A Quote by Samuel Johnson

Classical quotation is the parole of literary men all over the world. — © Samuel Johnson
Classical quotation is the parole of literary men all over the world.
Getting off parole is like walking out them cells all over again. There was a lot of stuff I couldn't do when I was on parole. I had a curfew, couldn't go to certain cities, couldn't be around certain people, and you miss out on a lot of opportunities.
Every book is a quotation; and every house is a quotation out of all forests, and mines, and stone quarries; and every man is a quotation from all his ancestors.
In literary composition a well-chosen quotation lights up the page like a fine engraving.
A forward critic often dupes us With sham quotations peri hupsos, And if we have not read Longinus, Will magisterially outshine us. Then, lest with Greek he over-run ye, Procure the book for love or money, Translated from Boileau's translation, And quote quotation on quotation.
Ralph Keyes calls quotation collectors "quotographers," the men and women who gather catchwords, watchwords, war words, winged words, maxims, mottos, sayings, and quips into books of a thousand pages. Through the centuries quotation collectors have saved quotations that would otherwise be lost.
The provincial intellectual is doomed to arguing at low level... there is still no Australian literary world, not in Sydney, Melbourne, Adelaide. It is some consolation to realise that there is no literary world in Birmingham or Los Angeles either. I have heard there is one in Montreal, but I don't believe it. The literary world is in London and New York, the only cities big enough to sustain magazines which can afford to reject copy.
The art of quotation requires more delicacy in the practice than those conceive who can see nothing more in a quotation than an extract. Whenever the mind of a writer is saturated with the full inspiration of a great author, a quotation gives completeness to the whole; it seals his feelings with undisputed authority.
That literary-popular distinction is, in my view, vastly overstated. At the far poles there are clearly books that are purely commercial and purely literary, written for audiences that want to see the same thing enacted over and over and over again. But the middle is where most people read and most people write.
I don't know that I've gotten much feedback directly from the literary world; sometimes I doubt even the notion that there is a literary world, though I guess there is or was.
You evidently do not suffer from "quotation-hunger" as I do! I get all the dictionaries of quotations I can meet with, as I always want to know where a quotation comes from.
Theoretical physicists live in a classical world, looking out into a quantum-mechanical world. The latter we describe only subjectively, in terms of procedures and results in our classical domain.
I was a stage actor for 20 years or so; I was leading men in classical things. 'Shakespeare,' you know. And now, I never play leading men. I'm that kamikaze comic that comes from the left, turns the table over, and leaves, or the hyper-intelligent yuppie scumbag if it's a drama.
When I do operas, I'm not really singing very classically. I have a classical background as far as being a pianist and an oboist, but my voice isn't really classical in the operatic sense. But I certainly have a classical sensibility, so I'm comfortable being in that world.
You never know when you're going to get parole. You might get knocked back, they might give you parole. That's like me trying to get into America. Are we going to let him in?
[Michael] Chabon, who is himself a brash and playful and ebullient genre-bender, writes about how our idea of what constitutes literary fiction is a very narrow idea that, world-historically, evolved over the last sixty or seventy years or so - that until the rise of that kind of third-person-limited, middle-aged-white-guy-experiencing-enlightenment story as in some way the epitome of literary fiction - before that all kinds of crazy things that we would now define as belonging to genre were part of the literary canon.
it never really occurred to her that literary men, if they like women at all, do not want literary women but girls.
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