Quotes about imitation
page 4

Patrick Rothfuss photo
Friedrich Hayek photo
Michael E. Porter photo
James Braid photo

“…during a period in history psychology was still a branch of academic philosophy. The psychological concepts developed by philosophers of mind, such as “dominant ideas” (akin to the automatic thoughts of Beck’s cognitive therapy) “habit and association” (a subjective precursor of Pavlovian conditioning), and “imitation and sympathy” (which we now call “role-modelling” and “empathy”), are repeatedly mentioned by Braid as the theoretical framework upon which his science of hypnotism, “neuro-hypnology”, was built. Braid’s friend and collaborator, Prof. William B. Carpenter, discusses the theoretical principles of this in his Principles of Mental Physiology (1889), especially in the chapter ‘Of Common Sense’ which concludes by quoting an approving letter from the philosopher John Stuart Mill sent to Carpenter in 1872. Mill agrees with Carpenter’s contention that “common sense”, by which he means a kind of intellectual intuition analogous to the ancient Greek concept of nous, is a combination of innate and acquired judgements, which have a “reflexive” or “automatic” quality and appear to consciousness as “self-evident” truths.”

James Braid (1795–1860) Scottish surgeon, hypnotist, and hypnotherapist

James Braid, in The Original Philosophy of Hypnotherapy (from The Discovery of Hypnosis) http://ukhypnosis.wordpress.com/category/james-braid-the-founder-of-hypnotherapy/page/2/.

James Braid photo
Plutarch photo
Lee Kuan Yew photo
Piet Mondrian photo
Koenraad Elst photo
Akio Morita photo

“Virgil imitated Homer, but imitated him as a rival, not as a disciple.”

John Conington (1825–1869) British classical scholar

Introduction, p. 27
Commentary, P. Vergili Maronis Opera, Volume II (1863)

Berenice Abbott photo

“Photography can never grow up if it imitates some other medium. It has to walk alone; it has to be itself.”

Berenice Abbott (1898–1991) American photographer

"It Has to Walk Alone," Infinity magazine, 1951.

Thomas Merton photo
Boris Johnson photo
Anthony Burgess photo
George Washington Plunkitt photo

“The Democratic party of the nation ain’t dead, though it’s been givin’ a lifelike imitation of a corpse for several years. p. 88”

George Washington Plunkitt (1842–1924) New York State Senator

Plunkitt of Tammany Hall, Chapter 22, A Parting Word on the Future of the Democratic Party in America

Francis Bacon photo
Heinrich von Treitschke photo
Howard Bloom photo
Bernard Cornwell photo
Robin Williams photo

“What is needed is a noticeable unnoticeable style,… a directness of speech that seems to one judging easily imitable, to one trying it nothing less so.”

J. V. Cunningham (1911–1985) American writer

The Problem of Style, Fawcett, New York 1966
General

Timo K. Mukka photo
Robert G. Ingersoll photo
Giorgio Vasari photo
Paul Cézanne photo

“I still work with difficulty, but I seem to get along. That is the important thing to me. Sensations form the foundation of my work, and they are imperishable, I think. Moreover, I am getting rid of that devil who, as you know, used to stand behind me and forced me at will to 'imitate'; he's not even dangerous any more.”

Paul Cézanne (1839–1906) French painter

one week later Cezanne died
Quote in Cezanne's last letter to his son Paul, Aix, 15 October 1906; as quoted in Cézanne, Ambroise Vollard, Dover publications Inc. New York, 1984, p. 112
Quotes of Paul Cezanne, after 1900

Caspar David Friedrich photo

“What pleases us about the older paintings is above all their pious simplicity... However, we do not want to become simple as many have done, but rather become pious and imitate their virtues.”

Caspar David Friedrich (1774–1840) Swedish painter

Quote of Friedrich, in C. D. Eberlein, C. D. Friedrich Bekenntnisse, pp. 72-73; as cited by Linda Siegel in Caspar David Friedrich and the Age of German Romanticism, Boston Branden Press Publishers, 1978, p. 36
it is possible that Friedrich refers critically in the second part of his remark to the Nazarenes
undated

Ron White photo
Isaac Asimov photo

“Asimov: Well, I liked Star Wars. I thought Battlestar Galactica was such a close imitation of Star Wars, emphasizing the less attractive portions, that I was a little impatient with it.”

Isaac Asimov (1920–1992) American writer and professor of biochemistry at Boston University, known for his works of science fiction …

An Interview with Isaac Asimov (1979)

Emilio Insolera photo
Joyce Brothers photo

“Listening, not imitation, may be the sincerest form of flattery.”

Joyce Brothers (1927–2013) Joyce Brothers

As quoted in Wisdom for the Soul: Five Millennia of Prescriptions for Spiritual Healing (2006) by Larry Chang, p. 469

Ron White photo
Margaret Fuller photo
Frank Wilczek photo
Albert Gleizes photo
Robert Charles Wilson photo
Samuel R. Delany photo
Mary McCarthy photo

“Being abroad makes you conscious of the whole imitative side of human behavior. The ape in man.”

Mary McCarthy (1912–1989) American writer

Birds of Americs (1965), "Epistle from Mother Carey's Chicken"

John Calvin photo
Seneca the Younger photo

“All art is but imitation of nature.”
Omnis ars naturae imitatio est.

Seneca the Younger (-4–65 BC) Roman Stoic philosopher, statesman, and dramatist

Source: Epistulae Morales ad Lucilium (Moral Letters to Lucilius), Letter LXV: On the first cause, Line 3.

Christopher Isherwood photo
Laxmi Prasad Devkota photo
Joseph Strutt photo
John R. Commons photo
Stendhal photo

“The Russians imitate French ways, but always at a distance of fifty years.”

Les Russes copient les moeurs françaises, mais toujours à cinquante ans de distance.
Vol. II, ch. XXIV
Le Rouge et le Noir (The Red and the Black) (1830)

Frank Wilczek photo
Georg Brandes photo
Toshio Shiratori photo

“We are not imitating Hitler and Mussolini. They are imitating us. They have just discovered what we knew for centuries: that a corporate, collectivist system pays.”

Toshio Shiratori (1887–1949) Japanese politician

Quoted in "The American Mercury" - Page 157 - edited by Henry Louis Mencken - 1942.

Henry Temple, 3rd Viscount Palmerston photo

“Nothing is so difficult to change as the traditional habits of a free people in regard to such things. Such changes may be easily made in despotic countries like Russia, or in countries where notwithstanding theoretical freedom the government and the police are all powerful as in France… Can you expect that the people of the United Kingdom will cast aside all the names of space and weight and capacity which they learnt from their infancy and all of a sudden adopt an unmeaning jargon of barbarous words representing ideas and things new to their minds. It seems to me to be a dream of pedantic theorists… I see no use however in attempting to Frenchify the English nation, and you may be quite sure that the English nation will not consent to be Frenchified. There are many conceited men who think that they have given an unanswerable argument in favour of any measure they may propose by merely saying that it has been adopted by the French. I own that I am not of that school, and I think the French have much to gain by imitating us than we have to gain by imitating them. The fact is there are a certain set of very vain men like Ewart and Cobden who not finding in things as they are here, the prominence of position to which they aspire, think that they gain a step by oversetting any of our arrangements great or small and by holding up some foreign country as an object of imitation.”

Henry Temple, 3rd Viscount Palmerston (1784–1865) British politician

Letter to Thomas Milner Gibson (5 May 1864), quoted in Jasper Ridley, Lord Palmerston (London: Constable, 1970), p. 507.
1860s

Plutarch photo

“Cato used to assert that wise men profited more by fools than fools by wise men; for that wise men avoided the faults of fools, but that fools would not imitate the good examples of wise men.”

Plutarch (46–127) ancient Greek historian and philosopher

Life of Marcus Cato
Bartlett's Familiar Quotations, 10th ed. (1919)

Logan Pearsall Smith photo

“Perhaps not only in his attitude towards truth, but in his attitude towards himself, Montaigne was a precursor. Perhaps here again he was ahead of his own time, ahead of our time also, since none of us would have the courage to imitate him. It may be that some future century will vindicate this unseemly performance; in the meanwhile it will be of interest to examine the reasons which he gives us for it. He says, in the first place, that he found this study of himself, this registering of his moods and imaginations, extremely amusing; it was an exploration of an unknown region, full of the queerest chimeras and monsters, a new art of discovery, in which he had become by practice “the cunningest man alive.” It was profitable also, for most people enjoy their pleasures without knowing it; they glide over them, and fix and feed their minds on the miseries of life. But to observe and record one’s pleasant experiences and imaginations, to associate one’s mind with them, not to let them dully and unfeelingly escape us, was to make them not only more delightful but more lasting. As life grows shorter we should endeavour, he says, to make it deeper and more full. But he found moral profit also in this self-study; for how, he asked, can we correct our vices if we do not know them, how cure the diseases of our soul if we never observe their symptoms? The man who has not learned to know himself is not the master, but the slave of life: he is the “explorer without knowledge, the magistrate without jurisdiction, and when all is done, the fool of the play.””

Logan Pearsall Smith (1865–1946) British American-born writer

“Montaigne,” p. 6
Reperusals and Recollections (1936)

Joseph Conrad photo

“Coming in from the eastward, the bright colouring of the [Nore] lightship marking the part of the river committed to the charge of an Admiral (the Commander-in-Chief at the Nore) accentuates the dreariness and the great breadth of the Thames Estuary. But soon the course of the ship opens the entrance of the Medway, with its men-of-war moored in line, and the long wooden jetty of Port Victoria, with its few low buildings like the beginning of a hasty settlement upon a wild and unexplored shore. The famous Thames barges sit in brown clusters upon the water with an effect of birds floating upon a pond… [The inward-bound ships] all converge upon the Nore, the warm speck of red upon the tones of drab and gray, with the distant shores running together towards the west, low and flat, like the sides of an enormous canal. The sea-reach of the Thames is straight, and, once Sheerness is left behind, its banks seem very uninhabited, except for the cluster of houses which is Southend, or here and there a lonely wooden jetty where petroleum ships discharge their dangerous cargoes, and the oil-storage tanks, low and round with slightly-domed roofs, peep over the edge of the fore-shore, as it were a village of Central African huts imitated in iron. Bordered by the black and shining mud-flats, the level marsh extends for miles. Away in the far background the land rises, closing the view with a continuous wooded slope, forming in the distance an interminable rampart overgrown with bushes.”

The Nore to Hope Point
The Mirror of the Sea (1906), On the River Thames, Ch. 16

Ray Charles photo
John of St. Samson photo
Adolf Hitler photo
Bell Hooks photo

“The understanding I had by age thirteen of patriarchal politics created in me expectations of the feminist movement that were quite different from those of young, middle class, white women. When I entered my first women's studies class at Stanford University in the early 1970s, white women were revelling in the joy of being together-to them it was an important, momentous occasion. I had not known a life where women had not been together, where women had not helped, protected, and loved one another deeply. I had not known white women who were ignorant of the impact of race and class on their social status and consciousness (Southern white women often have a more realistic perspective on racism and classism than white women in other areas of the United States.) I did not feel sympathetic to white peers who maintained that I could not expect them to have knowledge of or understand the life experiences of black women. Despite my background (living in racially segregated communities) I knew about the lives of white women, and certainly no white women lived in our neighborhood, attended our schools, or worked in our homes When I participated in feminist groups, I found that white women adopted a condescending attitude towards me and other non-white participants. The condescension they directed at black women was one of the means they employed to remind us that the women's movement was "theirs"-that we were able to participate because they allowed it, even encouraged it; after all, we were needed to legitimate the process. They did not see us as equals. And though they expected us to provide first hand accounts of black experience, they felt it was their role to decide if these experiences were authentic. Frequently, college-educated black women (even those from poor and working class backgrounds) were dismissed as mere imitators. Our presence in movement activities did not count, as white women were convinced that "real" blackness meant speaking the patois of poor black people, being uneducated, streetwise, and a variety of other stereotypes. If we dared to criticize the movement or to assume responsibility for reshaping feminist ideas and introducing new ideas, our voices were tuned out, dismissed, silenced. We could be heard only if our statements echoed the sentiments of the dominant discourse.”

Bell Hooks (1952) American author, feminist, and social activist

Source: (1984), Chapter 1: Black Women: Shaping Feminist Theory, pp. 11-12.

Otto Lilienthal photo
Marcus Aurelius photo

“There is no nature which is inferior to art, the arts imitate the nature of things.”

XI, 10
Meditations (c. 121–180 AD), Book XI

Maurice Denis photo

“Painting is first of all the art of imitation, and not the servant of some imaginary 'purity”

Maurice Denis (1870–1943) French painter

as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [42]
Nouvelles théories sur l'art moderne..., 1922

Matthijs Maris photo

“I recollect after the war in '71 [in Paris, where he stayed then and was fighting against the German] there were some debts to pay of course: what had I to do? I said to Wisselingh [Dutch art-dealer] who was with Goupil, 'tell them that I'll take them back later on.' I've never been able to do so, for one Van Gogh [probably Vincent, then art-seller at Goupil], his partner, gave me 200 francs, someone bought it for 350, and sold it in America for 700 pounds. He had asked Wisselingh how long it had taken me to do [make] it; he said a week, so I was the chap for him; no wonder he was always talking making fortune, fancy 100 pounds per day, make some more or this sort: do it only for a year. So I had to commit suicides upon suicides [he means, making salable paintings]: what did it matter to him or anyone else? Someone said once to me: 'You must have somebody fool enough to say, here is money for you, and go your own way': that is the very thing one may not do. There is always someone telling you how to set about, and then come the schools telling you that it is not allowed to be one's self, but that one has to be a Roman or Greek, or imitate what they have performed..”

Matthijs Maris (1839–1917) Dutch painter

in a letter to David Croal Thomson (1907), as cited in: The Brothers Maris (James – Matthew – William), ed. Charles Holme; text: D.C. Thomson https://ia800204.us.archive.org/1/items/cu31924016812756/cu31924016812756.pdf; publishers, Offices of 'The Studio', London - Paris, 1907, p. BMxvii

Joshua Reynolds photo
Jean Metzinger photo
William Joyce photo
Thomas Hughes photo
Alfred Horsley Hinton photo

“It is the subjects which might be imitated by pieces of paper of varying depth of color laid one over the other, which are the subjects that will give more readily the greater satisfaction.”

Alfred Horsley Hinton (1863–1908) British photographer

Source: Part II : Practical Pictorial Photography, Some examples in composition, p. 60

Democritus photo

“In the weightiest matters we must go to school to the animals, and learn spinning and weaving from the spider, building from the swallow, singing from the birds,—from the swan and the nightingale, imitating their art.”

Democritus Ancient Greek philosopher, pupil of Leucippus, founder of the atomic theory

Source Book in Ancient Philosophy (1907), The Golden Sayings of Democritus

Dejan Stojanovic photo

“Instead of imitating me, you simply loiter.”

Dejan Stojanovic (1959) poet, writer, and businessman

"Imitation," p. 26
The Shape (2000), Sequence: “Happiness of Atoms”

Derren Brown photo

“One of the techniques that I use to imitate psychic phenomena is photographic memory.”

Derren Brown (1971) British illusionist

TV Series and Specials (Includes DVDs), Mind Control (1999–2000) or Inside Your Mind on DVD

Eric R. Kandel photo
Richard Rumelt photo
James Macpherson photo

“People don't want to listen to an imitation. If they want to listen to my style, they will go and buy my records.”

Begum Akhtar (1914–1974) Indian musician

In Quotations by 60 Greatest Indians, Dhirubhai Ambani Institute of Information and Communication Technology http://resourcecentre.daiict.ac.in/eresources/iresources/quotations.html,
Quote

Vitruvius photo
Robin Williams photo

“(Imitating Pavarotti) "It is amazing I know it is huge. BEHOLD IT. IT IS GROWING. ALL OF MY PHALLUS IS A SHOWING!"”

Robin Williams (1951–2014) American actor and stand-up comedian

Inside the Actors Studio (2001)

Andrew Sega photo
Paul Claudel photo

“Art imitates nature not in its effects as such, but in its causes, in its ‘manner,’ in its process, which are nothing but a participation in and a derivation of actual objects, of the Art of God himself.”

Paul Claudel (1868–1955) French diplomat

as quoted in "The man who got it right," The New York Review of Books, Volume 60, Number 13, August 15, 2013, p. 72

Yoshida Kenkō photo

“Even a false imitation of wisdom must be reckoned as wisdom.”

Yoshida Kenkō (1283–1350) japanese writer

Source: Tsurezure-Gusa (Essays in Idleness), p. 85

Georges Sorel photo
Jahangir photo

“On the 7th azar I went to see and shoot on the tank of Pushkar, which is one of the established praying-places of the Hindus, with regard to the perfection of which they give (excellent) accounts that are incredible to any intelligence, and which is situated at a distance of three kos from Ajmir. For two or three days I shot waterfowl on that tank, and returned to Ajmir. Old and new temples which, in the language of the infidels, they call Deohara are to be seen around this tank. Among them Rana Shankar, who is the uncle of the rebel Amar, and in my kingdom is among the high nobles, had built a Deohara of great magnificence, on which 100,000 rupees had been spent. I went to see that temple. I found a form cut out of black stone, which from the neck above was in the shape of a pig's head, and the rest of the body was like that of a man. The worthless religion of the Hindus is this, that once on a time for some particular object the Supreme Ruler thought it necessary to show himself in this shape; on this account they hold it dear and worship it. I ordered them to break that hideous form and throw it into the tank. After looking at this building there appeared a white dome on the top of a hill, to which men were coming from all quarters. When I asked about this they said that a Jogi lived there, and when the simpletons come to see him he places in their hands a handful of flour, which they put into their mouths and imitate the cry of an animal which these fools have at some time injured, in order that by this act their sins may be blotted out. I ordered them to break down that place and turn the Jogi out of it, as well as to destroy the form of an idol there was in the dome”

Jahangir (1569–1627) 4th Mughal Emperor

Ajmer, Pushkar (Rajasthan) , Tuzuk-i-Jahangiri, translated into English by Alexander Rogers, first published 1909-1914, New Delhi Reprint, 1978, Vol. I, pp. 254-55.

Catharine A. MacKinnon photo
Johannes Kepler photo
Ursula K. Le Guin photo

“To think that realistic fiction is by definition superior to imaginative fiction is to think imitation is superior to invention.”

Ursula K. Le Guin (1929–2018) American writer

The Question I Get Asked Most Often in The Wave in the Mind: Talks and Essays on the Writer, the Reader, and the Imagination (2004)

Gerhard Richter photo
Wassily Kandinsky photo
William Winwood Reade photo
Zero Mostel photo
Sri Aurobindo photo

“Rather hang thyself than belong to the horde of successful imitators.”

Sri Aurobindo (1872–1950) Indian nationalist, freedom fighter, philosopher, yogi, guru and poet

Thoughts and Aphorisms (1913), Karma

Phil Brooks photo

“Punk: [after hearing John Laurinaitis propose a WWE Championship match at Survivor Series against Alberto Del Rio] Okay, pardon me for not being all smiles, that's exactly what I want, but… what's the catch? You gonna make it a handicap match, or is Ricardo Rodriguez the special guest referee? No, are you gonna be the special guest ring announcer with your majestic voice?
Laurinaitis: Punk, there's only one thing you have to do.
Punk: There's one thing I have to do… for you. I have to do something for you to get a title shot? Let me guess—I gotta re-grip your skateboard, you need new ball bearings?
Laurinaitis: You know what, Punk? I know you don't like me, okay? And that's okay. I'm not playing the part of Executive Vice President of Talent Relations, I am the Executive Vice President of Talent Relations and the General Manager of Raw. So in order for me to make it official, you need to tell me in front of the WWE Universe that you respect me. Tell me that you respect me.
Punk: Are you Aretha Franklin? You want me to tell these people I respect you when I know clearly that you don't respect me 'cause I don't wear a bourgeois suit and I don't tow the company line? You wanna talk about respect? Respect, Johnny, is earned, it isn't just given. And you're gonna come out here and say that when you're in charge, this place… this place is just oh so run like a tight ship. Have you watched the product? We've got rings collapsing, you got Kevin Nash interfering in every other match of mine; this place isn't any better with you in charge. How's that for respect?
Laurinaitis: Punk, you're about to make a big mistake. Okay, swallow your pride, stand up like a man, and tell me that you respect me.
Punk: Okay. All right. Don't get hot. [Imitating Laurinaitis] I respect you, Funk-man. That all right? Was that good enough?
Laurinaitis: I tell you what, Punk. You've got one more chance to show me and tell me you respect me, and I mean it.
Punk: Okay, Mr. Laurinaitis, sir, Executive Vice President of Talent Relations and interim Raw General Manager. I respect you. I respect the fact that each week, you come out here in front of the millions of fans in the WWE Universe, live on the USA Network, with this awesome, completely lost deer-in-the-headlights look on your face; I respect the fact that you don't know how close to hold the microphone to your mouth when you speak; I respect the fact that you used to compete in this ring with your awesome Kentucky waterfall mullet, and you were never any good, but you somehow still ascended to the top of the WWE corporate structure, showing the world new-found levels of brown-nosery; but above all, I respect the fact that never before in this business has somebody with so little done so much! I respect you! How's that sound?! Does that sound good enough for you?!”

Phil Brooks (1978) American professional wrestler and mixed martial artist

October 24, 2011
WWE Raw

Mr. Lawrence photo