Moliere Quotes

Trees that are slow to grow bear the best fruit.

A learned fool is more a fool than an ignorant fool.

My hate is general, I detest all men; Some because they are wicked and do evil, Others because they tolerate the wicked, Refusing them the active vigorous scorn Which vice should stimulate in virtuous minds.

I have the defect of being more sincere than persons wish.

Hypocrisy is a fashionable vice, and all fashionable vices pass for virtue.

One ought to examine himself for a very long time before thinking of condemning others.

Without knowledge, life is no more than the shadow of death

One must eat to live and not live to eat.

I sometimes think with Moliere, Mr. Ridge, that ‘there is no folly equal to he who attempts to mend the world.’” A single, unsuppressed laugh escaped him. “Yes,” he reluctantly replied, “but I cannot but help to attempt it, nonetheless.

We ought to punish pitilessly that shameful pretence of friendly intercourse. I like a man to be a man, and to show on all occasions the bottom of his heart in his discourse. Let that be the thing to speak, and never let our feelings be beneath vain compliments

Of all follies there is none greater than wanting to make the world a better place.

Le plus grand faible des hommes, c'est l'amour qu'ils ont de la vie.

I might, by chance, write something just as shoddy; But then I wouldn't show it to everybody.

Essay on tragedy. (1) The silence of Prometheus. (2) The Elizabethans. (3) Moliere. (4) The spirit of revolt.

Lope De Vega'ya, Shakespeare'e, Marlowe'a, Ibsen'e, Moliere'e, saygım sonsuzdu; gelgelelim artık tiyatro çağı kapanmıştı. Hayatın kendisi öylesine hileli hale gelmişti ki, tiyatroda ancak can çekişme sahnelenebilirdi.

Like the character Moliere who discovered to his astonishment that he had been speaking prose all his life, I discovered to my astonishment that I had been immersed in philosophical problems all my life. And I had been drawn into the same problems as great philosophers by the same felt need to make sense of the world...The chief difference between me and them, of course, was that whereas they had something to offer by way of solutions to the problems, I had failed even to formulate very rich or sophistocated versions of the problems, let alone work my way through to defensible solutions for them. In consequence I fell on their work like a starving man on food, and it has done a geat deal to nourish and sustain me ever since.

If I had the pen of Moliere, I could make him comic. That is the role of art, is it not? To make monsters comic, so we can bear them, and our own cheap griefs into grand tragedy, so that others will weep with us.

Kebahagiaan yang tidak ada habis-habisnya akan membosankan. Itulah sebabnya kita mengalami pasang surut dalam hidup ini.

The fact that scientists do not consciously practice a formal methodology is very poor evidence that no such methodology exists. It could be said—has been said—that there is a distinctive methodology of science which scientists practice unwittingly, like the chap in Molière who found that all his life, unknowingly, he had been speaking prose.

C'est une chose admirable, que tous les grands hommes ont toujours du caprice, quelque petit grain de folie mêlé à leur science.

Leave out the parts readers tend to skip. (Elmore Leonard) First you do it for the love of it, then you do it for a few friends, and finally you do it for money. (Moliere)

He felt the brusque transition from his poetic Paris to the dumb and arid province; and when, coming downstairs, he chanced to see Monsieur Hochon cutting slices of bread for each person, he understood, for the first time in his life, Moliere’s Harpagon.

But hell can endure for only a limited period, and life will begin again one day. History may perhaps have an end; but our task is not to terminate it but to create it, in the image of what we henceforth know to be true. Art, at least, teaches us that man cannot be explained by history alone and that he also finds a reason for his existence in the order of nature. For him, the great god Pan is not dead. His most instinctive act of rebellion, while it affirms the value and the dignity common to all men, obstinately claims, so as to satisfy its hunger for unity, an integral part of the reality whose name is beauty. One can reject all history and yet accept the world of the sea and the stars. The rebels who wish to ignore nature and beauty are condemned to banish from history everything with which they want to construct the dignity of existence and of labor. Every great reformer tries to create in history what Shakespeare, Cervantes, Moliere, and Tolstoy knew how to create: a world always ready to satisfy the hunger for freedom and dignity which every man carries in his heart. Beauty, no doubt, does not make revolutions. But a day will come when revolutions will have need of beauty. The procedure of beauty, which is to contest reality while endowing it with unity, is also the procedure of rebellion. Is it possible eternally to reject injustice without ceasing to acclaim the nature of man and the beauty of the world? Our answer is yes. This ethic, at once unsubmissive and loyal, is in any event the only one that lights the way to a truly realistic revolution. In upholding beauty, we prepare the way for the day of regeneration when civilization will give first place—far ahead of the formal principles and degraded values of history—to this living virtue on which is founded the common dignity of man and the world he lives in, and which we must now define in the face of a world that insults it.

We have but one death, and it lasts so long!

Jesteśmy odpowiedzialni nie tylko za to, co robimy, ale także za to, czego nie robimy.

Jane Austen’s Pride and Prejudice should create in the discerning male reader a deeply rooted concupiscence for Elizabeth Bennet that springs not from her vivacity or from her wit but from her unerring instinct to follow the deeply moral directives of her own character even against the influences and arguments of society, of convention, of seeming necessity, and of her friends and family. Properly read, Austen should be a form of pornography for the morally and spiritually discriminating man.

Nisam vjerovao u slikarstvo za "izabrane". Uvijek sam osjećao da slika mora pobuditi nešto i kod onoga tko je ne običava inače gledati, kao što Moliere uspijeva nasmijati vrlo inteligentnog čovjeka, kao i onoga koji ništa ne razumije. Shakespeare također. I u mom radu, jednako kao i u Shakespeareovom, često se mogu susresti burleskne stvari, relativno čak i vulgarne.Na taj način mogu svakome biti dostupan. To nije zbog toga što bih želio dobrodošlicu publike, već što želim doprijeti do svakog stupnja mišljenja.

Contenson, you must know, was a whole poem—a Paris poem. Merely to see him would have been enough to tell you that Beaumarchais’ Figaro, Moliere’s Mascarille, Marivaux’s Frontin, and Dancourt’s Lafleur—those great representatives of audacious swindling, of cunning driven to bay, of stratagem rising again from the ends of its broken wires—were all quite second-rate by comparison with this giant of cleverness and meanness. When in Paris you find a real type, he is no longer a man, he is a spectacle; no longer a factor in life, but a whole life, many lives.

Mademoiselle De Brie: But it can't be much fun seeing your work torn to shreds. Moliere: What do I care? Didn't I get everything I wanted from my play? I was lucky -- it appealed to the distinguished audience I was particularly eager to please. Don't you think I'm right to be happy with how it turned out? Can't you see that their attacks have come too late? It's out of my hands at this point. If people attack a successful play, they're attacking the audience who liked it, for their lack of judgement, not the art of the man who wrote the play, don't you see?

One has much wealth; his wife, so sweet and yet so bold, Distributes it to those who'll crown him a cuckold. The other, still a wretch, but with a kinder fate, Observing gifts presented to his lifelong mate, Maintains his peace of mind free from all jealousy, For she says her virtue attracts this gallantry.

Third, theology is being done today by ordinary people. Like the character in Moliere's play who was surprised to learn that he was speaking prose all the time, the serious but non-clergy Christian may be surprised to find he or she is doing theology much of the time.J3 This `people' theology proliferates in films and books, as well as private conversations: vernacular theology, spur-of-the-moment theology, off-the-cuff theology and indigenous theology. For example, my young granddaughter was told by her `atheist' friend that there is no God and no heaven. `Well', she said, `if there's no heaven, then what's the point of dying?' - pure theology!

The education of girls brings with it such serious problems — for the future of a nation is in the mother — that the University of France long since set itself the task of having nothing to do with it. Here is one of these problems: Ought girls to be informed on all points? Ought their minds to be under restraint? It need not be said that the religious system is one of restraint. If you enlighten them, you make them demons before their time; if you keep them from thinking, you end in the sudden explosion so well shown by Moliere in the character of Agnes, and you leave this suppressed mind, so fresh and clear-seeing, as swift and as logical as that of a savage, at the mercy of an accident.

Tarih boyunca Paris görkemliliği ile herkesin dikkatini çekmiştir. Pacsal'ı, Régniers'i, Corneille'i Descartes'i, Jean Jacques'i, Voltaire'i, Molier'i, Montesquieu'ı ile insanlık hayatına damgasını vuran bir şehirdir. Sanatçısı ile sanatıile bir örnek şehirdir Paris. Paris diğer şehirlerle nasıl kıyaslanamazsa kenar mahallelerinde yaşayan sokak çocukları da o denli kıyaslanamaz. Tehlikelerden korkmayan bu çocuklar iç çamaşırı kullanmazlar. Ayrıca ayaklarında ayakkabı, üstlerinde palto yoktur. Külhanbeyi gibi dolaşırlar. Arkadaşları meyhaneciler, sarhoşlar ve hırsızlardır. Paris'in çocukları annelik kavramını bilmez. Yatacak yeri yoktur. Yatakları kaldırımlar, yorganları gökyüzüdür. Bütün suçlarına rağmen Paris'in çocukları on üç yaşına kadar suçsuzdurlar. On üç yaşına kadar ellerinden tutulduğunda diğerleri gibi birer dürüst vatandaş olurlar. Paris halkı özellikle kenar mahallelerinde kendini gösterir.Gerçek Parisli oradadır.

Moliere says doubts are crueller than the worst truths.

I have frequently shown this sequence at my seminars and people all see a great deal of lechery, or lusty appreciation, or male chauvinism, or some erotic response in every male face. Since the heel clicks function to “sell” us this kind of response, I take Orson’s “everything was a fake” rather literally here. I imagine that not one single male in that sequence ever saw Oja Kodor. They all, probably, registered such emotions or thoughts as Two weeks to tax day and I don’t have the money yet — Where in hell did I leave that toothbrush? — I think I’ll use a line from Moliere to open my lecture — About time to stop and have some coffee etc.

It is madness beyond compare To try to reform the world. ― Moliere Such incredible passion is not irrational; it is the way of every prophet to reform the world. ― Ehsan Sehgal

…okuma bir dostluk biçimidir. Ama en azından dostluğun samimi bir biçimidir ve bir ölüye, olmayan birine yönelik ona çıkarsız, neredeyse dokunaklı bir hava verir. Dahası o, öteki bütün dostluk biçimlerini çirkinleştiren her şeyden bağımsız bir dostluktur. Biz yaşayanlar, henüz göreve başlamamış ölülerden başka bir şey olmadığımız için bütün bu nezaket, bir evin holünde giriştiğimiz bütün o selamlaşmalar ki adına saygı, minnet ya da bağlılık deriz ve içine onca sahtekarlık karıştırırız, bunların tümü bezdirici ve kısırdır. Dahası ilk yakınlık duygusu, hayranlık, tanışma ilişkilerinden sonra ağzımızdan çıkan ilk sözcükler, yazdığımız ilk mektuplar, sonraki dostluklarımızda kurtulacağımız bir alışkanlık ağının, tam bir varoluş biçiminin ilk ipliklerini etrafımızda örer; söylemeye gerek bile yok, bu süre içinde dile getirdiğimiz aşırı laflar ödememiz gereken vaat mektupları olarak kalır ve karşı çıkılmalarına izin verdiğimiz için bütün yaşamımız boyunca acı vererek bize daha pahalıya mal olur. Okumada, dostluk aniden başlangıçtaki saflığına kavuşur. Kitaplarda sahte sevimlilik yoktur. Geceyi bu dostlarla geçiriyorsak, bu, gerçekten istediğimiz içindir. En azından kitaplar söz konusu olduğunda dostlarımızı genellikle üzülerek terk ederiz. Ve onları bir kere terk ettiğimizde, “Bizim hakkımızda ne düşündüler?”, “Densizlik etmedik ya?”, “Bizden hoşlandılar mı?” türünde dostluğu bozan bu düşüncelerden hiçbiri olmadığı gibi, başka biri yüzünden unutulmuş olma korkusu da yoktur. Bütün bu dostluk endişeleri, okuma denen bu katışıksız ve dingin dostluğun eşiğinde son nefeslerini verir. Saygı da gereksizdir; Moliere’n söylediğine tam tuhaf bulduğumuz ölçüde güleriz; bizi sıktığında, sıkılmış görülmekten korkmayız ve onunla birlikte olmakta gına geldiğinde ne dehası ne de ünü onu aniden yerine koymaktan bizi alıkoyamaz. Bu katışıksız dostluğun atmosferi, sözden daha katışıksız olan sessizliktir. Çünkü başkaları için konuşuruz ama kendimiz için susarız." okuma üzerine kitabından

I have Shakespeared my Moliere to Tenessee, and I am Wild for Becket! But I got a little tired of the redundancy.

The trees that are slow to grow bear the best fruit.’ ~Moliere

Above all there is no Machist philosophy. At most [there is] a scientific methodology and a psychology of knowledge [Erkenntnispsychologie]; and like all scientific theories both are provisional and imperfect efforts. I am not responsible for the philosophy which can be constructed from these with the help of extraneous ingredients….The land of the transcendental is closed to me. And if I make the open confession that its inhabitants are not able at all to excite my curiosity, then you may estimate the wide abyss that exists between me and many philosophers. For this reason I already have declared explicitly that I am by no means a philosopher, but only a scientist. If nevertheless occasionally, and in a somewhat noisy way, I have been listed among the former then I am not responsible for this. Of course, I also do not want to be a scientist who blindly entrusts himself to the guidance of a single philosopher in the way that Moliere’s physician I expected and demanded of his patients.

The idea was to anger the drama kids, not hurt any of them. I'm not a deer hunter. I decided to prey on their most basic, cherished fear. "This play sucks! No one likes it. Not even the junior high bloggers will review this lame excuse for a Moliere," I yelled, and chucked tomatillos at the stager, over, under, and past the ducking, traumatized performers in French aristocrat costumes.