Quotes about notice
page 7

Henry Adams photo
Samuel Butler photo
Dana Gioia photo
David Cameron photo

“Lots of people call me Dave, my mum calls me David, my wife calls me Dave, I don't really notice what people call me.”

David Cameron (1966) Former Prime Minister of the United Kingdom

Interview with Richard Bacon on XFM, 28 September 2006), as quoted in "Labour in shambles over leadership, says Cameron" in Western Mail (29 September 2006), p. 4.
2000s, 2006

George W. Bush photo

“(He) … said he'd like to be there but "One, I'm too old to be out there, and two, they would notice me."”

George W. Bush (1946) 43rd President of the United States

Speaking to military in Afghanistan, " Bush's Battlefield Envy http://www.washingtonpost.com/wp-dyn/content/blog/2007/09/17/BL2007091700952_pf.html" Washington Post, (September 17, 2007)
2000s, 2007

Albert A. Michelson photo
Richard Dawkins photo
George W. Bush photo
Ann Coulter photo
Shah Jahan photo
Orson Scott Card photo

“Our savior will resurrect us,” said Peggy, “but I haven’t noticed that Christians end up any less dead at the end of life than heathens.”

Orson Scott Card (1951) American science fiction novelist

Source: The Tales of Alvin Maker, Alvin Journeyman (1995), Chapter 14.

James Jeans photo
Hermann Hesse photo
Henry Adams photo
Daisy Ashford photo
Brad Garrett photo

“When I hit the six-foot mark at thirteen, I noticed the majority of the population was in denial with regard to my athletic potential. The townspeople refused to believe that I couldn't play ball.”

Brad Garrett (1960) actor, comedian, voice actor

When the Balls Drop https://books.google.com/books?idlLydBAAAQBAJ&pgPT0 (2015), Chapter 2, "Jews Don't Dribble."

Keira Knightley photo
O. Henry photo
Adam Smith photo
Kage Baker photo
Theodore Dalrymple photo

“14:06> …Of course I made it quite clear to the women that I thought that that the way that they had been abused was terrible and completely unjustifiable. However, I thought that it was very important that they should understand their own complicity in it; so that, for example, they understood that the way they chose men, and their refusal to see signs (which they were capable of seeing) resulted in their misery… <14:40> To give you a concrete example, I would say to them, ‘This man of yours, who’s very nasty to you, and drags you across the floor, and puts your head through the window, and sometimes even hangs you out of the window by your ankles: How long do you think it would take me to realise he was no good, as he came through the door? Would it take me a second, or half a second, or an eighth of a second, or would I not notice that there was anything wrong with him at all?’ And they’d say, ‘Oh, an eighth of a second, you’d know immediately.’ And I would say to them, ‘Well, if you know that I would know immediately, then you knew immediately as well.’ It’s a logical consequence, really. And they would accept that. ‘And yet, you chose to associate with him, knowing full well that he was no good; and I tell you this, because it’s very necessary you should understand your own part in the predicament you now find yourself in, because if you don’t understand it, or don’t think about it, you’re just going to repeat it.’ which is of course, a very, very common pattern.”

Theodore Dalrymple (1949) English doctor and writer

Daniels http://en.wikipedia.org/wiki/Anthony_Daniels_(psychiatrist) on helping victims of abuse understand how they can help to break the cycle.
CBC Ideas Interview (podcast) (September 25, 2006)

Jane Roberts photo
André Breton photo
Robert Silverberg photo
Alan M. Dershowitz photo
Philip K. Dick photo
Jack Johnson (musician) photo
Halldór Laxness photo
John Crowley photo
Anatole France photo

“Only men who are not interested in women are interested in women's clothes. Men who like women never notice what they wear.”

Ce sont les hommes qui n'aiment pas les femmes qui s'intéressent à la toilette des femmes. Et les hommes qui aiment les femmes ne voient pas seulement comment elles sont habillées.
Histoire contemporaine: L'anneau d'améthyste (1899)

Stephen L. Carter photo
Alice A. Bailey photo

“The excursus upon the origin of Odysseus’ scar is not basically different from the many passages in which a newly introduced character, or even a newly appearing object or implement, though it be in the thick of a battle, is described as to its nature and origin; or in which, upon the appearance of a god, we are told where he last was, what he was doing there, and by what road he reached the scene; indeed, even the Homeric epithets seem to me in the final analysis to be traceable to the same need for an externalization of phenomena in terms perceptible to the senses. Here is the scar, which comes up in the course of the narrative; and Homer’s feeling simply will not permit him to see it appear out of the darkness of an unilluminated past; it must be set in full light, and with it a portion of the hero’s boyhood. … To be sure, the aesthetic effect thus produced was soon noticed and thereafter consciously sought; but the more original cause must have lain in the basic impulse of the Homeric style: to represent phenomena in a fully externalized form, visible and palpable in all their parts, and completely fixed in their spatial and temporal relations. Nor do psychological processes receive any other treatment: here too nothing must remain hidden and unexpressed. With the utmost fullness, with an orderliness which even passion does not disturb, Homer’s personages vent their inmost hearts in speech; what they do not say to others, they speak in their own minds, so that the reader is informed of it. Much that is terrible takes place in the Homeric poems, but it seldom takes place wordlessly: Polyphemus talks to Odysseus; Odysseus talks to the suitors when he begins to kill them; Hector and Achilles talk at length, before battle and after; and no speech is so filled with anger or scorn that the particles which express logical and grammatical connections are lacking or out of place.”

Source: Mimesis: The Representation of Reality in Western Literature (1946), p. 5

Gene Wolfe photo

“When we're young, we notice things that are young, like ourselves. New grass on old graves. New leaves on old trees”

Gene Wolfe (1931–2019) American science fiction and fantasy writer

Volume 3: Caldé of the Long Sun (1994), Ch. 1
Fiction, The Book of the Long Sun (1993–1996)

Niels Henrik Abel photo
Donald J. Trump photo

“The media is — really, the word, I think one of the greatest of all terms I’ve come up with is "fake". I guess other people have used it, perhaps, over the years, but I’ve never noticed it.”

Donald J. Trump (1946) 45th President of the United States of America

Donald Trump defends paper towels in Puerto Rico, says Stephen Paddock was ‘probably smart’ in bizarre TV interview: Analysis https://www.thestar.com/news/world/2017/10/08/donald-trump-defends-paper-towels-in-puerto-rico-says-stephen-paddock-was-probably-smart-in-bizarre-tv-interview-analysis.html, at TheStar.com; published October 8, 2017
2010s, 2017, October

Peter Cook photo
Donald J. Trump photo
David Duke photo
Nelson Mandela photo
Hisham Matar photo
Robert Sheckley photo
Agatha Christie photo

“They are so busy knocking that they do not notice that the door is open!”

Agatha Christie (1890–1976) English mystery and detective writer

Hercule Poirot’s Early Cases (1974)

Max Ernst photo

“A banal fever hallucination, soon obliterated and forgotten; it didn't reappear in M's memory until about thirty years later (on 10 August 1925), as he sat alone on a rainy day in a little inn by the seaside, staring at the wooden floor which had been scored by years of scrubbing, and noticed that the grain had started moving of its own accord (much like the lines on the [imitation] mahogany board of his childhood). As with the mahogany board back then, and as with visions seen between sleeping and waking, the lines formed shifting, changing images, blurred at first but then increasingly precise. Max {Ernst] decided to pursue the symbolism of this compulsory inspiration and, in order to sharpen his meditative and hallucinatory skills, he took a series of drawings from the floorboards. Letting pieces of paper drop at random on the floor, he rubbed over them with a black pencil. On careful inspection of the impressions made in this way, he was surprised by the sudden increase they produced in his visionary abilities. His curiosity was aroused. He was delighted, and began making the same type of inquiry into all sorts of materials, whatever caught his eye – leaves with their ribs, the frayed edges of sacking, the strokes of a palette knife in a 'modern' painting, thread rolling off a spool, and so forth. To quote 'Beyond Painting' These drawings, the first fruits of the frottage technique, were collected under the title 'Histoire Naturell.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Biographical Notes. Tissue of truth, Tissue of Lies', 1929; as cited in Max Ernst. A Retrospective, Munich, Prestel, 1991, pp.283/284
1910 - 1935

Richard Feynman photo

“There is one feature I notice that is generally missing in cargo cult science. … It's a kind of scientific integrity, a principle of scientific thought that corresponds to a kind of utter honesty — a kind of leaning over backwards. For example, if you're doing an experiment, you should report everything that you think might make it invalid — not only what you think is right about it; other causes that could possibly explain your results; and things you thought of that you've eliminated by some other experiment, and how they worked — to make sure the other fellow can tell they have been eliminated. Details that could throw doubt on your interpretation must be given, if you know them. You must do the best you can — if you know anything at all wrong, or possibly wrong — to explain it. If you make a theory, for example, and advertise it, or put it out, then you must also put down all the facts that disagree with it, as well as those that agree with it. There is also a more subtle problem. When you have put a lot of ideas together to make an elaborate theory, you want to make sure, when explaining what it fits, that those things it fits are not just the things that gave you the idea for the theory; but that the finished theory makes something else come out right, in addition. In summary, the idea is to try to give all of the information to help others to judge the value of your contribution; not just the information that leads to judgement in one particular direction or another.”

Richard Feynman (1918–1988) American theoretical physicist

" Cargo Cult Science http://calteches.library.caltech.edu/51/2/CargoCult.htm", adapted from a 1974 Caltech commencement address; also published in Surely You're Joking, Mr. Feynman!, p. 341

Lloyd deMause photo
Viktor Schauberger photo
Anna Quindlen photo

“Ever since I heard you is got a million dollars I notice you is fraught with perspicacity.”

Walt Kelly (1913–1973) American cartoonist

Uncle Baldwin (speaking to Churchy)
Pogo comic strip (1948 - 1975), Others

Bernard Cornwell photo

“"She's like a woman, sir, take care of her and she'll take care of you." "You'll notice he let Mister Sharpe do the ramming, sir."”

Bernard Cornwell (1944) British writer

Rifleman Hagman and Sergeant Patrick Harper, p. 188
Sharpe (Novel Series), Sharpe's Havoc (2003)

Richard Rodríguez photo

“Something funny I have noticed—perhaps you have noticed it, too. You know what futurists and online-ists and cut-out-the-middle-man-ists and Davos-ists and deconstructionists of every stripe want for themselves? They want exactly what they tell you you no longer need, you pathetic, overweight, disembodied Kindle reader. They want white linen tablecloths on trestle tables in the middle of vineyards on soft blowy afternoons. (You can click your bottle of wine online. Cheaper.) They want to go shopping on Saturday afternoons on the Avenue Victor Hugo; they want the pages of their New York Times all kind of greasy from croissant crumbs and butter at a café table in Aspen; they want to see their names in hard copy in the “New Establishment” issue of Vanity Fair; they want a nineteenth-century bookshop; they want to see the plays in London; they want to float down the Nile in a felucca; they want five-star bricks and mortar and Do Not Disturb signs and views of the park. And in order to reserve these things for themselves they will plug up your eyes and your ears and your mouth, and if they can figure out a way to pump episodes of The Simpsons through the darkening corridors of your brain as you expire (ADD TO SHOPPING CART), they will do it.”

Richard Rodríguez (1944) American journalist and essayist

Darling: A Spiritual Autobiography (2013)
Variant: Something funny I have noticed—perhaps you have noticed it, too. You know what futurists and online-ists and cut-out-the-middle-man-ists and Davos-ists and deconstructionists of every stripe want for themselves? They want exactly what they tell you you no longer need, you pathetic, overweight, disembodied Kindle reader. They want white linen tablecloths on trestle tables in the middle of vineyards on soft blowy afternoons. (You can click your bottle of wine online. Cheaper.) They want to go shopping on Saturday afternoons on the Avenue Victor Hugo; they want the pages of their New York Times all kind of greasy from croissant crumbs and butter at a café table in Aspen; they want to see their names in hard copy in the “New Establishment” issue of Vanity Fair; they want a nineteenth-century bookshop; they want to see the plays in London; they want to float down the Nile in a felucca; they want five-star bricks and mortar and Do Not Disturb signs and views of the park. And in order to reserve these things for themselves they will plug up your eyes and your ears and your mouth, and if they can figure out a way to pump episodes of The Simpsons through the darkening corridors of your brain as you expire (ADD TO SHOPPING CART), they will do it.

Arthur Stanley Eddington photo
Marvin Minsky photo
Alan Turing photo
Andrea Dworkin photo

“By the time we are women, fear is as familiar to us as air. It is our element. We live in it, we inhale it, we exhale it, and most of the time we do not even notice it. Instead of "I am afraid", we say, "I don't want to", or "I don't know how", or "I can't."”

Andrea Dworkin (1946–2005) Feminist writer

Speech at Queens College, City University of New York (March 12, 1975). "The Sexual Politics of Fear and Courage", ch. 5, Our Blood (1976).

C. Northcote Parkinson photo

“The man whose life is devoted to paperwork has lost the initiative, He is dealing with things that are brought to his notice, having ceased to notice anything for himself.”

C. Northcote Parkinson (1909–1993) British naval historian

Cited in:Lionel G. Titman (1990), The Effective Office: A Handbook of Modern Office Management. p. 117
In-laws and Outlaws, (1962)

Washington Irving photo
Pauline Kael photo

“At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. The directors used to say they were showing us its real face and how ugly it was in order to sensitize us to its horrors. You don't have to be very keen to see that they are now in fact desensitizing us. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counterbalance: the freedom of the press to say that there's anything conceivably damaging in these films — the freedom to analyze their implications. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us — that only squares and people who believe in censorship are concerned with brutality. Actually, those who believe in censorship are primarily concerned with sex, and they generally worry about violence only when it's eroticized. This means that practically no one raises the issue of the possible cumulative effects of movie brutality. Yet surely, when night after night atrocities are served up to us as entertainment, it's worth some anxiety. We become clockwork oranges if we accept all this pop culture without asking what's in it. How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?”

"Stanley Strangelove" (January 1972) http://www.visual-memory.co.uk/amk/doc/0051.html, review of A Clockwork Orange
Deeper into Movies (1973)

Georges Braque photo
Joe Haldeman photo
Gloria Estefan photo
David Graeber photo
Henry Adams photo
Orson Scott Card photo
PewDiePie photo
Bruno Schulz photo

“Have you ever noticed flocks of swallows flying past between the lines of certain books, whole verses of trembling, pointed swallows? One must interpret the flights of those birds…”

Bruno Schulz (1892–1942) Polish novelist and painter

“Spring” http://www.schulzian.net/translation/sanatorium/spring01.htm
His father, Books

Morrissey photo

“M: If you cannot impress people simply by being part of the great fat human race, then you really do have to develop other skills. And if you don't impress people by the way you look, then you really do have to develop other skills. And if you are now going to ask is everything I did just a way to gain some form of attention, well that's not entirely true. It is in a small way, but that's in the very nature of being alive.
PM: Wanting to be loved?
M: To be seen, above all else. I wanted to be noticed, and the way I lived and do live has a desperate neurosis about it because of that. All humans need a degree of attention. Some people get it at the right time, when they are 13 or 14, people get loved at the right stages. If this doesn't happen, if the love isn't there, you can quite easily just fade away. … In a sense I always felt that being troubled as a teenager was par for the course. I wasn't sure that I was dramatically unique. I knew other people who were at the time desperate and suicidal. They despised life and detested all other living people. In a way that made me feel a little bit secure. Because I thought, well, maybe I'm not so intense after all. Of course, I was. I despised practically everything about human life, which does limit one's weekend activities”

Morrissey (1959) English singer

From "Wilde child", interview by Paul Morley, Blitz (April 1988).
In interviews etc., About himself and his work

John Green photo
Amit Chaudhuri photo
Orson Scott Card photo

“That’s the way it was then, you see. Folks noticed other people's trouble every bit as quick as if it was their own.”

Orson Scott Card (1951) American science fiction novelist

Source: The Tales of Alvin Maker, Seventh Son (1987), Chapter 3.

Ronald David Laing photo

“The range of what we think and do is limited by what we fail to notice. And because we fail to notice there is little we can do to change until we notice how failing to notice shapes our thoughts and deeds.”

Ronald David Laing (1927–1989) Scottish psychiatrist and author

Attributed to R.D. Lang in: Jack Lee Seymour, Margaret Ann Crain, Joseph V. Crockett (1993) Educating Christians. p. 53

Neil Gaiman photo

“You get ideas from daydreaming. You get ideas from being bored. You get ideas all the time. The only difference between writers and other people is we notice when we're doing it.”

Neil Gaiman (1960) English fantasy writer

" Where do you get your ideas? http://www.neilgaiman.com/p/Cool_Stuff/Essays/Essays_By_Neil/Where_do_you_get_your_ideas%3F" (1997)

Constance Marie photo
Richard Nixon photo

“So few of those who engage in espionage are Negroes. In fact, very few of them become Communists. If they do, they like, they get into Angela Davis — they're more the capitalist type. And they throw bombs and this and that. But the Negroes — have you ever noticed any Negro spies?”

Richard Nixon (1913–1994) 37th President of the United States of America

Nixon, Haldeman, and Ziegler, 4:03 P.M., Oval Office Conversation #537-4; cassette #876 (5 July 1971)
1970s

Glen Cook photo
Sören Kierkegaard photo

“You have surely noticed among schoolboys, that the one that is regarded by all as the boldest is the one who has no fear of his father, who dares to say to the others, "Do you think I am afraid of him?" On the other hand, if they sense that one of their number is actually and literally afraid of his father, they will readily ridicule him a little. Alas, in men’s fear-ridden rushing together into a crowd (for why indeed does a man rush into a crowd except because he is afraid!) there, too, it is a mark of boldness not to be afraid, not even of God. And if someone notes that there is an individual outside the crowd who is really and truly afraid – not of the crowd, but of God, he is sure to be the target of some ridicule. The ridicule is usually glossed over somewhat and it is said: a man should love God. Yes, to be sure, God knows that man’s highest consolation is that God is love and that man is permitted to love Him. But let us not become too forward, and foolishly, yes, blasphemously, dismiss the tradition of our fathers, established by God Himself: that really and truly a man should fear God. This fear is known to the man who is himself conscious of being an individual, and thereby is conscious of his eternal responsibility before God.”

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

Søren Kierkegaard, Purity of Heart, 1847 Steere translation p. 196-197
1840s, Upbuilding Discourses in Various Spirits (1847), Purity of Heart (1847)

Patrick Swift photo
Keshub Chunder Sen photo

“I was also pained to notice an institution which I certainly did not expect to find in this country – I mean caste. Your rich people are really Brahmins, and your poor people are Sudras.”

Keshub Chunder Sen (1838–1884) Indian academic

Speech at Hannover Square Rooms on the occasion of a Soiree held to bid him farewell on 12th September 1870.

Daniel Hannan photo
Alan Moore photo
Richard Henry Dana Jr. photo
Phil Brooks photo

“Punk: Well, I've had six days to watch that scene over and over and over, and as painful as it was to watch, as painful it was to experience, I saw something more painful. Something caught my eye that was ten times more painful than my arm being mangled inside of a ladder while Alberto wrenched on it with his cross-armbreaker; it was more painful than Alberto butchering the English language; it was more painful than watching Miz [demonstrates] make his own bad-guy face, and his pathetic attempts to sound like a tough guy—"really? really?"—it was more painful than sitting through two hours of Michael Cole commentary as he struggles to sound relevant. No, I continued to watch Monday Night Raw, and what I saw was old clown shoes himself, the Executive Vice President of Talent Relations and Interim Raw General Manager, John Laurinaitis accept an award on my behalf. This wasn't just any award, it was the Slammy Award for Superstar of the Year, being accepted by a guy who's never been a superstar of thirty seconds. I mean, who's he ever beat? And I'm not a hard guy to find, I've yet to receive said Slammy. So what…[turns around and notices] oh. Speak of the devil. No, no, no, don't apologize. Where's my Slammy at?
Laurinaitis: Punk, I mailed your Slammy to you, but with the holiday season, it may take a while to get to you. But if I were you, I'd be more worried about your championship match tonight than your Slammy.
Punk: Well, if I were you, I'd wish myself best of luck in my future endeavors. But I don't expect you to do that; in fact, you wouldn't do that, just like I'm not gonna lose the Title tonight. So when TLC is over with, you're still gonna have to put up with CM Punk as your WWE Champion.
Laurinaitis: You know what, Punk? I'm gonna be the bigger man right now, okay? I mean, after all, I am taller than you. Good luck tonight, and merry Christmas.
Punk: Johnny, luck's for losers.”

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

TLC 2011
WWE Raw

Rex Stout photo

“The incredible thing happens at the beginning of the story always, you notice, not the end. A Sherlock Holmes story is never a trick story.”

Rex Stout (1886–1975) American writer

Rex Stout, page 246
Invitation to Learning

Charlie Brooker photo
Joseph Strutt photo
Johann Wolfgang von Goethe photo

“Smoking stupefies a man, and makes him incapable of thinking or writing. It is only fit for idlers, people who are always bored, who sleep for a third of their lifetime, fritter away another third in eating, drinking, and other necessary or unnecessary affairs, and don’t know—though they are always complaining that life is so short—what to do with the rest of their time. Such lazy Turks find mental solace in handling a pipe and gazing at the clouds of smoke that they puff into the air; it helps them to kill time. Smoking induces drinking beer, for hot mouths need to be cooled down. Beer thickens the blood, and adds to the intoxication produced by the narcotic smoke. The nerves are dulled and the blood clotted. If they go on as they seem to be doing now, in two or three generations we shall see what these beer-swillers and smoke-puffers have made of Germany. You will notice the effect on our literature—mindless, formless, and hopeless; and those very people will wonder how it has come about. And think of the cost of it all! Fully 25,000,000 thalers a year end in smoke all over Germany, and the sum may rise to forty, fifty, or sixty millions. The hungry are still unfed, and the naked unclad. What can become of all the money? Smoking, too, is gross rudeness and unsociability. Smokers poison the air far and wide and choke every decent man, unless he takes to smoking in self-defence. Who can enter a smoker’s room without feeling ill? Who can stay there without perishing?”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Heinrich Luden, Rueckblicke in mein Leben, Jena 1847
Attributed

William Cobbett photo

“It would be tedious to dwell upon every striking mark of national decline: some, however, will press themselves forward to particular notice; and amongst them are: that Italian-like effeminacy, which has, at last, descended to the yeomanry of the country, who are now found turning up their silly eyes in ecstacy at a music-meeting, while they should be cheering the hounds, or measuring their strength at the ring; the discouragement of all the athletic sports and modes of strife amongst the common people, and the consequent and fearful increase of those cuttings and stabbings, those assassin-like ways of taking vengeance, formerly heard of in England only as the vices of the most base and cowardly foreigners, but now become so frequent amongst ourselves as to render necessary a law to punish such practices with death; the prevalence and encouragement of a hypocritical religion, a canting morality, and an affected humanity; the daily increasing poverty of the national church, and the daily increasing disposition still to fleece the more than half-shorne clergy, who are compelled to be, in various ways, the mere dependants of the upstarts of trade; the almost entire extinction of the ancient country gentry, whose estates are swallowed up by loan-jobbers, contractors, and nabobs, who, for the far greater part not Englishmen themselves, exercise in England that sort of insolent sway, which, by the means of taxes raised from English labour, they have been enabled to exercise over the slaves of India or elsewhere; the bestowing of honours upon the mere possessors of wealth, without any regard to birth, character, or talents, or to the manner in which that wealth has been acquired; the familiar intercourse of but too many of the ancient nobility with persons of low birth and servile occupations, with exchange and insurance-brokers, loan and lottery contractors, agents and usurers, in short, with all the Jew-like race of money-changers.”

William Cobbett (1763–1835) English pamphleteer, farmer and journalist

Political Register (27 October 1804).

Saki photo

“Romance at short notice was her speciality.”

"The Open Window"
Beasts and Super-Beasts (1914)

Ibn Khaldun photo

“Arabic writing at the beginning of Islam was, therefore, not of the best quality nor of the greatest accuracy and excellence. It was not (even) of medium quality, because the Arabs possessed the savage desert attitude and were not familiar with crafts. One may compare what happened to the orthography of the Qur’an on account of this situation. The men around Muhammad wrote the Qur’an in their own script which, was not of a firmly established, good quality. Most of the letters were in contradiction to the orthography required by persons versed in the craft of writing…. Consequently, (the Qur’anic orthography of the men around Muhammad was followed and became established, and the scholars acquainted with it have called attention to passages where (this is noticeable). No attention should be paid in this connection with those incompetent (scholars) that (the men around Muhammad) knew well the art of writing and that the alleged discrepancies between their writing and the principles of orthography are not discrepancies, as has been alleged, but have a reason. For instance, they explain the addition of the alif in la ‘adhbahannahU "I shall indeed slaughter him" as indication that the slaughtering did not take place ( lA ‘adhbahannahU ). The addition of the ya in bi-ayydin "with hands (power)," they explain as an indication that the divine power is perfect. There are similar things based on nothing but purely arbitrary assumptions. The only reason that caused them to (assume such things) is their belief that (their explanations) would free the men around Muhammad from the suspicion of deficiency, in the sense that they were not able to write well. They think that good writing is perfection. Thus, they do not admit the fact that the men around Muhammad were deficient in writing.”

Muqqadimah, ibn Khaldun, vol. 2, p. 382
Muqaddimah (1377)

Tom Baker photo