Quotes about originality
page 10

Arthur Schopenhauer photo

“We should judge university philosophy … by its true and proper aim: … that the junior barristers, solicitors, doctors, probationers, and pedagogues of the future should maintain, even in their innermost conviction, the same line of thought in keeping with the aims and intentions that the State and its government have in common with them. I have no objection to this and so in this respect have nothing to say. For I do not consider myself competent to judge of the necessity or needlessness of such a State expedient, but rather leave it to those who have the difficult task of governing men, that is to say, of maintain law and order, … and of protecting the few who have acquired property from the immense number of those who have nothing but their physical strength. … I certainly do not presume to argue with them over the means to be employed in this case; for my motto has always been: “Thank God, each morning, therefore, that you have not the Roman realm to care for!” [Goethe, Faust] But it was these constitutional aims of university philosophy which procured for Hegelry such an unprecedented ministerial favor. For it the State was “the absolute perfect ethical organism,” and it represented as originating in the State the whole aim of human existence. Could there be for future junior barristers and thus for state officials a better preparation than this, in consequence whereof their whole substance and being, their body and soul, were entirely forfeited to the State, like bees in a beehive, and they had nothing else to work for … except to become efficient wheels, cooperating for the purpose of keeping in motion the great State machine, that ultimus finis bonorum [ultimate good]? The junior barrister and the man were accordingly one and the same. It was a real apotheosis of philistinism.”

Inzwischen verlangt die Billigkeit, daß man die Universitätsphilosophie nicht bloß, wie hier gescheht!, aus dem Standpunkte des angeblichen, sondern auch aus dem des wahren und eigentlichen Zweckes derselben beurtheile. Dieser nämlich läuft darauf hinaus, daß die künftigen Referendarien, Advokaten, Aerzte, Kandidaten und Schulmänner auch im Innersten ihrer Ueberzeugungen diejenige Richtung erhalten, welche den Absichten, die der Staat und seine Regierung mit ihnen haben, angemessen ist. Dagegen habe ich nichts einzuwenden, bescheide mich also in dieser Hinsicht. Denn über die Nothwendigkeit, oder Entbehrlichkeit eines solchen Staatsmittels zu urtheilen, halte ich mich nicht für kompetent; sondern stelle es denen anheim, welche die schwere Aufgabe haben, Menschen zu regieren, d. h. unter vielen Millionen eines, der großen Mehrzahl nach, gränzenlos egoistischen, ungerechten, unbilligen, unredlichen, neidischen, boshaften und dabei sehr beschränkten und querköpfigen Geschlechtes, Gesetz, Ordnung, Ruhe und Friede aufrecht zu erhalten und die Wenigen, denen irgend ein Besitz zu Theil geworden, zu schützen gegen die Unzahl Derer, welche nichts, als ihre Körperkräfte haben. Die Aufgabe ist so schwer, daß ich mich wahrlich nicht vermesse, über die dabei anzuwendenden Mittel mit ihnen zu rechten. Denn „ich danke Gott an jedem Morgen, daß ich nicht brauch’ für’s Röm’sche Reich zu sorgen,”—ist stets mein Wahlspruch gewesen. Diese Staatszwecke der Universitätsphilosophie waren es aber, welche der Hegelei eine so beispiellose Ministergunft verschafften. Denn ihr war der Staat „der absolut vollendete ethische Organismus,” und sie ließ den ganzen Zweck des menschlichen Daseyns im Staat aufgehn. Konnte es eine bessere Zurichtung für künftige Referendarien und demnächst Staatsbeamte geben, als diese, in Folge welcher ihr ganzes Wesen und Seyn, mit Leib und Seele, völlig dem Staat verfiel, wie das der Biene dem Bienenstock, und sie auf nichts Anderes, weder in dieser, noch in einer andern Welt hinzuarbeiten hatten, als daß sie taugliche Räder würden, mitzuwirken, um die große Staatsmaschine, diesen ultimus finis bonorum, im Gange zu erhalten? Der Referendar und der Mensch war danach Eins und das Selbe. Es war eine rechte Apotheose der Philisterei.
Sämtliche Werke, Bd. 5, p. 159, E. Payne, trans. (1974) Vol. 1, pp. 146-147
Parerga and Paralipomena (1851), On Philosophy in the Universities

Daniel J. Boorstin photo
Newton Lee photo
John Constable photo
Gerhard Richter photo

“As far as the surface is concerned – oil on canvas, conventionally applied – my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1964-65; as cited on collected quotes on the website of Gerhard Richter: on 'Photo-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/photo-paintings-12
1960's

Gerard Bilders photo

“. I don't love less the gray waters of my Holland, their serious and somewhat sad color, which corresponds so well with the similar gray skies and vapors that are hanging there. (translation from the Dutch original: Fons Heijnsbroek)”

Gerard Bilders (1838–1865) painter from the Netherlands

(version in original Dutch / citaat van Bilders' brief, in het Nederlands:) ..niet minder bemin ik toch de graauwe wateren van mijn Holland, hunne ernstige, eenigsinds droeve kleur, die zoo goed overeenkomt met de even grijze luchten en dampen, dier er overeen hangen.
as cited in The land of Mauve: utopia or a reality? / Het land van Mauve: utopie of werkelijkheid? https://www.rug.nl/research/kenniscentrumlandschap/mscripties/christina_vlasma-het_land_van_mauve-masterscriptie.pdf; master-scriptie by Christina van Staats-Vlasma; Rijksuniversiteit Groningen, La Broquerie, Manitoba Canada, Nov. 2010, p. 97
undated quotes

Gerard Bilders photo

“I have seen pictures [on the Salon of Brussel, 1860], of which I had never dreamed and in which I found all that my heart desires, all that I nearly always miss in the Dutch painters. Troyon, Courbet, Diaz, Dupré [all painters of the School of Barbizon, Robert Fleury have made a great impression on me. I am a good Frenchman, therefore; but, as Simon van den Berg says, it is just because I am a good Frenchman that I am a good Dutchman, since the great Frenchmen of today and the great Dutchmen of the past have much in common. Unity, restfulness, earnestness and, above all, an inexplicable intimacy with nature are what struck me most in these pictures. There were certainly also a few good Dutch pieces, but, generally speaking, when you place them next to the great Parisians, they lack that mellowness, that quality which, so to speak, resembles the deep tones of an organ. And yet this luxurious manner came originally from Holland, from our steaming, fat-coloured Holland! They were courageous pictures; there was a heart and a soul in them.”

Gerard Bilders (1838–1865) painter from the Netherlands

Quote from Bilders in his letter (End of 1860); as cited in Dutch Art in the Nineteenth Century – 'The Hague School; Introduction' https://en.wikisource.org/wiki/Dutch_Art_in_the_Nineteenth_Century/The_Hague_School:_Introduction, by G. Hermine Marius, transl. A. Teixera de Mattos; publish: The la More Press, London, 1908
1860's

Robert P. George photo
Arthur Schopenhauer photo

“Memory works like the collection glass in the Camera obscura: it gathers everything together and therewith produces a far more beautiful picture than was present originally.”

Die Erinnerung wirkt wie das Sammlungsglas in der Camera obscura: Sie zieht alles zusammen und bringt dadurch ein viel schöneres Bild hervor, als sein Original ist.
Parerga and Paralipomena (1851), Aphorisms on the Wisdom of Life

Howard Scott photo

“We owe nothing in our origins from Adam Smith, Ricardo, Pareto, Proudhon, Bakunin, Karl Marx, Lenin, or any of the rest of the political philosophies. We do owe a debt to J. Willard Gibbs, Nikola Tesla, Steinmetz, Mac and John Rusk, and a thousand other American chemists, engineers, scientists, and technologists.”

Howard Scott (1890–1970) American engineer

Howard Scott interviewed at Radio station KYW, Cleveland Interview with Howard Scott, 19 November 1964. Transcript online at technocracyincorporated.org, 2006.

David Hume photo
Frances Kellor photo

“A first proposition, therefore, in Americanization is to find a way to satisfy the creative instinct in men and their sense of home, by giving them and their native-born sons the widest possible knowledge of America, including a pictorial geography, a simple history of the United States, the stories of successful Americans including those of foreign-born origin; a knowledge of American literature, of our political ideals and institutions, and of oiy: free educational opportunities. A systematic effort should be made to give them a land interest and a home stake and to get them close to the soil, not alone in the day's work but also in their cultural life. The men most likely to desert America at the close of the war will be workers with job stakes and wage rates, and not those with a home stake and investments. I would carry this campaign of information into every foreign language publication, every newspaper, every shop, and every racial center in America. The land interpreter of the future will be the government, and Franklin K. Lane, Secretary of the Interior, has foreseen this in his appeal for the use of the land for the rehabilitation of men returning from the front. It is the land that will make the life of the maimed livable and will connect the past with the future. This will not be achieved by forced "back-to-the-land movements" and colonization. Each individual American who interprets the beauty of America and its meaning, and who, wherever he can, personally puts the foreign-born in touch with the soil and helps him to a plot of ground which he can call his own, is doing effective Americanization. Loyalty and efficiency are inherent in this land sense, and they are the strength of a nation.”

Frances Kellor (1873–1952) American sociologist

What is Americanization? (1919)

Robert M. Price photo
Brian Clevinger photo
Henry David Thoreau photo
Ambrose Bierce photo
Masha Gessen photo
Arthur Jensen photo
George W. Bush photo
Archie Carr photo
L. Frank Baum photo
John Varley photo
Jerome K. Jerome photo
Otto Neurath photo
Jonas Salk photo
Pope John Paul II photo

“This inscription awakens the memory of people whose sons and daughters were destined for total extermination. This people draws its origin from Abraham, our Father in faith. The very people that received from God the commandment, thou shalt not kill, itself experienced in a special measure what is meant by killing. It is not permissible for anyone to pass by this inscription with indifference.”

Pope John Paul II (1920–2005) 264th Pope of the Catholic Church, saint

About a Hebrew commemorative plaque in the homily during the Holy Mass at the Auschwitz-Birkenau Nazi German concentration camp on 7 June 1979, during the pope's first apostolic journey to Poland
Source: Libreria Editrice Vaticana http://www.vatican.va/holy_father/john_paul_ii/homilies/1979/documents/hf_jp-ii_hom_19790607_polonia-brzezinka_it.html (Italian)

Ernesto Che Guevara photo
Robert A. Heinlein photo
William H. Rehnquist photo
Enoch Powell photo

“Integration of races of totally disparate origins and culture is one of the great myths of our time. It has never worked throughout history. The United States lost its only real opportunity of solving its racial problem when it failed after the Civil War to partition the old Confederacy into a "South Africa" and a "Liberia."”

Enoch Powell (1912–1998) British politician

Remark to an American visitor shortly after Powell's return to London from his first visit to the United States in October 1967, as quoted in Andrew Roth, Enoch Powell: Tory Tribune (1970), p. 341
1960s

Northrop Frye photo
Tad Williams photo
Rousas John Rushdoony photo
Charles Cooley photo
Pete Doherty photo
Robert Chambers (publisher, born 1802) photo

“A while ago there was an article in the New York Times about some women in Tennessee who wanted the middle grade text books removed from the school curriculum, not because they were inadequate educationally, but because these women were afraid that they might stimulate the childrens' imaginations.
What!?!
It was a good while later that I realized that the word, imagination, is always a bad word in the King James translation of the Bible. I checked it out in my concordance, and it is always bad.
Put them down in the imagination of their hearts. Their imagination is only to do evil.
Language changes. What meant one thing three hundred years ago means something quite different now. So the people who are afraid of the word imagination are thinking about it as it was defined three centuries ago, and not as it is understood today, a wonderful word denoting creativity and wideness of vision.
Another example of our changing language is the word, prevent. Take it apart into its Latin origin, and it is prevenire. Go before. So in the language of the King James translation if we read, "May God prevent us," we should understand the meaning to be, "God go before us," or "God lead us."
And the verb, to let, used to mean, stop. Do not let me, meant do not stop me. And now it is completely reversed into a positive, permissive word.”

Madeleine L'Engle (1918–2007) American writer

Acceptance Speech for the Margaret Edwards Award (1998)

Max Ernst photo
Paul Gabriël photo

“Be something, be yourself; if not, ]then] throw your palette in the fire. Form a school if you wish, but it must come from the inside of you, but you yourself may not belong to any school. (translation from the Dutch original: Fons Heijnsbroek)”

Paul Gabriël (1828–1903) painter (1828-1903)

version in original Dutch / citaat van Paul Gabriël, in Nederlands: Wees wat, weest U zelve, zoo niet gooi uw palet in ’t vuur. Vormt een school zoo ge wilt, maar het moet uit U komen, maar gij zelve mag tot geen school behooren.
In a letter of Gabriël, Brussel (14 Oct. 1879), to his student then Willem Bastiaan Tholen; in Gabriël, P.J.C, ed. Jeltes, H.F.W.; Gebroeders Binger, Amsterdam 1926; as cited in an excerpt of RKD Archive, The Hague https://rkd.nl/explore/excerpts/136
1860's + 1870's

Friedrich Wilhelm Joseph Schelling photo
Karl Pilkington photo

“We came from the sea originally, now we're going back in it. Don't go in it, unless you're in a boat.”

Karl Pilkington (1972) English television personality, social commentator, actor, author and former radio producer

Podcast Series 2 Episode 3
On Biology

John Calvin photo

“The aversion of the first Christians to the images, inspired by the Pagan simulachres, made room, during the centuries which followed the period of the persecutions, to a feeling of an entirely different kind, and the images gradually gained their favour. Reappearing at the end of the fourth and during the course of the fifth centuries, simply as emblems, they soon became images, in the true acceptation of this word; and the respect which was entertained by the Christians for the persons and ideas represented by those images, was afterwards converted into a real worship. Representations of the sufferings which the Christians had endured for the sake of their religion, were at first exhibited to the people in order to stimulate by such a sight the faith of the masses, always lukewarm and indifferent. With regard to the images of divine persons of entirely immaterial beings, it must be remarked, that they did not originate from the most spiritualised and pure doctrines of the Christian society, but were rejected by the severe orthodoxy of the primitive church. These simulachres appear to have been spread at first by the Gnostics,—i. e., by those Christian sects which adopted the most of the beliefs of Persia and India. Thus it was a Christianity which was not purified by its contact with the school of Plato,—a Christianity which entirely rejected the Mosaic tradition, in order to attach itself to the most strange and attractive myths of Persia and India,—that gave birth to the images.”

John Calvin (1509–1564) French Protestant reformer

Source: A Treatise of Relics (1549), p. 13

Alfred Korzybski photo
Norbert Wiener photo
George Mikes photo
Harry V. Jaffa photo
Neil Gaiman photo

“I wish I had an origin story for you. When I was four, I was bitten by a radioactive myth.”

Neil Gaiman (1960) English fantasy writer

On how his interest in mythology started, in an interview with Bookslut (October 2006)

Dinesh D'Souza photo

“Racism originated not in ignorance and fear but as part of an enlightened enterprise of intellectual discovery.”

Dinesh D'Souza (1961) Indian-American political commentator, filmmaker, author

Source: Books, The End of Racism (1995), Ch. 1

Peter F. Drucker photo
Perry Anderson photo

“The first, and most obvious, feature that separates Habermas’s later treatment of law from his original study of the public sphere is its completely unhistorical method.”

Perry Anderson (1938) British historian

Spectrum: From Right to Left in the World of Ideas (2005), Ch. 5. "Norming Facts, Jürgen Habermas" (2004)

George Moore (novelist) photo
Mitt Romney photo
Philip Schaff photo

“In the progress of the work he founded a Collegium Biblieum, or Bible club, consisting of his colleagues Melanchthon, Bugenhagen (Pommer), Cruciger, Justus Jonas, and Aurogallus. They met once a week in his house, several hours before supper. Deacon Georg Rörer (Rorarius), the first clergyman ordained by Luther, and his proof-reader, was also present; occasionally foreign scholars were admitted; and Jewish rabbis were freely consulted. Each member of the company contributed to the work from his special knowledge and preparation. Melanchthon brought with him the Greek Bible, Cruciger the Hebrew and Chaldee, Bugenhagen the Vulgate, others the old commentators; Luther had always with him the Latin and the German versions besides the Hebrew. Sometimes they scarcely mastered three lines of the Book of Job in four days, and hunted two, three, and four weeks for a single word. No record exists of the discussions of this remarkable company, but Mathesius says that "wonderfully beautiful and instructive speeches were made."
At last the whole Bible, including the Apocrypha as "books not equal to the Holy Scriptures, yet useful and good to read," was completed in 1534, and printed with numerous woodcuts.
In the mean time the New Testament had appeared in sixteen or seventeen editions, and in over fifty reprints.
Luther complained of the many errors in these irresponsible editions.
He never ceased to amend his translation. Besides correcting errors, he improved the uncouth and confused orthography, fixed the inflections, purged the vocabulary of obscure and ignoble words, and made the whole more symmetrical and melodious.
He prepared five original editions, or recensions, of his whole Bible, the last in 1545, a year before his death.
The edition of 1546 was prepared by his friend Rörer, and contains a large number of alterations, which he traced to Luther himself. Some of them are real improvements, e. g., Die Liebe höret nimmer auf, for, Die Liebe wird nicht müde (1 Cor. 13:8). The charge that he made the changes in the interest of Philippism (Melanchthonianism), seems to be unfounded.”

Philip Schaff (1819–1893) American Calvinist theologian

Luther's Bible club

“My experience of the original Edison phonograph goes back to the period when it was first introduced into this country. In fact, I have good reason to believe that I was among the very first persons in London to make a vocal record, though I never received a copy of it, and if I did it got lost long ago. It must have been in 1881 or 1882, and the place where the deed was done was on the first floor of a shop in Hatton Garden, where I had been invited to listen to the wonderful new invention. To begin with, I heard pieces both in song and speech produced by the friction of a needle against a revolving cylinder, or spool, fixed in what looked like a musical box. It sounded to my ear like someone singing about half a mile away, or talking at the other end of a big hall; but the effect was rather pleasant, save for a peculiar nasal quality wholly due to the mechanism, though there was little of the scratching which later was a prominent feature of the flat disc. Recording for that primitive machine was a comparatively simple matter. I had to keep my mouth about six inches away from the horn and remember not to make my voice too loud if I wanted anything approximating to a clear reproduction; that was all. When it was played over to me and I heard my own voice for the first time, one or two friends who were present said that it sounded rather like mine; others declared that they would never have recognised it. I daresay both opinions were correct.”

Herman Klein (1856–1934) British musical critic journalist and singing teacher

The Gramophone magazine, December 1933

Kevin Kelly photo

“Memory is a reenactment of perception, indistinguishable from the original act of knowing.”

Kevin Kelly (1952) American author and editor

Out of Control: The New Biology of Machines, Social Systems and the Economic World (1995)

Ralph Waldo Emerson photo

“Genius borrows nobly. When Shakespeare is charged with debts to his authors, Landor replies: "Yet he was more original than his originals. He breathed upon dead bodies and brought them into life."”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1870s, Society and Solitude (1870), Quotation and Originality
Variant: Genius borrows nobly. When Shakespeare is charged with debts to his authors, Landor replies: "Yet he was more original than his originals. He breathed upon dead bodies and brought them into life".

John Maxson Stillman photo
Jahangir photo

“On the 24th of the same month I went to see the fort of Kangra, and gave an order that the Qazi, the Chief Justice (Mir'Adl), and other learned men of Islam should accompany me and carry out in the fort whatever was customary, according to the religion of Muhammad. Briefly, having traversed about one koss, I went up to the top of the fort, and by the grace of God, the call to prayer and the reading of the Khutba and the slaughter of a bullock which had not taken place from the commencement of the building of the fort till now, were carried out in my presence. I prostrated myself in thanksgiving for this great gift, which no king had hoped to receive, and ordered a lofty mosque to be built inside the fort' ….'After going round the fort I went to see the temple of Durga, which is known as Bhawan. A world has here wandered in the desert of error. Setting aside the infidels whose custom is the worship of idols, crowds of the people of Islam, traversing long distances, bring their offerings and pray to the black stone (image)' Some maintain that this stone, which is now a place of worship for the vile infidels, is not the stone which was there originally, but that a body of the people of Islam came and carried off the original stone, and threw it into the bottom of the river, with the intent that no one could get at it. For a long time the tumult of the infidels and idol-worshippers had died away in the world, till a lying brahman hid a stone for his own ends, and going to the Raja of the time said: 'I saw Durga in a dream, and she said to me: They have thrown me into a certain place: quickly go and take me up.”

Jahangir (1569–1627) 4th Mughal Emperor

The Raja, in the simplicity of his heart, and greedy for the offerings of gold that would come to him, accepted the tale of the brahman and sent a number of people with him, and brought that stone, and kept it in this place with honour, and started again the shop of error and misleading
Kangra (Himachal Pradesh) , Tuzuk-i-Jahangiri, translated into English by Alexander Rogers, first published 1909-1914, New Delhi Reprint, 1978, Vol. II, pp. 223-25.

John Gray photo
Georges Bataille photo

“Inner experience, unable to have principles either in dogma (a moral attitude), or in science (knowledge can be neither its goal nor its origin), or in a search of enriching states (an experimental, aesthetic attitude), it cannot have any other concern nor other goal than itself. Opening myself to inner experience, I have placed in it all value and authority. Henceforth I can have no other value, no other authority (in the realm of mind). Value and authority imply the discipline of a method, the existence of a community.
I call experience a voyage to the end of the possible of man. Anyone may choose not to embark on this voyage, but if he does embark on it, this supposes the negation of the authorities, the existing values which limit the possible. By virtue of the fact that it is negation of other values, other authorities, experience, having a positive existence, becomes itself positively value and authority.
Inner experience has always had objectives other than itself in which one invested value and authority. … If God, knowledge, and suppression of pain were to cease to be in my eyes convincing objectives, … would inner experience from that moment seem empty to me, henceforth impossible without justification? …
I received the answer [from Blanchot]: experience itself is authority.”

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

Source: L’Expérience Intérieure (1943), p. 7

Philip Schaff photo

“The charge that Luther adapted the translation to his theological opinions has become traditional in the Roman Church, and is repeated again and again by her controversialists and historians.
In both cases, the charge has some foundation, but no more than the counter-charge which may be brought against Roman Catholic Versions.
The most important example of dogmatic influence in Luther's version is the famous interpolation of the word alone in Rom. 3:28 (allein durch den Glauben), by which he intended to emphasize his solifidian doctrine of justification, on the plea that the German idiom required the insertion for the sake of clearness. But he thereby brought Paul into direct verbal conflict with James, who says (James 2:24), "by works a man is justified, and not only by faith" ("nicht durch den Glauben allein"). It is well known that Luther deemed it impossible to harmonize the two apostles in this article, and characterized the Epistle of James as an "epistle of straw," because it had no evangelical character ("keine evangelische Art").
He therefore insisted on this insertion in spite of all outcry against it. His defense is very characteristic. "If your papist," he says,
The Protestant and anti-Romish character of Luther's New Testament is undeniable in his prefaces, his discrimination between chief books and less important books, his change of the traditional order, and his unfavorable judgments on James, Hebrews, and Revelation. It is still more apparent in his marginal notes, especially on the Pauline Epistles, where he emphasizes throughout the difference between the law and the gospel, and the doctrine of justification by faith alone; and on the Apocalypse, where he finds the papacy in the beast from the abyss (Rev. 13), and in the Babylonian harlot (Rev. 17). The anti-papal explanation of the Apocalypse became for a long time almost traditional in Protestant commentaries.
There is, however, a gradual progress in translation, which goes hand in hand with the progress of the understanding of the Bible. Jerome's Vulgate is an advance upon the Itala, both in accuracy and Latinity; the Protestant Versions of the sixteenth century are an advance upon the Vulgate, in spirit and in idiomatic reproduction; the revisions of the nineteenth century are an advance upon the versions of the sixteenth, in philological and historical accuracy and consistency. A future generation will make a still nearer approach to the original text in its purity and integrity. If the Holy Spirit of God shall raise the Church to a higher plane of faith and love, and melt the antagonisms of human creeds into the one creed of Christ, then, and not before then, may we expect perfect versions of the oracles of God.”

Philip Schaff (1819–1893) American Calvinist theologian

How Luther's theology may have influenced his translating

Walt Disney photo
Roberto Saviano photo
DJ Paul photo
John Ruskin photo
Alexander Hamilton photo
William A. Dembski photo
Anton Mauve photo

“I've got a special liking for stables. I find them so very suitable for creating an artistique feeling, and then those stables from Oosterbeek! (translation from original Dutch, Fons Heijnsbroek, 2018)”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

(version in original Dutch / origineel citaat van Anton Mauve, in het Nederlands:) Ik heb er bijzondere voorliefde voor stallen gekregen. Ik vind zee zoo heel geschikt om een artistique gevoel te [te?] komen, en dan die stallen.
In a letter to Willem Maris, 1863; as cited Anton Mauve, exhibition catalog of Teylers Museum, Haarlem / Laren, Singer, ed. De Bodt en Plomp, 2009, p. 43
1860's

Frank Chodorov photo
Gancho Tsenov 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

“In order for a writer to produce something which is original and correct, it is not absolutely necessary that his predecessors have been wrong.”

William J. Baumol (1922–2017) American economist

William J. Baumol, "Baumol's Sales-Maximization Model: Reply." The American Economic Review 54.6 (1964): 1081-1081: Quoted in: Walid Marrouch, Essays on International Environmental Policy. Diss. 2009.

Pierre Hadot photo
Willem Roelofs photo

“.. it is a masterpiece [painting of Barend Cornelis Koekkoek: 'View on the Woods' 1839, with sizes 176 x 160 cm], a well-executed brave undertaking to imagine something like that on a large scale with such an elaborateness. (translation from original Dutch: Fons Heijnsbroek)”

Willem Roelofs (1822–1897) Dutch painter and entomologist (1822-1897)

(original Dutch: citaat van Willem Roelofs, in het Nederlands:) ..het is een meesterstuk [groot schilderij van : 'Boschgezicht' 1839, 176 x 160 cm], een welgelukte stoute onderneming om op die schaal met die uitvoerigheid zooiets voor te stellen.
In a letter to his parents, August 1840; as cited by Marjan van Heteren in Willem Roelofs 1822-1897 De Adem der natuur, ed. Marjan van Heteren & Robert-Jan te Rijdt; Thoth, Bussum, - ISBN13 * 978 90 6868 4322, 2006, p. 23
1840' + 1850's

“The original of morals lies with the thought that ‘the community is more valuable than the individual”

John Carroll (1944) Australian professor and author

Menschliches 2.1.89
Source: Break-Out from the Crystal Palace (1974), p. 80, note

Charles Lyell photo

“The long-range trend toward federal regulation, which found its beginnings in the Interstate Commerce Act of 1887 and the Sherman Act of 1890, which was quickened by a large number of measures in the Progressive era, and which has found its consummation in our time, was thus at first the response of a predominantly individualistic public to the uncontrolled and starkly original collectivism of big business. In America the growth of the national state and its regulative power has never been accepted with complacency by any large part of the middle-class public, which has not relaxed its suspicion of authority, and which even now gives repeated evidence of its intense dislike of statism. In our time this growth has been possible only under the stress of great national emergencies, domestic or military, and even then only in the face of continuous resistance from a substantial part of the public. In the Progressive era it was possible only because of widespread and urgent fear of business consolidation and private business authority. Since it has become common in recent years for ideologists of the extreme right to portray the growth of statism as the result of a sinister conspiracy of collectivists inspired by foreign ideologies, it is perhaps worth emphasizing that the first important steps toward the modern organization of society were taken by arch-individualists — the tycoons of the Gilded Age — and that the primitive beginning of modern statism was largely the work of men who were trying to save what they could of the eminently native Yankee values of individualism and enterprise.”

Richard Hofstadter (1916–1970) American historian

Source: The Age of Reform: from Bryan to F.D.R. (1955), Chapter VI, part II, p. 233

Bjarne Stroustrup photo
Nick Herbert photo
Victor J. Stenger photo
Daniel Alan Vallero photo
George W. Bush photo
Christopher Wren photo
Paula Modersohn-Becker photo
Vitruvius photo