margrethe-citater', quoted in English here http://trondni.blogspot.co.uk/2012/11/new-books-wit-and-wisdom-of-margrethe-ii.html.
Life Philosophy

'In judgment on political casebooks', The Saturday Times (9 April 1983), p. 5
1980s

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 3: The Challenge to the Mandarins (p. 17-18)
Context: The Mandarin style at its best yields the richest and most complete expression of the English language. It is the diction of Donne, Browne, Addison, Johnson, Gibbon, de Quincey, Landor, Carlyle and Ruskin as opposed to that of Bunyan, Dryden, Locke, Defoe, Cowper, Cobbett, Hazlitt, Southey and Newman. It is characterized by long sentences with many dependent clauses, by the use of the subjunctive and conditional, by exclamations and interjections, quotations, allusions, metaphors, long images, Latin terminology, subtlety and conceits. Its cardinal assumption is that neither the writer nor the reader is in a hurry, that both are possessed of a classical education and a private income. It is Ciceronian English.