欧宝娱乐

“The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.”
― Helen Bevington, When Found, Make a Verse of

“If you think you鈥檙e doing some charity work with me鈥� something altruistic by taking pity on poor little Lanie, get over it now, mister鈥斺€�

Her fork flew right out of her hand, past Kyle鈥檚 shoulder. She sat there for a second staring disbelievingly at her empty hand. Then she narrowed her eyes at Kyle and snatched the fork out of his hand and used it.
-鈥淭hat鈥檚 my fork, Lanie.鈥�
-鈥淔ork you, Kyle,”
― M.K. Schiller, The Do-Over

“Is it possible that the Pentateuch could not have been written by uninspired men? that the assistance of God was necessary to produce these books? Is it possible that Galilei ascertained the mechanical principles of 'Virtual Velocity,' the laws of falling bodies and of all motion; that Copernicus ascertained the true position of the earth and accounted for all celestial phenomena; that Kepler discovered his three laws鈥攄iscoveries of such importance that the 8th of May, 1618, may be called the birth-day of modern science; that Newton gave to the world the Method of Fluxions, the Theory of Universal Gravitation, and the Decomposition of Light; that Euclid, Cavalieri, Descartes, and Leibniz, almost completed the science of mathematics; that all the discoveries in optics, hydrostatics, pneumatics and chemistry, the experiments, discoveries, and inventions of Galvani, Volta, Franklin and Morse, of Trevithick, Watt and Fulton and of all the pioneers of progress鈥攖hat all this was accomplished by uninspired men, while the writer of the Pentateuch was directed and inspired by an infinite God? Is it possible that the codes of China, India, Egypt, Greece and Rome were made by man, and that the laws recorded in the Pentateuch were alone given by God? Is it possible that 脝蝉肠丑测濒耻蝉 and Shakespeare, Burns, and Beranger, Goethe and Schiller, and all the poets of the world, and all their wondrous tragedies and songs are but the work of men, while no intelligence except the infinite God could be the author of the Pentateuch? Is it possible that of all the books that crowd the libraries of the world, the books of science, fiction, history and song, that all save only one, have been produced by man? Is it possible that of all these, the bible only is the work of God?”
― Robert G. Ingersoll, Some Mistakes of Moses

“If he tells the truth, it is because the most reeking lie no longer intoxicates him, even though he swallow it not in the modest doses that idealism offers, but in immoderate quantities, thousand-gallon-barrel gulps. He would taste the bitterness, but it would not make his head turn, as it does Schiller's, or Dostoevsky's, or even Socrates鈥�, whose head, as we know, could stand any quantity of wine, but went spinning with the most commonplace lie.”
― Lev Shestov, All Things are Possible

“Bei uns wird nur selten eine Mariage geschlossen, wo nicht wenigstens ein halb Dutzend der G盲ste - oder der Aufw盲rter- das Paradies des Br盲utigams geometrisch ermessen kann.”
― Friedrich Schiller, Kabale und Liebe

“Oedipus gouges out his eyes, Jocasta hangs herself, both guiltless; the play has come to a harmonious conclusion. Wrote Schiller.”
― David Markson

“H枚lderlin's sense of loss and destitution was not simply due to a personal predilection for suffering, but was part of a larger cultural phenomenon that arose from powerful currents seething under the Enlightenment鈥攁n increasing alienation from nature and a growing sense of disenchantment in the face of a triumphant rationality and waning traditions and values. H枚lderlin was not alone in perceiving these changes and experiencing them deeply. Hegel, for example, famously wrote of alienated consciousness, and Schiller described modern human beings as "stunted plants, that show only a feeble vestige of their nature." H枚lderlin, for his part, reacted to these currents with an almost overwhelming longing for lost wholeness.”
― Friedrich Holderlin, Odes and Elegies

“Erhob sich nicht in meinem Parlamente
Die reine Stimme der Gerechtigkeit?"
"Sie ist verstummt vor der Parteien Wut.”
― Friedrich Schiller, Die Jungfrau von Orleans

“Strictness to oneself joined with tenderness towards others, forms a truly excellent character. But for the most part, the man who is mild towards others, will be so towards himself, and he who is severe towards himself will be the same towards others; a character which is tender towards itself and severe towards others, is of all the most contemptible.”
― Friedrich Schiller, On the Aesthetic Education of Man

“I know my Germany. This is a temporary illness, something like measles, which will pass as soon as the economic situation improves. Do you really believe the compatriots of Goethe and Schiller, Kant and Beethoven will fall for this rubbish?”
― Fred Uhlman, Reunion

“[Don Carlos] will always remain open-ended, asking to be fleshed out by the imagination of others, silently demanding a finale of his authors, no matter how fantastical.”
― Maria-Cristina Necula Ph.D., The Don Carlos Enigma: Variations Of Historical Fictions

“Such immediate sliding into fiction under the guise of history reveals a remarkable fluidity between history and fiction that, while pertinent to innumerable portrayals of historical personages of other eras and nationalities, seems to acquire a particularly transformational narrative power in the case of Don Carlos.”
― Maria-Cristina Necula Ph.D., The Don Carlos Enigma: Variations Of Historical Fictions

“Thus, "Nenne mich Du" might be the emblematic phrase of this character: the Infante's invitation - in Schiller's words - to both creators and readers/audiences to 'name' him beyond his historical identifier Don Carlos - and all of its variants of Dom Carlos, Don Karlos, Don Carlo. Naming him, in this case, does not mean giving him another name, but calling him into being, endowing him with an identity shaped by an envisioned course of events and actions that lead to an ending. This phrase represents the mystery behind the character and Schiller's disclaimer that what the public is reading or seeing can never be the real Don Karlos - history's Don Carlos remains, largely, an unknown.”
― Maria-Cristina Necula Ph.D., The Don Carlos Enigma: Variations Of Historical Fictions

“We know that the sensibility of the psyche depends for its intensity upon the liveliness, for its scope upon the richness, of the imagination. The preponderance of the analytical faculty must, however, of necessity, deprive the imagination of its energy and warmth, while a more restricted sphere of objects must reduce its wealth. Hence, the abstract thinker very often has a cold heart, since he dissects his impressions, and impressions can move the soul only as long as they remain whole; while the man of practical affairs often has a narrow heart, since his imagination, imprisoned within the unvarying confines of his own calling, is incapable of extending itself to appreciate other ways of seeing and knowing.”
― Friedrich Schiller, On the Aesthetic Education of Man

“If truth is to be victorious in her conflict of forces, she must herself first become a force and appoint some drive to be her champion in the realm of phenomena; for drives are the only motive forces in the sensible world. If she has hitherto displayed so little of her conquering power, this was due, not to the intellect that was powerless to unveil her, but to the heart that closed itself against her, and to the drive that refused to act on her behalf.”
― Friedrich Schiller, On the Aesthetic Education of Man

“The majority of men are far too weary and exhausted by the struggle for existence to gird themselves for a new and harder struggle against error. Happy to escape the hard labor of thinking for themselves, they are only too glad to resign to others the guardianship of their thoughts. And if it should happen that higher promptings stir within them, they embrace with avid faith the formulas that state and priesthood hold in readiness for such an event. If these unhappy men deserve our compassion, we are rightly contemptuous of those others whom a kindlier fate has freed from the yoke of physical needs, but who by their own choice continue to bow beneath it. Such people prefer the twilight of obscure ideas, where feeling is given full rein, and fancy can fashion at will convenient images, to the rays of truth that put to flight the fond delusions of their dreams. It is on precisely these illusions, which the unwelcome light of knowledge is meant to dissipate, that they have founded the whole edifice of their happiness鈥攈ow can they be expected to pay so dearly for a truth that begins by depriving them of all they hold dear? They would first have to be wise in order to love wisdom: a truth already felt by him who gave philosophy her name.”
― Friedrich Schiller, On the Aesthetic Education of Man

“He can never learn that he is actually commensurate with this idea, therefore in the full signification of the word, a man, so long as he excludes either one of these two impulses (the sense and form impulses), or only satisfies them alternately; for so long as he only feels, his person or his absolute existence remains to him a mystery, and so does his condition or his existence in time, so long as he only thinks.”
― Friedrich Schiller, On the Aesthetic Education of Man

“With this, his chief weapon, Schiller combats the ordinary
conception of the natural, the illusion usually demanded in dramatic poetry. Although the stage day is merely artificial, the architecture only symbolical, and the metrical language ideal in character, nevertheless an erroneous view still prevails in the main, as he
points out: it is not sufficient that one merely tolerates as poetic
license what is actually the essence of all poetry. The introduction
of the chorus, says Schiller, is the decisive step by which war is
declared openly and honorably against all naturalism in art.”
― Friedrich Nietzsche, The Birth of Tragedy