Quotes about tale

page 6

Ballades in Blue China (1880)

Interview in Rolling Stone (9 November 1967)

Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 16. How the Stranger Vainly Endeavoured to Reveal to Me in Words the Mysteries of Spaceland

Simon Lee, st. 9 (1798).
Lyrical Ballads (1798–1800)

Source: Persecution and the Art of Writing (1952), Persecution and the Art of Writing, p. 35

"Pairing Time Anticipated, Moral" (c. 1794).

Introductory verse.
The Earthly Paradise (1868-70)
Context: Masters, I have to tell a tale of woe,
A tale of folly and of wasted life,
Hope against hope, the bitter dregs of strife,
Ending, where all things end, in death at last.

Letter to Thomas Poole (16 October 1797).
Letters
Context: From my early reading of Faery Tales, & Genii &c &c — my mind had been habituated to the Vast — & I never regarded my senses in any way as the criteria of my belief. I regulated all my creeds by my conceptions not by my sight — even at that age. Should children be permitted to read Romances, & Relations of Giants & Magicians, & Genii? — I know all that has been said against it; but I have formed my faith in the affirmative. — I know no other way of giving the mind a love of "the Great," & "the Whole." — Those who have been led by the same truths step by step thro' the constant testimony of their senses, seem to me to want a sense which I possess — They contemplate nothing but parts — and are parts are necessarily little — and the Universe to them is but a mass of little things. It is true, the mind may become credulous and prone to superstition by the former method; — but are not the experimentalists credulous even to madness in believing any absurdity, rather than believe the grandest truths, if they have not the testimony of their own senses in their favor? I have known some who have been rationally educated, as it is styled. They were marked by a microscopic acuteness; but when they looked at great things, all became a blank, and they saw nothing, and denied that any thing could be seen, and uniformly put the negative of a power for the possession of a power, and called the want of imagination judgment, and the never being moved to rapture philosophy.

Describing her tumultuous experiences of 1967, as quoted in Life and Lies of an Icon (1995) by Richard Witts.
Context: You could say it like was like a fairy tale at the time; Andy would be the good fairy, and Jim would play the giant, Brian would be the witch, Paul McCartney would be the frog who turns into a prince, no, it would have to be the other way round. Well, it didn't seem like a fairy tale at the time. It was a lot of hassle. But I learned a lot of things, and I began to compose my own songs.

Choruses from The Rock (1934)
Context: In spite of all the dishonour,
the broken standards, the broken lives,
The broken faith in one place or another,
There was something left that was more than the tales
Of old men on winter evenings.

Source: Tolkien's The Lord of the Rings, p. 89
Context: But why,' (some ask), 'why, if you have a serious comment to make on the real life of men, must you do it by talking about a phantasmagoric never-never land of your own?' Because, I take it, one of the main things the author wants to say is that the real life of men is of that mythical and heroic quality. One can see the principle at work in his characterization. Much that in a realistic work would be done by 'character delineation' is here done simply by making the character an elf, a dwarf, or a hobbit. The imagined beings have their insides on the outside; they are visible souls. And Man as a whole, Man pitted against the universe, have we seen him at all till we see that he is like a hero in a fairy tale?

A Narrative of Some of the Lord's Dealings with George Müller Written by Himself, Fourth Part.
Fourth Part of Narrative

On the progress of The Wise Man's Fear in "Concerning the Release of Book Two" (26 February 2009) http://blog.patrickrothfuss.com/2009/02/concerning-the-release-of-book-two/
Official site
Context: My book is different.
In case you hadn't noticed, the story I'm telling is a little different. It's a little shy on the Aristotelian unities. It doesn't follow the classic Hollywood three-act structure. It's not like a five-act Shakespearean play. It's not like a Harlequin romance.
So what *is* the structure then? Fuck if I know. That's part of what's taking me so long to figure out. As far as I can tell, my story is part autobiography, part hero's journey, part epic fantasy, part travelogue, part faerie tale, part coming of age story, part romance, part mystery, part metafictional-nested-story-frame-tale-something-or-other.
I am, quite frankly, making this up as I go. If I get it right, I get something like The Name of the Wind. Something that makes all of us happy.
But if I fuck it up, I'll end up with a confusing tangled mess of a story.
Now I'm not trying to claim that I'm unique in this. That I'm some lone pioneer mapping the uncharted storylands. Other authors do it too. My point is that doing something like this takes more time that writing another shitty, predictable Lord of the Rings knockoff.
Sometimes I think it would be nice to write a that sort of book. It would be nice to be able to use those well-established structures like a sort of recipe. A map. A paint-by-numbers kit.
It would be so much easier, and quicker. But it wouldn't be a better book. And it's not really the sort of book I want to write.

Source: Seven Pillars of Wisdom (1922), Ch. 1
Context: Some of the evil of my tale may have been inherent in our circumstances. For years we lived anyhow with one another in the naked desert, under the indifferent heaven. By day the hot sun fermented us; and we were dizzied by the beating wind. At night we were stained by dew, and shamed into pettiness by the innumerable silences of stars. We were a self-centred army without parade or gesture, devoted to freedom, the second of man's creeds, a purpose so ravenous that it devoured all our strength, a hope so transcendent that our earlier ambitions faded in its glare.

Introduction to "(The Marines Have Landed on the Shores of) Santo Domingo," Phil Ochs in Concert (1966)
Context: Before the days of television and mass media, the folksinger was often a traveling newspaper spreading tales through music. There is an urgent need for Americans to look deeply into themselves and their actions, and musical poetry is perhaps the most effective mirror available. Every newspaper headline is a potential song.

The Lover's Tale (1879), line 815

Dedication (1960)
Context: There was the book of profile tales declaring
For the emboldened politicians daring
To break with followers when in the wrong,
A healthy independence of the throng,
A democratic form of right divine
To rule first answerable to high design.
There is a call to life a little sterner,
And braver for the earner, learner, yearner.
Less criticism of the field and court
And more preoccupation with the sport.

Source: Aeneid (29–19 BC), Book VI, Lines 625–627 (tr. H. R. Fairclough); the punishments of the Inferno.

"Auctorial Induction"
The Certain Hour (1916)
Context: I have made at worst some neat, precise and joyous little tales which prevaricate tenderly about the universe and veil the pettiness of human nature with screens of verbal jewelwork. It is not the actual world they tell about, but a vastly superior place where the Dream is realized and everything which in youth we knew was possible comes true. It is a world we have all glimpsed, just once, and have not ever entered, and have not ever forgotten. So people like my little tales.... Do they induce delusions? Oh, well, you must give people what they want, and literature is a vast bazaar where customers come to purchase everything except mirrors.

Source: Archetypal Dimensions of the Psyche (1994), The Self, p. 324 - 325

Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 174
Context: The truth is that Foucault knew very little about anything before the seventeenth century and, in the modern world, outside France. His familiarity with the literature and art of any period was negligible. His hostility to psychology made him incompetent to deal with sexuality, his own or anybody else’s. The elevation of Foucault to guru status by American and British academics is a tale that belongs to the history of cults.

"Anyway" Official Video http://vimeo.com/12147261 - Performance on The Late Late Show with Craig Ferguson (1 July 2010) http://www.youtube.com/watch?v=3TduFqUob4o
Lyrics, Alicia Witt (2009)
Context: I'm bruised again,
I wear it well,
The self-inflicted tale they tell.
I singed my hair,
I broke my nails.
You'd love me then,
If all else failed.
The night was long and dark and just
Another dagger to my trust.
I thrust it in until I bleed
I wiped my point for you to see. And anyway,
It's over now.
Nothing left to say.
I don't know why,
I don't care how,
It's over anyway.
It's broken in pieces.
You've got the space you needed.
Too late to try,
Just say good-bye
It's over anyway.

Introduction to The Annotated Alice (1960) // The Annotated Alice. The Definitive Edition (1999), by Lewis Carroll (Author, Christ Church College, Oxford), John Tenniel (Illustrated by), Martin Gardner (Editor, Introduction and notes by), page viii
Context: The last level of metaphor in the Alice books is this: that life, viewed rationally and without illusion, appears to be a nonsense tale told by an idiot mathematician. At the heart of things science finds only a mad, never-ending quadrille of Mock Turtle Waves and Gryphon Particles. For a moment the waves and particles dance in grotesque, inconceivably complex patterns capable of reflecting on their own absurdity.

Love is Enough (1872), Song V: Through the Trouble and Tangle

Acceptance Speech for the Margaret Edwards Award (1998)
Context: Wrinkle, when it was finally published in 1962, after two years of rejections, broke several current taboos. The protagonist was female, and one of the unwritten rules of science fiction was that the protagonist should be male. I'm a female. Why would I give all the best ideas to a male?
Another assumption was that science and fantasy don't mix. Why not? We live in a fantastic universe, and subatomic particles and quantum mechanics are even more fantastic than the macrocosm. Often the only way to look clearly at this extraordinary universe is through fantasy, fairy tale, myth. During the fifties Erich Fromm published a book called The Forgotten Language, in which he said that the only universal language which breaks across barriers of race, culture, time, is the language of fairy tale, fantasy, myth, parable, and that is why the same stories have been around in one form or another for hundreds of years.
Someone said, "It's all been done before."
Yes, I agreed, but we all have to say it in our own voice.

Source: Aeneid (29–19 BC), Book II, Line 204 (tr. Fairclough)

The Epilogue : Which is the proper ending of all comedies; and heralds, it may be, an afterpiece.
The Cream of the Jest (1917)
Context: It is true I have not told you everything. Why should I? No Author ever does.... With Felix Kennaston — or, if you prefer it so, with Horvendile, — rests safe this secret and peculiar knowledge as to how the life of Manuel may yet repair to it's first home after some seven centuries of exile. Thus will the traveller return — by and by — to the place of his starting; the legend of the second coming of the Redeemer will be justified, in, at all events, my lesser world; and the tale to Manuel's life will have come again, as it did once beside the pool of Haranton, full circle.

Source: Gargantua and Pantagruel (1532–1564), Fifth Book (1564), Chapter 6.

Source: The Foundation series (1951–1993), Foundation’s Edge (1982), Chapter 17 “Gaia” section 5, p. 361
Context: “Stories grow by accretion. Tales accumulate — like dust. The longer the time lapse, the dustier the history — until it degenerates into fables.”
Pelorat said, “We historians are familiar with the process, Dom. There is a certain preference for the fable. The falsely dramatic drives out the truly dull.”

Christ, Old Student in a New School (1972)

Tremendous Trifles (1909), XVII: "The Red Angel"
Paraphrased Variant: Fairy tales are more than true — not because they tell us dragons exist, but because they tell us dragons can be beaten.
The earliest known attribution of this was an epigraph in Coraline (2004) by Neil Gaiman; when questioned on this at his official Tumblr account http://neil-gaiman.tumblr.com/post/42909304300/my-moms-a-librarian-and-planning-to-put-literary, Gaiman admitted to misquoting Chesterton: "It’s my fault. When I started writing Coraline, I wrote my version of the quote in Tremendous Trifles, meaning to go back later and find the actual quote, as I didn’t own the book, and this was before the Internet. And then ten years went by before I finished the book, and in the meantime I had completely forgotten that the Chesterton quote was mine and not his.
I’m perfectly happy for anyone to attribute it to either of us. The sentiment is his, the phrasing is mine.
Paraphrased variant: Fairytales don’t tell children that dragons exist. Children already know that dragons exist. Fairytales tell children that dragons can be killed.
Appeared in Criminal Minds 2007 episode Seven Seconds ( IMDB quote entry http://www.imdb.com/title/tt1103432/quotes?item=qt1184717)
Context: Fairy tales, then, are not responsible for producing in children fear, or any of the shapes of fear; fairy tales do not give the child the idea of the evil or the ugly; that is in the child already, because it is in the world already. Fairy tales do not give the child his first idea of bogey. What fairy tales give the child is his first clear idea of the possible defeat of bogey. The baby has known the dragon intimately ever since he had an imagination. What the fairy tale provides for him is a St. George to kill the dragon. Exactly what the fairy tale does is this: it accustoms him for a series of clear pictures to the idea that these limitless terrors had a limit, that these shapeless enemies have enemies in the knights of God, that there is something in the universe more mystical than darkness, and stronger than strong fear.

As quoted in "Carl Orff" by Everett Helm in The Musical Quarterly Vol. 41, No. 3 (July 1955)

The Expanding Universe (1963)
Context: What a child doesn’t realize until he is grown is that in responding to fantasy, fairly tale, and myth he is responding to what Erich Fromm calls the one universal language, the one and only language in the world that cuts across all barriers of time, place, race, and culture. Many … books are from this realm… books on Hindu myth, Chinese folklore, the life of Buddha, tales of American Indians, books that lead our children beyond all boundaries and into the one language of all mankind.
In the beginning God created the heaven and the earth... The extraordinary, the marvelous thing about Genesis is not how unscientific it is, but how amazingly accurate it is. How could the ancient Israelites have known the exact order of an evolution that wasn’t to be formulated for thousands of years? Here is a truth that cuts across barriers of time and space.

Campbell follows with a quote from Ovid's Metamorposes, "All things are changing; nothing dies..."
Chapter 2
The Hero with a Thousand Faces (1949)
Context: The happy ending of the fairy tale, the myth, and the divine comedy of the soul, is to be read, not as a contradiction, but as a transcendence of the universal tragedy of man.... Tragedy is the shattering of the forms and of our attachment to the forms... the two are the terms of a single mythological theme... the down-going and the up-coming (kathados and anodos), which together constitute the totality of the revelation that is life, and which the individual must know and love if he is to be purged (katharsis=purgatorio) of the contagion of sin (disobedience to the divine will) and death (identification with the mortal form).

Love is Enough (1872), Song VI: Cherish Life that Abideth
Context: Live on, for Love liveth, and earth shall be shaken
By the wind of his wings on the triumphing morning,
When the dead, and their deeds that die not shall awaken,
And the world's tale shall sound in your trumpet of warning,
And the sun smite the banner called Scorn of the Scorning,
And dead pain ye shall trample, dead fruitless desire,
As ye wend to pluck out the new world from the fire.

The Earthly Paradise (1868-70), The Lady of the Land
Context: A queen I was, what Gods I knew I loved,
And nothing evil was there in my thought,
And yet by love my wretched heart was moved
Until to utter ruin I was brought!
Alas! thou sayest our gods were vain and nought,
Wait, wait, till thou hast heard this tale of mine,
Then shalt thou think them devilish or divine.

Black Boy (1945)

The Fantastic Imagination (1893)
Context: "But surely you would explain your idea to one who asked you?"
I say again, if I cannot draw a horse, I will not write THIS IS A HORSE under what I foolishly meant for one. Any key to a work of imagination would be nearly, if not quite, as absurd. The tale is there, not to hide, but to show: if it show nothing at your window, do not open your door to it; leave it out in the cold. To ask me to explain, is to say, "Roses! Boil them, or we won't have them!" My tales may not be roses, but I will not boil them.
So long as I think my dog can bark, I will not sit up to bark for him.

English Prose Style (1928)
Literary Quotes

On A Kestrel for a Knave
Barry Hines 1970 interview

On his novel Donald Duk (as quoted in ““FRANK CHIN: HIS OWN VOICE” https://resisters.com/by-frank-abe/frank-chin-his-own-voice/ in the Bloombury Review; September 1991)

Vikram Sampath - Savarkar, Echoes from a Forgotten Past

Balsamo the Magician (or The Memoirs of a Physician) by Alex. Dumas (1891)

On how gender identity and other themes are addressed in The Prince and the Dressmaker in “INTERVIEW WITH JEN WANG, AUTHOR AND ARTIST OF THE PRINCE AND THE DRESSMAKER” https://bookriot.com/2018/02/06/prince-and-the-dressmaker/ in BookRiot (2018 Feb 6)

Gesta Regum Anglorum (1125), quoted in M. J. Cohen and John Major (eds.), History in Quotations (Cassell, 2004), p. 160

"Auctorial Induction"
The Certain Hour (1916)

A dry chuckle: “I used to try to believe a different one before breakfast every day, you know, just in case Pascal’s wager was right—exploring the phase-space of all possible resurrections, you know? But I think at this point we can agree that Dawkins was right. Human consciousness is vulnerable to certain types of transmissible memetic virus, and religions that promise life beyond death are a particularly pernicious example because they exploit our natural aversion to halting states.”
Source: Accelerando (2005), Chapter 9 (“Survivor”), pp. 396-397

Source: Better-World Philosophy: A Sociological Synthesis (1899), The Preponderance of Egoism, p. 133–134

I never have been able to sell to Adventure; guess my first attempt cooked me with them for ever!
From a letter to H. P. Lovecraft (c. July 1933)
Letters

Source: Invisible Helpers (1915), Ch. 1

Source: From Bethlehem to Calvary (1937), Chapter One

But to devise a more plausible mystery than The Hound of the Baskervilles or The Purloined Letter should not be too difficult. Nowadays it would be rather more difficult not to.
Introduction
The Simple Art of Murder (1950)

G M Adishesh, his friend
You can see God in him at times (22 December 1999)

I just drain from that source. I just drain everything. So the magic is there.
Interview in Rolling Stone (9 November 1967)

Charles Keeler (pages 17-18)
Sierra Club Bulletin - Memorial Issue

The Tales of Alvin Maker

Source: The Selfish Gene (1976, 1989), Ch. 12. Nice Guys Finish First

'Well, I do believe some things, of course,' conceded Father Brown; 'and therefore, of course, I don't believe other things.' .
The Dagger with Wings (1926)

Choruses from The Rock (1934)

Masterpieces of Patriotic Urdu Poetry, p. 101
Poetry, custodians of civilization

translation from original Dutch: Fons Heijnsbroek

(original Dutch: citaat van Jan Mankes, in het Nederlands:) Het [de uil] is net een verschijning uit een sprookje, iets koninklijk teers, iets waar je nooit aan zou willen raken, ja hij is voor mij door die zilveren borst totaal volmaakt geworden.

Quote of Jan Mankes, c. 1911 in a letter to his maceneas A.A.M. Pauwels in The Hague; as cited on the website of museum more in Gorssel https://www.museummore.nl/nu-te-zien/jan-mankes/

The owl was a present of his maceneas Pauwels who sent it to him and lived in his home. Mankes painted it in a. o. his 'Selfportrait with Owl', 1911 https://upload.wikimedia.org/wikipedia/commons/0/01/Self_portrait_with_owl%2C_by_Jan_Mankes.jpg
1909 - 1914

Christ, Old Student in a New School (1972)

Joyce, Act I
Stoppard called this "the most important" speech in the play
Source: Travesties (1974)

Section 4 : Moral Ideals
Life and Destiny (1913)

in response to a mother who wanted her son to become a scientist and asked Einstein what reading material to give him
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.
Disputed
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

https://www.goodreads.com/quotes/10937455-nothing-could-have-prepared-me-for-the-reality-of-the/

Source: Quotes from Thorns in The desert, P. 10.

Source: Pandemonium Magazine, Vol#29 - April 1995: "Layne Staley Unchained"

Source: Charles Dickens (1906), Ch 4 : "The Pickwick Papers"

that sentence held it all.
A hundred times I'd lived the scene in days when I was small,
A broken rule, a teacher vexed, hot rage where calm belonged,
A guilty judgment blindly made - a youngster sadly wronged.<p>I still can see that little chap upon his homeward way,
"She never gave a chance to me," I still can hear him say,
And so I write this verse for him, and all the girls and boys
Who shall their tutors now and then disturb with needless noise.
Be fair, you teachers of our land, in every circumstance;
Don't let some little fellow say he never had a chance.
She Never Gave Me a Chance, third and final stanzas.
The Passing Throng (1923)

Source: When Day is Done (1921), The Cure for Weariness, stanzas 1 and 2

"Sleep (A Woman Speaks)", line 1, p. 98.
The Monitions of the Unseen (1871)