Quotes about classic
page 5

Jacques Ellul photo

“I am an autodidact - that's why I use bigger words than I should. It's a classic sign.”

Mark Leckey (1964) British artist

Guardian interview (2008)

Wolfgang Pauli photo
Uri Avnery photo
Hamid Dabashi photo
Roger Garrison photo
Michel Foucault photo
Arthur Waley photo

“Anyone with a good classical education could learn Chinese by himself without difficulty.”

Arthur Waley (1889–1966) British academic

1968 remark, quoted in Japan Quarterly, Vol. XVIII, No. 1 (January-March 1971), p. 107

Ilana Mercer photo

“The night-watchman state of classical liberalism would keep murderers out of the country, not in.”

Ilana Mercer South African writer

“Jihadists: a modest libertarian proposal” https://jungefreiheit.de/kolumne/2015/dschihadisten-ein-bescheidener-libertaerer-vorschlag/ Junge Freiheit, January 29, 2015.
2010s, 2015

Seth Lloyd photo

“I relate to everything. I'm not just jazz, Latin or classical. I really am a fusion of all of those; not today's fusion, but my fusion.”

Clare Fischer (1928–2012) American keyboardist, composer, arranger, and bandleader

As quoted in "He Arranges, Composes, Performs: Fischer, A Renaissance Man Of Music" http://articles.latimes.com/1987-05-14/entertainment/ca-8949_1_clare-fischer

Burkard Schliessmann photo
Michel Foucault photo

“There can be no doubt that the existence of public tortures and executions were connected with something quite other than this internal organization. Rusche and Kirchheimer are right to see it as the effect of a system of production in which labour power, and therefore the human body, has neither the utility nor the commercial value that are conferred on them in an economy of an industrial type. Moreover, this ‘contempt’ for the body is certainly related to a general attitude to death; and, in such an attitude, one can detect not only the values proper to Christianity, but a demographical, in a sense biological, situation: the ravages of disease and hunger, the periodic massacres of the epidemics, the formidable child mortality rate, the precariousness of the bio-economic balances – all this made death familiar and gave rise to rituals intended to integrate it, to make it acceptable and to give a meaning to its permanent aggression. But in analysing why the public executions survived for so long, one must also refer to the historical conjuncture; it must not be forgotten that the ordinance of 1670 that regulated criminal justice almost up to the Revolution had even increased in certain respects the rigour of the old edicts; Pussort, who, among the commissioners entrusted with the task of drawing up the documents, represented the intentions of the king, was responsible for this, despite the views of such magistrates as Lamoignon; the number of uprisings at the very height of the classical age, the rumbling close at hand of civil war, the king’s desire to assert his power at the expense of the parlements go a long way to explain the survival of so severe a penal system.”

Source: Discipline and Punish (1977), pp. 51

Sören Kierkegaard photo

“If I tried to imagine the public as a particular person (for although some better individuals momentarily belong to the public they nevertheless have something concrete about them, which holds them in its grip even if they have not attained the supreme religious attitude), I should perhaps think of one of the Roman emperors, a large well-fed figure, suffering from boredom, looking only for the sensual intoxication of laughter, since the divine gift of wit is not earthly enough. And so for a change he wanders about, indolent rather than bad, but with a negative desire to dominate. Every one who has read the classical authors knows how many things a Caesar could try out in order to kill time. In the same way the public keeps a dog to amuse it. That dog is the sum of the literary world. If there is some one superior to the rest, perhaps even a great man, the dog is set on him and the fun begins. The dog goes for him, snapping and tearing at his coat-tails, allowing itself every possible ill-mannered familiarity – until the public tires, and says it may stop. That is an example of how the public levels. Their betters and superiors in strength are mishandled – and the dog remains a dog which even the public despises. The leveling is therefore done by a third party; a non-existent public leveling with the help of a third party which in its significance is less than nothing, being already more than leveled.”

Sören Kierkegaard (1813–1855) Danish philosopher and theologian, founder of Existentialism

The Present Age 1846 by Søren Kierkegaard, translated by Alexander Dru 1962, p. 65-66
1840s, Two Ages: A Literary Review (1846)

Gerhard Richter photo
Robert M. Pirsig photo
Arthur Waley photo

“Since the classical language has an easy grammar and limited vocabulary, a few months should suffice for the mastering of it.”

Arthur Waley (1889–1966) British academic

Japanese Poetry: The Uta (1919), Introduction, p. 8

Perry Anderson photo
Henry Adams photo
Paul Cézanne photo
François Englert photo
Alan Moore photo
N. Gregory Mankiw photo
Sarah Brightman photo
Antonio Negri photo
Thomas Babington Macaulay, 1st Baron Macaulay photo
John R. Commons photo

“These individual actions are really trans-actions instead of either individual behavior or the "exchange" of commodities. It is this shift from commodities and individuals to transactions and working rules of collective action that marks the transition from the classical and hedonic schools to the institutional schools of economic thinking. The shift is a change in the ultimate unit of economic investigation. The classic and hedonic economists, with their communistic and anarchistic offshoots, founded their theories on the relation of man to nature, but institutionalism is a relation of man to man. The smallest unit of the classic economists was a commodity produced by labor. The smallest unit of the hedonic economists was the same or similar commodity enjoyed by ultimate consumers. One was the objective side, the other the subjective side, of the same relation between the individual and the forces of nature. The outcome, in either case, was the materialistic metaphor of an automatic equilibrium, analogous to the waves of the ocean, but personified as "seeking their level." But the smallest unit of the institutional economists is a unit of activity -- a transaction, with its participants. Transactions intervene between the labor of the classic economists and the pleasures of the hedonic economists, simply because it is society that controls access to the forces of nature, and transactions are, not the "exchange of commodities," but the alienation and acquisition, between individuals, of the rights of property and liberty created by society, which must therefore be negotiated between the parties concerned before labor can produce, or consumers can consume, or commodities be physically exchanged.”

John R. Commons (1862–1945) United States institutional economist and labor historian

"Institutional Economics," 1931

Norman Tebbit photo

“[The poll tax] was a classic case of a good idea being entrusted to Chris Patten and becoming a terrible failure.”

Norman Tebbit (1931) English politician

On the BBC (16 November, 2000). http://news.bbc.co.uk/olmedia/1025000/audio/_1026366_tebbit.ram

Joanna MacGregor photo
Karl Wilhelm Friedrich Schlegel photo
George Steiner photo

“A good deal of classical music is, today, the opium of the good citizen.”

George Steiner (1929–2020) American writer

"Tomorrow".
In Bluebeard's Castle (1971)

David Bohm photo
Roger Garrison photo
Max Stirner photo
Joanna MacGregor photo
Robert J. Shiller photo
Dana Gioia photo
A. James Gregor photo
Philip Schaff photo

“He adapted the words to the capacity of the Germans, often at the expense of accuracy. He cared more for the substance than the form. He turned the Hebrew shekel into a Silberling, He used popular alliterative phrases as Geld und Gut, Land und Leute, Rath und That, Stecken und Stab, Dornen und Disteln, matt und müde, gäng und gäbe. He avoided foreign terms which rushed in like a flood with the revival of learning, especially in proper names (as Melanchthon for Schwarzerd, Aurifaber for Goldschmid, Oecolampadius for Hausschein, Camerarius for Kammermeister). He enriched the vocabulary with such beautiful words as holdselig, Gottseligkeit.
Erasmus Alber, a contemporary of Luther, called him the German Cicero, who not only reformed religion, but also the German language.
Luther's version is an idiomatic reproduction of the Bible in the very spirit of the Bible. It brings out the whole wealth, force, and beauty of the German language. It is the first German classic, as King James's version is the first English classic. It anticipated the golden age of German literature as represented by Klopstock, Lessing, Herder, Goethe, Schiller,—all of them Protestants, and more or less indebted to the Luther-Bible for their style. The best authority in Teutonic philology pronounces his language to be the foundation of the new High German dialect on account of its purity and influence, and the Protestant dialect on account of its freedom which conquered even Roman Catholic authors.”

Philip Schaff (1819–1893) American Calvinist theologian

Notable examples of Luther's renderings of Hebrew and Greek words

“The instrument of expansion of Classical civilization was a social organization, slavery.”

Carroll Quigley (1910–1977) American historian

Source: The Evolution of Civilizations (1961) (Second Edition 1979), Chapter 9, Classical Civilization, p. 270

Herbert A. Simon photo

“We need to augment and amend the existing body of classical and neoclassical economic theory to achieve a more realistic picture of economic process.”

Herbert A. Simon (1916–2001) American political scientist, economist, sociologist, and psychologist

Herbert A. Simon (1986) in Preface to: Gilad & Kaish (eds.), Handbook of Behavioral Economics, p. xvi.
1980s and later

Kurt Schwitters photo

“Classical poetry counts on people's similarity. It regards idea associations as unequivocal. This is a mistake. In any case, it rests on a fulcrum of idea associations: 'Above the peaks is peace.'... The poet counts on poetic feelings. And what is a poetic feeling? The whole poetry of peace / quiet stands or falls on the reader's ability to feel. Words are not judged here.”

Kurt Schwitters (1887–1948) German artist

1920s
Source: 'Consistent Poetry Art', Schwitters' contribution to 'Magazine G', No. 3, 1924, ed. Hans Richter; as quoted in I is Style, ed. Siegfried Gohr & Gunda Luyken, (commissioned by Rudi Fuchs, director of the Stedelijk Museum Amsterdam), NAI Publishers, Rotterdam 2000, p. 151.

Joanna Newsom photo
Bernard Lewis photo
Edward Bulwer-Lytton photo

“In science, read, by preference the newest works; in literature, the oldest. The classic literature is always modern.”

Edward Bulwer-Lytton (1803–1873) English novelist, poet, playwright, and politician

Caxtoniana: Hints on Mental Culture (1862)

Chinmayananda Saraswati photo
E. C. George Sudarshan photo
George Holmes Howison photo
Amir Taheri photo
Giovanni Gentile photo
Gertrude Stein photo

“The creator of the new composition in the arts is an outlaw until he is a classic.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

Composition as Explanation (1926)

Luboš Motl photo

“The actual heart of quantum mechanics is that the objects in its equations are connected to the observations very differently than the classical counterparts have been.”

Luboš Motl (1973) Czech physicist and translator

https://motls.blogspot.com/2018/09/why-string-theory-is-quantum-mechanics.html
The Reference Frame http://motls.blogspot.com/

Waheeda Rehman photo
Henry Moore photo
Chris Rea photo
David C. McClelland photo
Arjo Klamer photo
Peter Sloterdijk photo

“Finally we should note the basic assumption of the classical laboratory-namely, that nature is neither capricious nor secretive. If nature were capricious, she would tell one observer one thing and another observer a quite different thing… Also nature is not secretive, in the sense that she will not forever hide certain aspects of her being…”

C. West Churchman (1913–2004) American philosopher and systems scientist

Source: 1960s - 1970s, The Systems Approach and Its Enemies (1979), p. 57; as cited in: Carolyn Merchant (1982) "Isis' Consciousness Raised", in: Isis, Vol. 73, No. 3. (1982), pp. 398-409

David Harvey photo
Peter Woit photo
Roger Scruton photo
Megan Mullally photo
Ervin László photo
Doug Stanhope photo

“I did, and still do, think that New Classical Economics has quite a bit in common with the Austrians (so did Robert Lucas, and I am surprised to find that I did not refer to this in the early 1980s, so I was either careless or did not know about it until a bit later).”

David Laidler (1938) Canadian economist

"The 1974 Hayek–Myrdal Nobel Prize", in Hayek: A Collaborative Biography: Part 1 Influences from Mises to Bartley edited by Robert Leeson (2013)

Francis Crick photo
Joanna MacGregor photo
Zakir Hussain (musician) photo

“If it weren’t for the masters we wouldn’t have audiences for Indian classical music across the world. As for taking their mission forward, we have a long way to go.”

Zakir Hussain (musician) (1951) Indian tabla player, musical producer, film actor and composer

Quote, I've never wanted to fit in Abbaji's shoes: Ustad Zakir Hussain

Tommy Lee Jones photo
Robert Graves photo
Eugène Delacroix photo

“For his contemporaries, Racine was a romantic, but for every age he is classical, that is to say, he is faultless.”

Eugène Delacroix (1798–1863) French painter

13 January 1857 (p. 337)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Robert Sheckley photo
Joanna MacGregor photo
Vyjayanthimala photo
James Jeans photo
A. James Gregor photo