Quotes about tale

Found in Montana Libraries: Volumes 8-14 (1954), p. cxxx http://books.google.com/books?id=PpwaAAAAMAAJ&q=%22more+fairy+tales%22#search_anchor. The story is given as follows: "In the current New Mexico Library Bulletin, Elizabeth Margulis tells a story of a woman who was a personal friend of the late dean of scientists, Dr. Albert Einstein. Motivated partly by her admiration for him, she held hopes that her son might become a scientist. One day she asked Dr. Einstein's advice about the kind of reading that would best prepare the child for this career. To her surprise, the scientist recommended 'Fairy tales and more fairy tales.' The mother protested that she was really serious about this and she wanted a serious answer; but Dr. Einstein persisted, adding that creative imagination is the essential element in the intellectual equipment of the true scientist, and that fairy tales are the childhood stimulus to this quality." However, it is unclear from this description whether Margulis heard this story personally from the woman who had supposedly had this discussion with Einstein, and the relevant issue of the New Mexico Library Bulletin does not appear to be online.
Variant: "First, give him fairy tales; second, give him fairy tales, and third, give him fairy tales!" Found in The Wilson Library Bulletin, Vol. 37 from 1962, which says on p. 678 http://books.google.com/books?id=KfQOAQAAMAAJ&q=einstein#search_anchor that this quote was reported by "Doris Gates, writer and children's librarian".
Variant: "Fairy tales … More fairy tales … Even more fairy tales". Found in Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales by Jack Zipes (1979), p. 1 http://books.google.com/books?id=MxZFuahqzsMC&lpg=PP1&pg=PA1#v=onepage&q&f=false.
Variant: "If you want your children to be brilliant, tell them fairy tales. If you want them to be very brilliant, tell them even more fairy tales." Found in Chocolate for a Woman's Heart & Soul by Kay Allenbaugh (1998), p. 57 http://books.google.com/books?id=grrpJh7-CfcC&q=brilliant#search_anchor. This version can be found in Usenet posts from before 1998, like this one from 1995 http://groups.google.com/group/rec.music.beatles/msg/cec9a9fdf803b72b?hl=en.
Variant: "If you want your children to be intelligent, read them fairy tales. If you want them to be very intelligent, read them more fairy tales." Found in Mad, Bad and Dangerous?: The Scientist and the Cinema by Christopher Frayling (2005), p. 6 http://books.google.com/books?id=HjRYA3ELdG0C&lpg=PA6&dq=einstein%20%22want%20your%20children%20to%20be%20intelligent%22&pg=PA6#v=onepage&q=einstein%20%22want%20your%20children%20to%20be%20intelligent%22&f=false.
Variant: "If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales." Found in Super joy English, Volume 8 by 佳音事業機構 (2006), p. 87 http://books.google.com/books?id=-HUBKzP8zsUC&lpg=PP1&pg=PA87#v=onepage&q&f=false
Disputed
Context: Fairy tales and more fairy tales. [in response to a mother who wanted her son to become a scientist and asked Einstein what reading material to give him]

Source: The Annotated Supernatural Horror in Literature: Revised and Enlarged

Source: The Tempest

Philosophy degree (1783), in: The Secret School of Wisdom: The Authentic Rituals and Doctrinces of the Illuminati, ed. by Josef Wäges and Reinhard Markner, Lewis Masonic 2015, p. 364.

Introduction
One Minute Nonsense (1992)
Context: The Master in these tales is not a single person. He is a Hindu Guru, a Zen Roshi, a Taoist Sage, a Jewish Rabbi, a Christian Monk, a Sufi Mystic. He is Lao-tzu and Socrates; Buddha and Jesus; Zarathustra and Mohammed. His teaching is found in the seventh century B. C. and the twentieth century A. D. His wisdom belongs to East and West alike. Do his historical antecedents really matter? History, after all, is the record of appearances, not Reality; of doctrines, not of Silence.

Fragment 16 Voigt
The Willis Barnstone translations, Supreme Sight on the Black Earth

Source: The Writing of Thomas Paine

Source: Lord Brocktree

Source: The Dark Tower

Source: Monstrous Regiment

Source: The Amazing Maurice and His Educated Rodents

Source: The Unabridged Journals of Sylvia Plath

Source: Through the Looking-Glass, and What Alice Found There

Variant: Life... is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
Source: Macbeth

Source: Daughter of the Forest

Source: Macbeth, Act V, scene v.
Context: Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

Source: The Winter's Tale

Source: Alice's Adventures in Wonderland & Through the Looking-Glass

Schjeldahl, Peter. "Looking Back: Diane Arbus at the Met" http://www.newyorker.com/archive/2005/03/21/050321craw_artworld?currentPage=all, The New Yorker, March 21, 2005. Retrieved February 4, 2010. source: Sass, Louis A. "'Hyped on Clarity': Diane Arbus and the Postmodern Condition". Raritan, volume 25, number 1, pp. 1–37, Summer 2005.


Source: Kimmelman, Michael, The Profound Vision of Diane Arbus: Flaws in Beauty, Beauty in Flaws, https://www.nytimes.com/2005/03/11/arts/design/the-profound-vision-of-diane-arbus-flaws-in-beauty-beauty-in.html, 1 November 2018, The New York Times, 11 March 2005

Source: A Midsummer Night's Dream

Letter to E. Hoffmann Price (15 August 1934) , quoted in Lord of a Visible World: An Autobiography in Letters edited by S.T. Joshi, p. 268
Non-Fiction, Letters, to E. Hoffmann Price

Søren Kierkegaard The Concept of Anxiety, Nichol p. 98-100 (1844)
About

Source: The End (2006), Chapter 1

Sevastopol in May (1855), Ch. 16

“Literaturaliae”, from Theme of My Biography (2000)

Prologue, sec. 5, l. 18-28.
Eugene Onegin (1823)

Martin Seymour-Smith Guide to Modern World Literature (London: Hodder & Stoughton, 1975) vol. 3, p. 30.
Criticism

English: "Only a drukard can make such statements".
Said one day before getting off the presidential elections on May 13th, 2003

It (1986)

Letter to his wife, reprinted in Rilke’s Letters on Cézanne (1952, trans. 1985). (October 21, 1907)
Rilke's Letters

No. 131: letter to Milton Waldman (c. 1951)
The Letters of J. R. R. Tolkien (1981)

Fiction, The Call of Cthulhu (1926)

Source: Death in Venice (1912), Ch. 5, as translated by David Luke

"Some Notes on Interplanetary Fiction", Californian 3, No. 3 (Winter 1935): 39-42. Published in Collected Essays, Volume 2: Literary Criticism edited by S. T. Joshi, p. 178
Non-Fiction

Poena tamen praesens, cum tu deponis amictus
turgidus et crudum pavonem in balnea portas.
hinc subitae mortes atque intestata senectus;
it nova nec tristis per cunctas fabula cenas:
ducitur iratis plaudendum funus amicis.
I, line 142.
Satires, Satire I

Of Death
Essays (1625)

Source: The Roadmender (1902), Chapter II

Source: The Chronicles of Prydain (1964–1968), Book V : The High King (1968), Chapter 21 (closing words)

Opening line of novel.
God Bless You, Mr. Rosewater (1965)

Breakfast of Champions (1973)
Context: I thought Beatrice Keedsler had joined hands with other old-fashioned storytellers to make people believe that life had leading characters, minor characters, significant details, insignificant details, that it had lessons to be learned, tests to be passed, and a beginning, a middle, and an end.
As I approached my fiftieth birthday, I had become more and more enraged and mystified by the idiot decisions made by my countrymen. And then I had come suddenly to pity them, for I understood how innocent and natural it was for them to behave so abominably, and with such abominable results: They were doing their best to live like people invented in story books. This was the reason Americans shot each other so often: It was a convenient literary device for ending short stories and books.
Why were so many Americans treated by their government as though their lives were as disposable as paper facial tissues? Because that was the way authors customarily treated bit-part players in their madeup tales.
And so on.
Once I understood what was making America such a dangerous, unhappy nation of people who had nothing to do with real life, I resolved to shun storytelling. I would write about life. Every person would be exactly as important as any other. All facts would also be given equal weightiness. Nothing would be left out. Let others bring order to chaos. I would bring chaos to order, instead, which I think I have done.
If all writers would do that, then perhaps citizens not in the literary trades will understand that there is no order in the world around us, that we must adapt ourselves to the requirements of chaos instead.
It is hard to adapt to chaos, but it can be done. I am living proof of that: It can be done.

On Fairy-Stories (1939)
Context: The Evangelium has not abrogated legends; it has hallowed them, especially the "happy ending." The Christian has still to work, with mind as well as body, to suffer, hope, and die; but he may now perceive that all his bents and faculties have a purpose, which can be redeemed. So great is the bounty with which he has been treated that he may now, perhaps, fairly dare to guess that in Fantasy he may actually assist in the effoliation and multiple enrichment of creation. All tales may come true; and yet, at the last, redeemed, they may be as like and unlike the forms that we give them as Man, finally redeemed, will be like and unlike the fallen that we know.

Novalis (1829)
Context: It depends only on the weakness of our organs and of our self-excitement (Selbstberuhrung), that we do not see ourselves in a Fairy-world. All Fabulous Tales (Mahrchen) are merely dreams of that home world, which is everywhere and nowhere. The higher powers in us, which one day as Genies, shall fulfil our will, are, for the present, Muses, which refresh us on our toilsome course with sweet remembrances.

Context: How do I know that enjoying life is not a delusion? How do I know that in hating death we are not like people who got lost in early childhood and do not know the way home? Lady Li was the child of a border guard in Ai. When first captured by the state of Jin, she wept so much her clothes were soaked. But after she entered the palace, shared the king's bed, and dined on the finest meats, she regretted her tears. How do I know that the dead do not regret their previous longing for life? One who dreams of drinking wine may in the morning weep; one who dreams weeping may in the morning go out to hunt. During our dreams we do not know we are dreaming. We may even dream of interpreting a dream. Only on waking do we know it was a dream. Only after the great awakening will we realize that this is the great dream. And yet fools think they are awake, presuming to know that they are rulers or herdsmen. How dense! You and Confucius are both dreaming, and I who say you are a dream am also a dream. Such is my tale. It will probably be called preposterous, but after ten thousand generations there may be a great sage who will be able to explain it, a trivial interval equivalent to the passage from morning to night.

"The State of the Theatre" an interview by Henry Brandon in Harpers 221 (November 1960)
Context: I cannot write anything that I understand too well. If I know what something means to me, if I have already come to the end of it as an experience, I can't write it because it seems a twice-told tale. I have to astonish myself, and that of course is a very costly way of going about things, because you can go up a dead end and discover that it's beyond your capacity to discover some organism underneath your feeling, and you're left simply with a formless feeling which is not itself art. It's inexpressible and one must leave it until it is hardened and becomes something that has form and has some possibility of being communicated. It might take a year or two or three or four to emerge.

Source: Power and Innocence (1972), Ch. 11 : The Humanity of the Rebel
Context: Civilization begins with a rebellion. Prometheus, one of the Titans, steals fire from the gods on Mount Olympus and brings it as a gift to man, marking the birth of human culture. For this rebellion Zeus sentences him to be chained to Mount Caucasus where vultures consume his liver during the day and at night it grows back only to be again eaten away the next day. This is a tale of the agony of the creative individual, whose nightly rest only resuscitates him so that he can endure his agonies the next day.

“1993: Jack Kirby: The Hardest Working Man in Comics by Steve Pastis” https://kirbymuseum.org/blogs/effect/category/interview/, Happening Magazine, (1993) by Steve Pastin; as quoted by Rand Hoppe, The Kirby Effect The Journal of the Jack Kirby Museum & Research Center, (28 April 2018).
1993

The Creation of Patriarchy, Introduction, pp. 13-14
The Creation of Patriarchy (1986)

Ante-Nicene Christian Library: v. 3 p. 27
Address to the Greeks

Source: We'll go asleep, poems and ballads, "Untill she is to close", pg 64

Source: The Communist Manifesto (1848), Preamble, paragraph 3.

Source: Swordspoint

Source: Tempt Me at Twilight

Source: Girl at Sea

Source: Along for the Ride

Source: On Writing: A Memoir of the Craft

Source: Torch

Source: The Ghost's Child

Source: A Portrait of the Artist as a Young Man

Source: Inkheart

Source: The Pillow Book

Source: The Ice Queen

Source: The Story of Us

Source: Love, Rosie

Source: Briar Rose

Source: Love, Rosie

On Regine Olsen (2 February 1839)
1830s, The Journals of Søren Kierkegaard, 1830s
Context: Oh, can I really believe the poet's tales, that when one first sees the object of one's love, one imagines one has seen her long ago, that all love like all knowledge is remembrance, that love too has its prophecies in the individual. … it seems to me that I should have to possess the beauty of all girls in order to draw out a beauty equal to yours; that I should have to circumnavigate the world in order to find the place I lack and which the deepest mystery of my whole being points towards, and at the next moment you are so near to me, filling my spirit so powerfully that I am transfigured for myself, and feel that it's good to be here.

Source: Pilgrim at Tinker Creek

Source: Number the Stars

Source: Blood Promise

Source: The Other Side of the Story

Letter to Ed White (5 July 1950) as published in The Missouri Review, Vol. XVII, No. 3, 1994, page 137, and also quoted in Jack Kerouac: Angelheaded Hipster (1996) by Steve Turner, p. 117

Source: The Odyssey

Source: The Dark Tower

Source: Two Years Eight Months and Twenty-Eight Nights

Source: Along for the Ride

Source: I Know Why the Caged Bird Sings

Source: The Goose Girl

Source: The Lunatic Cafe

Source: The Odyssey

Studies in Classic American Literature (1923)

Source: Venus in Furs (1870)
Context: "And the moral of the story?" I said to Severin when I put the manuscript down on the table.
"That I was a donkey," he exclaimed without turning around, for he seemed to be embarrassed. "If only I had beaten her!"
"A curious remedy," I exclaimed, "which might answer with your peasant-women-"
"Oh, they are used to it," he replied eagerly, "but imagine the effect upon one of our delicate, nervous, hysterical ladies--"
"But the moral?"
"That woman, as nature has created her and as man is at present educating her, is his enemy. She can only be his slave or his despot, but never his companion. This she can become only when she has the same rights as he, and is his equal in education and work."
"At present we have only the choice of being hammer or anvil, and I was the kind of donkey who let a woman make a slave of him, do you understand?"
"The moral of the tale is this: whoever allows himself to be whipped, deserves to be whipped."