Top 1200 Historical Truth Quotes & Sayings

Historical fiction is not history. You're blending real events and actual historical personages with characters of your own creation.

Demanding historical (or scientific) veracity as a prerequisite for truth is another kind of tunnel vision. To do so is to mistake poetry for prose.

That Man, who flees from truth, should have invented the mirror is the greatest of historical miracles.

The Bible is a wonderful book. It is the truth about the Truth. It is not the Truth. A sermon taken from the Bible can be a wonderful thing to hear. It is the truth about the truth about the truth. But it is not the truth. There have been many books written about the things contained in the Bible. I have written some myself. They can be quite wonderful to read. They are the truth about the truth about truth about the Truth. But they are NOT the Truth. Only Jesus Christ is the Truth. Sometimes the Truth can be drowned in a multitude of words.

Truth is always the first war casualty. The emotional disturbances and distortions in historical writing are greatest in wartime.

Teachers don't tell us the truth about historical people. If we knew the truth, parents couldn't hold their lives up as examples.

Now, whenever you read any historical document, you always evaluate it in light of the historical context.

Who does not know that the first law of historical writing is the truth.

You can't believe anything that's written in an historical novel, and yet the author's job is always to create a believable world that readers can enter. It's especially so, I think, for writers of historical fiction.

Historical! Must it be historical to catch your attention? Even though historicity, like notoriety, denotes nothing more than thatsomething has occurred.

Truth is truth, not the explanations of Truth. Truth is a living, moving process. Truth is constantly undulating and vibrating. You can become one with the Truth, but you cannot adequately explain it.

I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.

If you make a determination that [story of Abraham and the sacrifice of Isaac] is not historical, do you throw it away? I don't think we can say whether it's precisely, scientifically historical.

What distinguishes the historical social system we are calling historical capitalism is that in this historical system capital came to be used (invested) in a very special way. It came to be used with the primary objective or intent of self-expansion. In this system, past accumulations were 'capital' only to the extend they were used to accumulate more of the same.

In my work, there's mechanism that is "real," which is formed from the historical concepts of the images that I'm working with. That doesn't fall completely into a cliché. There are elements about it that carry historical context and edges.

In the face of the idea that truth might afford the opposite of satisfaction and turn out to be completely shocking to humanity at any given historical moment, ... the fathers of pragmatism made the satisfaction of the subject the criterion of truth. For such a doctrine there is no possibility of rejecting or even criticizing any species of belief that is enjoyed by its adherents.

The only Bible-honoring conclusion is, of course, that Genesis 1-11 is actual historical truth, regardless of any scientific or chronological problems thereby entailed.

If the Holocaust didn't take place, why then did this regime of occupation come about? Why do the European countries commit themselves to defending this regime? Permit me to make one more point. We are of the opinion that, if an historical occurrence conforms to the truth, this truth will be revealed all the more clearly if there is more research into it and more discussion about it.

Even if people tell me they have historical proof [that it is not historical], that doesn't really bother me.

In 'Labor Day Hurricane, 1935,' Douglas Trevor vividly recreates a historical event. While that is the only story in A THIN TEAR IN THE FABRIC OF SPACE in the historical past, many of the other stories juxtapose fact-both historical and scientific-with narration to an engaging effect, one that distinguishes the voice of this new writer.

As much as I care about historical context - I'm very eager to read a really great historical account.

Reeducation needs careful tending, like an English lawn. Even one moment of negligence, and the weeds crop up again ~ those indestructible weeds of historical truth.

My first book was a historical novel. I started writing in 1974. In those days, historical novels meant ladies with swelling bosoms on the cover. Basically, it meant historical romance. It was not respectable as a genre.

In the same way that I've no desire to live in earlier historical periods, I never touch historical recipes. Most historical cooking is detestable.

Writers of historical fiction are often faced with a problem: if they include real-life people, how do they ensure that their make-believe world isn't dwarfed by truth? The question loomed large as I began reading 'The Black Tower', Louis Bayard's third foray into historical fiction and fifth novel overall.

With the historical fictions, I was already doing so much research, and so much of the stories was anchored by historical truth that the move to nonfiction didn't feel all that dramatic - just another half-step to the right.

When I write I have no loyalty except to historical truth as I see it and care no more about British achievements and mistakes than any other.

Historical truth is that, and that alone, which reveals the forces that go to mould the social life of mankind.

I've never known, at least a modern historical instance, where the truth wasn't superior to distortion in every way.

I've been told by people who write historical novels that you just sort of write the emotional truth first, the story at the core, and then you go back and research it at the end.

Dialectical logic undoes the abstractions of formal logic and of transcendental philosophy, but it also denies the concreteness of immediate experience. To the extent to which this experience comes to rest with the things as they appear and happen to be, it is a limited and even false experience. It attains its truth if it has freed itself from the deceptive objectivity which conceals the factors behind the facts - that is, if it understands its world as a historical universe, in which the established facts are the work of the historical practice of man.

It was clear to me that the forms of consciousness of our inherited and acquired historical education - aesthetic consciousness and historical consciousness - presented alienated forms of our true historical being.

The unfortunate and inescapable historical truth is that those in government - from both parties and with a few courageous exceptions - do not feel constrained by the Constitution. They think they can do whatever they want.

I'm a big fan of historical fiction stuff. Historical battles - 'Gladiators,' 'The Patriot.'

It is easy to see, though it scarcely needs to be pointed out, since it is involved in the fact that Reason is set aside, that faith is not a form of knowledge; for all knowledge is either a knowledge of the eternal, excluding the temporal and historical as indifferent, or it is pure historical knowledge. No knowledge can have for its object the absurdity that the eternal is the historical.

No one can know truth except the one who obeys truth. You think you know truth. People memorize the Scriptures by the yard, but that is not a guarantee of knowing the truth. Truth is not a text. Truth is in the text, but it takes the text plus the Holy Spirit to bring truth to a human soul.

I write novels, mostly historical ones, and I try hard to keep them accurate as to historical facts, milieu and flavor.

For the sake of historical truth I must verify that only the Greeks, of all the adversaries who confronted us, fought with bold courage and highest disregard of death.

If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.

Certainly all historical experience confirms the truth - that man would not have attained the possible unless time and again he had reached out for the impossible.

The truth, the whole truth, nothing but the truth. Little men are dissolved in it. If there is any gold, truth makes it shine more brightly. . . .Truth, even in the mouth of an informer, a spy, a briber, can become bigger than anybody who tries to destroy it. Truth survives.

I just had a hunch that there might be kernels of truth or reality - scientific or historical reality - in stories about nature that are perpetuated in oral myths. That's how I got interested in it.

As much as I love historical fiction, my problem with historical fiction is that you always know what's going to happen.

History has its truth, and so has legend. Legendary truth is of another nature than historical truth. Legendary truth is invention whose result is reality. Furthermore, history and legend have the same goal; to depict eternal man beneath momentary man.

I love historical fiction because there's a literal truth, and there's an emotional truth, and what the fiction writer tries to create is that emotional truth.

The postmodern worldview denies that there is such a thing as truth: historical, moral, or otherwise. It denies that truth exists independently of our perspectives and interests.

To those who don't know the historical truth, I would like to say today, Poland was not an aggressor but a victim during the Second World War.

We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.

If you're playing a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.

The novel and the film of 'The Color Purple' are both works of the imagination that make claim to historical truth.

In these days the invention of printing, and the diffusion of knowledge, render historical calumnies a little less dangerous: truth will always prevail in the long run, but how slow its progress!

Therefore, faithful Christian, seek the truth, listen to the truth, learn the truth, love the truth, tell the truth, learn the truth, defend the truth even to death.

It is of course the nature of historical contraction that the shortest distance to a historical destination is never a straight line.

My books fall in the wobbly middle between historical fiction and historical romance.

Though my books are written from a historical perspective, I have goon so far back that I am in the realm of prehistorical speculation rather than simple historical fact to weave my stories around.

I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.

Historical truth and the marketing needs of the movie and television industry remain fundamentally incompatible.

That one woman is capable of loving another is an historical truth; but never yet lived one who could not listen to her own praises at the expense of her adored friend.

For us, universal values such as justice, morality and peace cannot be disputed and it is for this reason that we pursue the restoration of historical truth.

Story and plot, not historical facts, are the engine of a novel, but I was committed to working through the grain of actual history and coming to something, an overall effect, which approximated truth.