Dante Quotes - page 2
The express pulled into the Stazione Termini in Rome five minutes ahead of schedule with a feminine shriek. Ruiz found a porter with no difficulty, tipped him the standard 100 lire for his two pieces of luggage, and gave directions. The priest's Italian was adequate, but hardly standard; it made the facchino grin with delight every time Ruiz opened his mouth. He had learned it by reading, partly in Dante, mostly in opera libretti, and consequently what he lacked in accent he made up for in flowery phrases; he was unable to ask the way to the nearest fruit stall without sounding as though he would throw himself into the Tiber unless he got an answer.
James Blish
Emily Dickinson is the female Sade, and her poems are the prison dreams of a self-incarcerated, sadomasochistic imaginist. When she is rescued from American Studies departments and juxtaposed with Dante and Baudelaire, her barbarities and diabolical acts of will become glaringly apparent. Dickinson inherits through Blake the rape cycle of The Faerie Queene. Blake and Spenser are her allies in helping pagan Coleridge defeat Protestant Wordsworth.
Camille Paglia
Out whole civilization was a cemetery where Jesus Christ and Socrates, Mozart and Haydn, Dante and Goethe were but indecipherable names on moldering stones; and the mourners who stood round affecting a pretense of sorrow would give much to believe in these inscriptions which once were holy, or at least to utter one heart-felt word of grief and despair about this world that is no more. And nothing was left them but the embarrassed grimaces of a company round a grave.
Hermann Hesse
As a public teacher of mere striplings, I am often amazed by the facility and absence of resistance with which the principles of the infinitesimal calculus are accepted and assimilated by the present race of learners. When I was young, a boy of sixteen or seventeen who knew his infinitesimal calculus would have been almost pointed at in the streets as a prodigy, like Dante, as a man who had seen hell. Now-a-days, our Woolwich cadets at the same age, talk with glee of tangents and asymptotes and points of contrary flexure and discuss questions of double maxima and minima, or ballistic pendulums, or motion in a resisting medium, under the familiar and ignoble name of sums.
James Joseph Sylvester
For our genius of a father did not limit himself to math. His brain was an octopus, the tentacles of which extended in all directions. He could scan Latin verse and Greek verse as well, and it was as if he were hearing Homer or Theocritus in person. Not to mention the fact that he read Greek from volumes filled with characters which in no way resembled the ones in our Greek grammar or book of excerpts from Greek literature. He also read Sanskrit, with its truly bizarre letters. He spoke Italian like Dante, Spanish like Cervantes, and so for almost every living language.
André Weil
Maybe Delacroix stands for Romanticism. He stuffed himself with too much Shakespeare and Dante, thumbed through too much Faust. His palette is still the most beautiful in France, and I tell you no one under the sky had more charm and pathos combined than he, or more vibration of colour. We all paint in his language, as you all write in Hugo's.
Paul Cézanne
Verse no longer stands at the centre of communicative discourse. It is no longer, as it was from Homer to Milton, the natural repository of knowledge and traditional sentiment. It no longer gives to society its main record of past grandeur or its natural setting for prophecy, as it did in Virgil and Dante. Verse has grown private. It is a special language which the individual poet insinuates, by force of personal genius, into the awareness of his contemporaries, persuading to learn and perhaps hand on his own uses of words. Poetry has become essentially lyric - that is to say, it is the poetry of private vision rather than of public or of national occasion.
George Steiner
Even where it is manipulated by major talents, deconstruction tends to bear either on marginal texts (Sade, Lautréamont), or on secondary work by a great writer (Barthes on Balzac's Sarrazine). The classics of deconstruction, in Jacques Derrida or Paul De Man, are "misreadings" not of literature but of philosophy; they address themselves to philosophical linguistics and the theory of language. The masks they seek to strip off are those worn by Plato, by Hegel, by Rousseau, by Nietszche or Saussure. Deconstruction has nothing to tell us of Aeschylus or Dante, of Shakespeare or Tolstoy.
George Steiner
Courteous love was avowedly a form of drama, but not the less a force of society. Illusion for illusion, courteous love in Thibaut's hands, or in the hands of Dante and Petrarch, was as substantial as any other convention;- the balance of trade, the rights of man, the Athanasian Creed. In that sense the illusions alone were real; if the middle-ages had reflected only what was practical, nothing would have survived for us.
Henry Adams
We are concerned with the artistic and social side of life, and have only to notice the coincidence that while the Virgin was miraculously using the power of spiritual love to elevate and purify the people, Eleanor and her daughters were using the power of earthly love to discipline and refine the Courts. Side by side with the crude realities about them, they insisted on teaching and enforcing an ideal that contradicted the realities, and had no value for them or for us except in the contradiction.
The ideals of Eleanor and her daughter Mary of Champagne were a form of religion, and if you care to see its evangels, you had best go directly to Dante and Petrarch.
Henry Adams
That Swinburne was altogether new to the three types of men-of-the-world before him; that he seemed to them quite original, wildly eccentric, astonishingly gifted, and convulsingly droll, Adams could see; but what more he was, even Milnes hardly dared say. They could not believe his incredible memory and knowledge of literature, classic, mediaeval, and modern; his faculty of reciting a play of Sophocles or a play of Shakespeare, forward or backward, from end to beginning; or Dante, or Villon, or Victor Hugo.
Henry Adams
Valmiki, Vyasa and Kalidasa are the Indian equivalents of Homer, Dante and Shakespeare. The story of Rama, the ideal son and ruler, Sita, the ideal wife, Bharata and Lakshmana, the ideal brothers and Hanuman, the ideal devotee, has been so beautifully stated in the epic poem of Ramayana that even in the remotest village of India, even the most illiterate man, woman or child is familiar with the characters and situations in the story. The credit for this goes to the poetic and dramatic genius of Valmiki.
Valmiki
And here Dante describes an evidently spherical world... 'The lamp of the world the sun rises to mortals through different passages but through that which joins four circles with three crosses the position of the rising sun at the vernal equinox it issues with a better course and conjoined with better stars, and tempers and stamps the wax of the world more after its own fashion. Although such an outlet had made morning there and evening here, and all the hemisphere there was bright, and the other dark...'
Dante Alighieri