Quotes about deformation

A collection of quotes on the topic of deformation, use, doing, other.

Quotes about deformation

Leonardo DiCaprio photo

“I got attention by being funny at school, pretending to be retarded, and jumping around with a deformed hand.”

Leonardo DiCaprio (1974) American actor and film producer

http://www.flixster.com/actor/leonardo-di-caprio/leonardo-dicaprio-quotes

Joseph Merrick photo
Joseph Merrick photo
Phillis Wheatley photo

“Fascism is a deformity of capitalism.”

Source: How Europe Underdeveloped Africa (1972), p. 310.
Context: Fascism is a deformity of capitalism. It heightens the imperialist tendency towards domination which is inherent in capitalism, and it safeguards the principle of private property. At the same time, fascism immeasurably strengthens the institutional racism already bred by capitalism, whether it be against Jews (as in Hitler’s case) or against African peoples (as in the ideology of Portugal’s Salazar and the leaders of South Africa). Fascism reverses the political gains of the bourgeois democratic system such as free elections, equality before the law, parliaments; and it also extolls authoritarianism and the reactionary union of the church with the state. In Portugal and Spain, it was the Catholic church—in South Africa, it was the Dutch Reformed church.

William Shakespeare photo
Frank Zappa photo

“Modern Americans behave as if intelligence were some sort of hideous deformity.”

Frank Zappa (1940–1993) American musician, songwriter, composer, and record and film producer
Fernando Pessoa photo

“In any spirit that isn't deformed there is the belief in God. In any spirit that is not deformed there isn't the belief in a particular God.”

Ibid., p. 375
The Book of Disquiet
Original: Em qualquer espírito, que não seja disforme, existe a crença em Deus. Em qualquer espírito, que não seja disforme, não existe crença em um Deus definido.

Helmut Schmidt photo
Maria Montessori photo

“Rewards and punishments, to speak frankly, are the desk of the soul, that is, a means of enslaving a child's spirit, and better suited to provoke than to prevent deformities.”

Maria Montessori (1870–1952) Italian pedagogue, philosopher and physician

Source: The Discovery of the Child (1948), Ch. 1

Saul Bellow photo
Kurt Vonnegut photo

“Eliza and I composed a precocious critique of the Constitution of the United States of America … We argued that is was as good a scheme for misery as any, since its success in keeping the common people reasonably happy and proud depended on the strength of the people themselves — and yet it prescribed no practical machinery which would tend to make the people, as opposed to their elected representatives, strong.
We said it was possible that the framers of the Constitution were blind to the beauty of persons who were without great wealth or powerful friends or public office, but who were nonetheless genuinely strong.
We thought it was more likely, though, that their framers had not noticed that it was natural, and therefore almost inevitable, that human beings in extraordinary and enduring situations should think of themselves of composing new families. Eliza and I pointed out that this happened no less in democracies than in tyrannies, since human beings were the same the wide world over, and civilized only yesterday.
Elected representatives, hence, could be expected to become members of the famous and powerful family of elected representatives — which would, perfectly naturally, make them wary and squeamish and stingy with respect to all the other sorts of families which, again, perfectly naturally, subdivided mankind.
Eliza and I … proposed that the Constitution be amended so as to guarantee that every citizen, no matter how humble, or crazy or incompetent or deformed, somehow be given membership in some family as covertly xenophobic and crafty as the one their public servants formed.”

Source: Slapstick (1976), Ch. 6

Andrei Zhdanov photo

“The new electoral system gives us a powerful tool to improve the work of the entire Soviet system, in order to eliminate bureaucratic phenomena, shortcomings and deformations in Soviet organizations. And these shortcomings are, as you know, very real. Our Party organizations must be prepared for the election campaign. In the elections, they must deal with hostile propaganda and hostile candidates.”

Andrei Zhdanov (1896–1948) Soviet politician

Zhdanov in 1937. Translated from Swedish in the article Om socialismens demokratiska erfarenheter http://www.kommunisterna.org/politik/texter/socialismens-lardomar/om-socialismens-demokratiska-erfarenheter by Anders Carlsson.

Mary Wollstonecraft Shelley photo

“What was I? Of my creation and creator I was absolutely ignorant, but I knew that I possessed no money, no friends, no kind of property. I was, besides, endued with a figure hideously deformed and loathsome; I was not even of the same nature as man. I was more agile than they and could subsist upon coarser diet; I bore the extremes of heat and cold with less injury to my frame; my stature far exceeded theirs. When I looked around I saw and heard of none like me. Was I, then, a monster, a blot upon the earth, from which all men fled and whom all men disowned?”

The monster in Ch. 13
Frankenstein (1818)
Context: What was I? Of my creation and creator I was absolutely ignorant, but I knew that I possessed no money, no friends, no kind of property. I was, besides, endued with a figure hideously deformed and loathsome; I was not even of the same nature as man. I was more agile than they and could subsist upon coarser diet; I bore the extremes of heat and cold with less injury to my frame; my stature far exceeded theirs. When I looked around I saw and heard of none like me. Was I, then, a monster, a blot upon the earth, from which all men fled and whom all men disowned?
I cannot describe to you the agony that these reflections inflicted upon me; I tried to dispel them, but sorrow only increased with knowledge. Oh, that I had forever remained in my native wood, nor known nor felt beyond the sensations of hunger, thirst, and heat!

Henryk Sienkiewicz photo

“Whoso loves beauty is unable for that very reason to love deformity.”

Petronius, Ch. 72
Quo Vadis (1895)
Context: Whoso loves beauty is unable for that very reason to love deformity. One may not believe in our gods, but it is possible to love them...

Wilhelm Reich photo
Thomas Hardy photo
Rick Riordan photo

“That’s us,” he said. “Those five nuts right there.”
Which one is me?” I asked.
The little deformed one,” Zoe suggested.
Oh, shut up.”

Variant: That's us," he said. "Those five nuts right there."

"Which one is me?" I asked.

"The little deformed one," Zoe suggested.

"Oh, shut up.
Source: The Titan's Curse

Mary Wollstonecraft Shelley photo
Ted Hughes photo

“Keep dating and you will become so sick, so badly crippled, so deformed, so emotionally warped and mentally defective that you will marry anybody.”

Florence King (1936–2016) American writer

Source: Confessions of a Failed Southern Lady

André Gide photo
Baruch Spinoza photo
Hartley Coleridge photo
Thomas Babington Macaulay, 1st Baron Macaulay photo

“He had a head which statuaries loved to copy, and a foot the deformity of which the beggars in the streets mimicked.”

Thomas Babington Macaulay, 1st Baron Macaulay (1800–1859) British historian and Whig politician

On Moore’s Life of Lord Byron (1830)

Gerhard Richter photo
Eduardo Torroja photo
William Faulkner photo
Erving Goffman photo
Rajiv Malhotra photo
Erich Fromm photo
Parker Palmer photo
Adolf Hitler photo

“.. without any deformation caused by the silly fashion of the corset... she stands somewhat uneasily, with her arms out and knees bent, as if she is balancing. Shadows play over her body and highlight her womanly figure.”

Fritz Bleyl (1880–1966) German artist

c. 1906; as quoted in Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913 - 1916, Simmons, Sherwin, in 'The Art Bulletin', Vol. 82, No. 1. March 2000, p. 121
Bleyl stated that he favored this model Isabella due to her natural body. Using only two tones of yellow in the poster, Bleyl was able to impart a clear sense of this woman's physique. It is precisely this that got Bleyl in trouble: the police censored this image because they saw pubic hair in the shadow below the belly, apparently giving it an inappropriate sexual power

Auguste Rodin photo
Patrick Buchanan photo

“Military intervention for reasons of ideology or nation building is not an Eisenhower or Nixon or Reagan tradition. It is not a Republican tradition. It is a Bush II-neocon deformity, an aberration that proved disastrous for the United States and the Middle East.”

Patrick Buchanan (1938) American politician and commentator

"At Last, America First!" https://www.chroniclesmagazine.org/at-last-america-first/ (April 29, 2016), Chronicles
2010s

Théodore Rousseau photo

“Do not be anxious about [an ordered painting] 'La Ferme' my dear Mr. Hartmann, I am anxious to establish in this picture such a decision deformed, that it may exist, independently of the caprices of the light, and of the influence of the hours of the day. I am regulating it, absolutely as a watchmaker regulates a watch after he has finished it.”

Théodore Rousseau (1812–1867) French painter (1812-1867)

In a letter to Mr. Hartmann, c. 1865; as quoted in The Painters of Barbizon I – Millet, Rousseau and Diaz, by John W. Mollett, B.A.; publ. Sampton Low, Marston, Searle & Rivington, Limited, London, 1890, p. 81
Mr. Hartmann, who had bought this and two other pictures had waited for them fifteen years, at last became impatient, and wrote Rousseau: 'I shall only enjoy my pictures in my extreme old age, when I shall have become too blind to see them'. his biographer/friend Alfred Sensier wrote: this seemed to Mr. Hartmann 'as the reasoning of a troubled mind.' https://archive.org/details/souvenirssurthr00sensgoog?q=Theodore+Rousseau
1851 - 1867

Rudy Rucker photo
Georges Bataille photo

“The human foot is commonly subjected to grotesque tortures that deform it and make it rickety. In an imbecilic way it is doomed to corns, calluses, and bunions.”

Georges Bataille (1897–1962) French intellectual and literary figure

Visions of Excess: Selected Writings 1927-1939

Ai Weiwei photo
Muhammad photo
John of St. Samson photo

“Modesty enables physical deformity.”

John of St. Samson (1571–1636)

From, Light on Carmel: An Anthology from the Works of Brother John of Saint Samson, O.Carm.

Francis Bacon photo
Toby Young photo

“It was as if all the meritocratic fantasies of every 1960s educationalist had come true and all Harold Wilson’s children had been let in at the gate … Small, vaguely deformed undergraduates would scuttle across the quad as if carrying mobile homes on their backs. Replete with acne and anoraks, they would peer up through thick pebble-glasses, pausing only to blow their noses.”

Toby Young (1963) British journalist

The Oxford Myth (1988)
Source: Toby Young quotes on breasts, eugenics and working-class people, Belam, Martin, 2018-01-03, The Guardian, 2018-01-03, en-GB, 0261-3077 http://www.theguardian.com/media/2018/jan/03/toby-young-quotes-on-breasts-eugenics-and-working-class-people,

Giordano Bruno photo
Karel Appel photo
David Hume photo
Nat Hentoff photo
George Raymond Richard Martin photo
Herbert Read photo

“Treasure maps; Czarist bonds; a case of stuffed dodos; Scarlett O'Hara's birth certificate; two flattened and deformed silver bullet heads in an old matchbox; Baedeker's guide to Atlantis (seventeenth edition, 1902); the autograph score of Schubert's Unfinished Symphony, with Das Ende written neatly at the foot of the last page; three boxes of moon rocks; a dumpy, heavy statuette of a bird covered in dull black paint, which reminded him of something but he couldn't remember what; a Norwich Union life policy in the name of Vlad Dracul; a cigar box full of oddly shaped teeth, with CAUTION: DO NOT DROP painted on the lid in hysterical capitals; five or six doll's-house-sized books with titles like Lilliput On $2 A Day; a small slab of green crystal that glowed when he opened the envelope; a thick bundle of love letters bound in blue ribbon, all signed Margaret Roberts; a left-luggage token from North Central railway terminus, Ruritania; Bartholomew's Road Atlas of Oz (one page, with a yellow line smack down the middle); a brown paper bag of solid gold jelly babies; several contracts for the sale and purchase of souls; a fat brown envelope inscribed To Be Opened On My Death: E. A. Presley, unopened; Oxford and Cambridge Board O-level papers in Elvish language and literature, 1969-85; a very old drum in a worm-eaten sea-chest marked F. Drake, Plymouth, in with a load of minute-books and annual accounts of the Winchester Round Table; half a dozen incredibly ugly portraits of major Hollywood film stars; Unicorn-Calling, For Pleasure & Profit by J. R. Hartley; a huge collection of betting slips, on races to be held in the year 2019; all water, as far as Paul was concerned, off a duck's {back]”

Tom Holt (1961) British writer

The Portable Door (2003)

Frederick Douglass photo

“We all know what the negro has been as a slave. In this relation we have his experience of two hundred and fifty years before us, and can easily know the character and qualities he has developed and exhibited during this long and severe ordeal. In his new relation to his environments, we see him only in the twilight of twenty years of semi-freedom; for he has scarcely been free long enough to outgrow the marks of the lash on his back and the fetters on his limbs. He stands before us, today, physically, a maimed and mutilated man. His mother was lashed to agony before the birth of her babe, and the bitter anguish of the mother is seen in the countenance of her offspring. Slavery has twisted his limbs, shattered his feet, deformed his body and distorted his features. He remains black, but no longer comely. Sleeping on the dirt floor of the slave cabin in infancy, cold on one side and warm on the other, a forced circulation of blood on the one side and chilled and retarded circulation on the other, it has come to pass that he has not the vertical bearing of a perfect man. His lack of symmetry, caused by no fault of his own, creates a resistance to his progress which cannot well be overestimated, and should be taken into account, when measuring his speed in the new race of life upon which he has now entered.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1880s, The Future of the Colored Race (1886)

Robert Burton photo
John Calvin photo
Kent Hovind photo
George Eliot photo
David Foster Wallace photo
Georges Braque photo
Steven Pressfield photo
Murray N. Rothbard photo
Joseph Merrick photo
Charles Baudelaire photo

“An artist is only an artist thanks to his exquisite sense of beauty — a sense which provides him with intoxicating delights, but at the same time implying and including a sense, equally exquisite, of all deformity and disproportion.”

Charles Baudelaire (1821–1867) French poet

Un artiste n'est un artiste que grâce à son sens exquis du beau, — sens qui lui procure des jouissances enivrantes, mais qui en même temps implique, enferme un sens également exquis de toute difformité et de toute disproportion.
XI: "Notes nouvelles sur Edgar Poe III," IV http://fr.wikisource.org/wiki/Edgar_Poe_III._Notes_nouvelles_sur_Edgar_Poe_%28L%E2%80%99Art_romantique%29#IV
L'art romantique (1869)

Michel Seuphor photo
Letitia Elizabeth Landon photo
Percy Bysshe Shelley photo
Michael Moorcock photo
Roberto Mangabeira Unger photo

“The extreme moment of shock in battle presents in heightened and distorted form some of the distinctive characteristics of a whole society involved in war. These characteristics in turn represent a heightening and distortion of many of the traits of a social world cracked open by transformative politics. The threats to survival are immediate and shifting; no mode of association or activity can be held fixed if it stands as an obstacle to success. The existence of stable boundaries between passionate and calculating relationships disappears in the terror of the struggle. All settled ties and preconceptions shake or collapse under the weight of fear, violence, and surprise. What the experience of combat sharply diminishes is the sense of variety in the opportunities of self-expression and attachment, the value given to the bonds of community and to life itself, the chance for reflective withdrawal and for love. In all these ways, it is a deformed expression of the circumstance of society shaken up and restored to indefinition. Yet the features of this circumstance that the battle situation does share often suffice to make the boldest associative experiments seem acceptable in battle even if they depart sharply from the tenor of life in the surrounding society. Vanguardist warfare is the extreme case. It is the response of unprejudiced intelligence and organized collaboration to violence and contingency.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military Success (1987), p. 160

Max Beerbohm photo

“It seems to be a law of nature that no man, unless he has some obvious physical deformity, ever is loth to sit for his portrait.”

Max Beerbohm (1872–1956) English writer

Quia Imperfectum (1920)
And Even Now http://www.gutenberg.org/dirs/etext99/evnow10.txt (1920)

Robert Barron (bishop) photo
John Gray photo
William Hazlitt photo
Thomas Jefferson photo
Ken Ham photo
Auguste Rodin photo

“I admit, of course, that the artist does not see nature as the vulgar do. His emotion reveals to him the inner truths that underlie appearance. But the only principle In art is to copy what one sees. Every other method is ruinous. No one can embellish Nature. It is simply and solely a question of seeing. Doubtless a mediocre man, when he copies will never produce a work of art. He looks without seeing. No matter how minutely he observes, the result will be flat and without character. But the artist's trade is not for mediocre men, and no amount of training can supply them with talent. The artist sees - he sees with his heart. He sees deep into the heart of Nature. To the artist everything in Nature is beautiful.
The vulgarian imagines that what looks to him ugly In Nature is not material for the artist. He would forbid us to represent what displeases and offends him. He makes a grave mistake. What is commonly called ugliness in Nature may become a great beauty in art.
In the realm of realities, people regard as ugly everything that is deformed and diseased and that suggests sickness, weakness and suffering. They regard as ugly everything that defies regularity, which is to them the symbol and condition of health and strength. A hump is ugly, bow-legs are ugly, misery in rags is ugly. Ugly, again, are the soul and conduct of the immoral, the vicious, the criminal man, the abnormal man who is an enemy of society; ugly is the soul of the parricide, the traitor, the unscrupulous slave of ambition. And it is right that the lives and the of which we can expect only evil should be given an odious epithet.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Charles Brockden Brown photo
Bernard Mandeville photo
André Gide photo
Haruki Murakami photo
Guillaume de Salluste Du Bartas photo

“Not unlike the bear which bringeth forth
In the end of thirty dayes a shapeless birth;
But after licking, it in shape she drawes,
And by degrees she fashions out the pawes,
The head, and neck, and finally doth bring
To a perfect beast that first deformed thing.”

Guillaume de Salluste Du Bartas (1544–1590) French writer

First Week, First Day. Compare: "I had not time to lick it into form, as a bear doth her young ones", Robert Burton, Anatomy of Melancholy. Democritus to the Reader.
La Semaine; ou, Création du monde (1578)

Gabrielle Roy photo
Charles James Fox photo

“Although Fox's private character was deformed by indulgence in vicious pleasures, it was in the eyes of his contemporaries largely redeemed by the sweetness of his disposition, the buoyancy of his spirits, and the unselfishness of his conduct. As a politician he had liberal sentiments, and hated oppression and religious intolerance. He constantly opposed the influence of the crown, and, although he committed many mistakes, and had in George III an opponent of considerable knowledge of kingcraft and immense resources, the struggle between him and the king, as far as the two men were concerned, was after all a drawn game…the coalition of 1783 shows that he failed to appreciate the importance of political principles and was ignorant of political science…Although his speeches are full of common sense, he made serious mistakes on some critical occasions, such as were the struggle of 1783–4, and the dispute about the regency in 1788. The line that he took with reference to the war with France, his idea that the Treason and Sedition bills were destructive of the constitution, and his opinion in 1801 that the House of Commons would soon cease to be of any weight, are instances of his want of political insight. The violence of his language constantly stood in his way; in the earlier period of his career it gave him a character for levity; later on it made his coalition with North appear especially reprehensible, and in his latter years afforded fair cause for the bitterness of his opponents. The circumstances of his private life helped to weaken his position in public estimation. He twice brought his followers to the brink of ruin and utterly broke up the whig party. He constantly shocked the feelings of his countrymen, and ‘failed signally during a long public life in winning the confidence of the nation’ (LECKY, Hist. iii. 465 sq). With the exception of the Libel Bill of 1792, the credit of which must be shared with others, he left comparatively little mark on the history of national progress. Great as his talents were in debate, he was deficient in statesmanship and in some of the qualities most essential to a good party leader.”

Charles James Fox (1749–1806) British Whig statesman

William Hunt, 'Fox, Charles James (1749–1806)', Dictionary of National Biography (1889).
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Jean Dubuffet photo
John Ralston Saul photo
Rousas John Rushdoony photo
Ilana Mercer photo

“Like left-liberals, "lite libertarians"—they're the kind that is afflicted with the same spineless conformity; a deformation of the personality euphemized as political correctness—are incapable of appreciating a script or book; a painting or symphony; a stand-up routine, if only because the material and its creator violates the received laws of political correctness.”

Ilana Mercer South African writer

ILANA MERCER, " "Cathy Reisenwitz Redux: Steigerwald, Oy Vey Gevalt!" https://thelibertarianalliance.com/2015/01/14/ilana-mercer-cathy-reisenwitz-redux-steigerwald-oy-gevalt/ The British Libertarian Alliance, January 14, 2015
2010s, 2015

“The hypocrite, among other things, can be a deformed ambassador of the truth.”

James Wood (1965) literary critic

The Irresponsible Self (2004)

Plutarch photo
Eduardo Torroja photo
John Zerzan photo