A Quote by Benedetto Croce

The writing of histories - as Goethe once noted - is one way of getting rid of the weight of the past.... The writing of history liberates us from history. — © Benedetto Croce
The writing of histories - as Goethe once noted - is one way of getting rid of the weight of the past.... The writing of history liberates us from history.
Writing history is a method of getting rid of the past.
Writing of history is our only heuristic principle. The Germans have a word for it, einfühlen. It is the ability to experience the past in the present and to recreate it. In my books, I have tried to recreate it in the most natural way possible: History must be integrated into the story without the weight of premonition.
The huge, turgid work of history, sinking under the weight of its own 'politically correct' thesis and its foot- and source notes, is not the British way of writing history, and never has been.
Today’s events are tomorrow’s history, yet events seen by the naked eye lack the depth and breadth of human struggles, triumphs and suffering. Writing history is writing the soul of the past… so that the present generation may learn from past mistakes, be inspired by their ancestor’s sacrifices, and take responsibility for the future.
History is the art of making an argument about the past by telling a story accountable to evidence. In the writing of history, a story without an argument fades into antiquarianism; an argument without a story risks pedantry. Writing history requires empathy, inquiry, and debate. It requires forswearing condescension, cant, and nostalgia. The past isn’t quaint. Much of it, in fact, is bleak.
I wanted to be a part of history and not just a recorder and teacher of history. So that kind of attitude towards history, history itself as a political act, has always informed my writing and my teaching.
I'm always writing. A friend of mine once said, 'You avoid re-writing by writing.' Which is kind of a good point, because re-writing seems to be mostly about craft, and writing is just, like, getting out your passion on a piece of paper.
Meditation is a process of getting rid of the whole past, of getting rid of all diseases, of getting rid of all the pus that has gathered in you. It is painful, but it is cleansing, and there is no other way to cleanse you.
In terms of writing about horses, I fell backwards into that. I was intent on getting a Ph.D., becoming a professor, and writing on history but I got sick 14 years ago when I was 19. Getting sick derailed that plan completely
In terms of writing about horses, I fell backwards into that. I was intent on getting a Ph.D., becoming a professor, and writing on history but I got sick 14 years ago when I was 19. Getting sick derailed that plan completely.
I like to do the research of history and the creativity of writing fiction. I am creating this thing which I think is twice as difficult as writing either history or fiction.
Writing the past is never a neutral act. Writing always asks the past to justify itself, to give its reasons... provided we can live with the reasons. What we want is a narrative, not a log; a tale, not a trial. This is why most people write memoirs using the conventions not of history, but of fiction.
There is no history of mankind, there are only many histories of all kinds of aspects of human life. And one of these is the history of political power. This is elevated into the history of the world.
I started going out with one of my managers and he really grew me up in a lot of ways. He introduced me not just to being a full-time traveler, which I was, but he was also really very interested in history and art and continued to open my eyes up to regional history; less splashy histories. He was interested in historical societies and stuff like that. He introduced me to a way of looking at the way communities form that is the foundation for the book that I've just finished writing that has to do with what I see as effective community-building wherever I've been traveling.
If history moves forward, knowledge of it travels backwards, so that in writing of our own recent past we are continually meeting ourselves coming the other way.
Our world is not an optimal place, fine tuned by omnipotent forces of selection. It is a quirky mass of imperfections, working well enough (often admirably); a jury-rigged set of adaptations built of curious parts made available by past histories in different contexts. A world optimally adapted to current environments is a world without history, and a world without history might have been created as we find it. History matters; it confounds perfection and proves that current life transformed its own past.
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