'use strict';

Object.defineProperty(exports, '__esModule', { value: true });

var utilQuotes = require('@foba/util-quotes');

var Aaron_Sorkin = [{
  figure: 'Aaron Sorkin',
  mark: 'The Colbert Report at 7m35s. Aired 2010/09/30, retrieved 2010/10/16.',
  quote: 'Socializing on the internet is to socializing, what reality TV is to reality.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'The West Wing, Season Two Commentary Track: Noel.',
  quote: 'Writing anything, it sorta starts the way you\'d build a castle at the beach. You\'re just taking your hands and you\'re mounting up sand.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'Interview for Comedy Central. [specific citation needed]',
  quote: 'Is it (Sports Night) a comedy or a drama? That\'s generally not a question I try and answer for myself before I\'m going to write something. The example I would use is, if you\'re driving in your car and you\'re listening to a rock \'n\' roll station on the radio and a song comes on, and in the song you hear elements of jazz and folk and you hear strings in there … it\'s not necessary to answer the question, "Is this jazz, is this folk, or is this rock?" before you decide to listen to it and like it or not.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'The West Wing Script Book: Vol1. Intro.',
  quote: 'People who don\'t know anything tend to make up fake rules, the real rules being considerably more difficult to learn.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'The West Wing Script Book: Vol1. Intro.',
  quote: 'I love writing but I hate starting. The page is awfully white and it says. " You may have fooled some of the people some of the time but those days are over, giftless. I\'m not your agent and I\'m not your mommy, I\'m a white piece of paper, you wanna dance with me?" and I really, really don\'t. I don\'t want any trouble. I\'ll go peaceable-like.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'David Marchese (20200301). "Aaron Sorkin on how he would write the Democratic primary for ‘The West Wing.’". New York Times. Retrieved on 20200302.',
  quote: 'The worst crime you can commit is telling the audience something they already know, in any fashion, even for a moment.'
}, {
  figure: 'Aaron Sorkin',
  mark: 'David Marchese (20200301). "Aaron Sorkin on how he would write the Democratic primary for ‘The West Wing.’". New York Times. Retrieved on 20200302.',
  quote: 'The problem I had when I wrote “The Social Network” was that this thing that’s supposed to bring us closer together is pushing us further apart. It gives everyone the impression that everyone else in the world is having a better time, and that if you are not cataloging your life, then you’re not really living it. People are going to show you only pictures of themselves having a great time at the best party with the coolest people eating, for some reason, avocado toast. They’re also not going to experience empathy. When we’re a little kid on a playground and say something mean to another little kid, we see in their face what we did, and we feel bad because of it. On social media, it’s more like yelling at another driver from your car. People are developing a chemical addiction to their phones. A gambling addict feels that rush of dopamine and serotonin not when they win but when the roulette wheel is spinning. When kids stick their hand in their pocket to get their phone and see if someone has commented on the photo they posted, they get that rush of serotonin and dopamine. It’s a big deal. And now, when we talk about our concerns with Facebook, we’re talking about the power that it has to disseminate misinformation and disinformation. We’re never going to put this genie back in the bottle, but surely we can decide that lies are bad.'
}];

var Ernest_Hemingway = [{
  figure: 'Ernest Hemingway',
  mark: 'Letter to his family (19181018); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker. It was also published in The Oak Parker (Oak Park, IL) on 19181116. Only 19 years old at the time, Hemingway was recovering from wounds suffered at the front line while serving as a Red Cross volunteer.',
  quote: 'And how much better to die in all the happy period of undisillusioned youth, to go out in a blaze of light, than to have your body worn out and old and illusions shattered.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Toronto Star Weekly (19220304)',
  quote: 'Switzerland is a small, steep country, much more up and down than sideways, and is all stuck over with large brown hotels built on the cuckoo clock style of architecture.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"Trout Fishing in Europe" The Toronto Star Weekly (19231117)',
  quote: 'Somebody just back of you while you are fishing is as bad as someone looking over your shoulder while you write a letter to your girl.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (1924) to Ezra Pound; published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker, p113',
  quote: 'Fuck literature.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19241206); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'A man\'s got to take a lot of punishment to write a really funny book.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"The Age Demanded" in Der Querschnitt (192502); as quoted in Sylvia Beach and the Lost Generation (1983) by Noel Riley Fitch',
  quote: 'The age demanded that we danceAnd jammed us into iron pants.\nAnd in the end the age was handedThe sort of shit that it demanded.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19250515); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'My attitude toward punctuation is that it ought to be as conventional as possible. The game of golf would lose a good deal if croquet mallets and billiard cues were allowed on the putting green. You ought to be able to show that you can do it a good deal better than anyone else with the regular tools before you have a license to bring in your own improvements.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Sherwood Anderson (19250523); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'God knows, people who are paid to have attitudes toward things, professional critics, make me sick; camp-following eunuchs of literature. They won\'t even whore. They\'re all virtuous and sterile. And how well meaning and high minded. But they\'re all camp-followers.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19250701); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I wonder what your idea of heaven would be — A beautiful vacuum filled with wealthy monogamists. All powerful and members of the best families all drinking themselves to death. And hell would probably an ugly vacuum full of poor polygamists unable to obtain booze or with chronic stomach disorders that they called secret sorrows.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Domenica del Corriere, 1973',
  quote: 'That Muretto di Alassio by Mario Berrino is a beautiful color film.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19250701); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'To me a heaven would be a big bull ring with me holding two barrera seats and a trout stream outside that no one else was allowed to fish in and two lovely houses in the town; one where I would have my wife and children and be monogamous and love them truly and well and the other where I would have my nine beautiful mistresses on 9 different floors and one house would be fitted up with special copies of the Dial printed on soft tissue and kept in the toilets on every floor and in the other house we would use the American Mercury and the New Republic.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19250701); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Write me at the Hotel Quintana, Pamplona, Spain. Or don\'t you like to write letters. I do because it\'s such a swell way to keep from working and yet feel you\'ve done something'
}, {
  figure: 'Ernest Hemingway',
  mark: 'About his book, The Sun Also Rises in a letter (19260821); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I\'ve tried to reduce profanity but I reduced so much profanity when writing the book that I\'m afraid not much could come out. Perhaps we will have to consider it simply as a profane book and hope that the next book will be less profane or perhaps more sacred.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"In Another Country" in Men Without Women (1927).',
  quote: 'In the fall the war was always there but we did not go to it any more.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"Che ti dice la Patria?" in Men Without Women (1927)',
  quote: '‘It’s his sense of self-preservation.’ ‘The great Italian sense.’ ‘The greatest Italian sense.’'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19270915); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Well, Fitz, I looked all through that bible, it was in very fine print and stumbling on that great book Ecclesiastics, read it aloud to all who would listen. Soon I was alone and began cursing the bloody bible because there were no titles in it — although I found the source of practically every good title you ever heard of. But the boys, principally Kipling, had been there before me and swiped all the good ones so I called the book Men Without Women hoping it would have a large sale among the fairies and old Vassar Girls.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19290904); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'The good parts of a book may be only something a writer is lucky enough to overhear or it may be the wreck of his whole damn life — and one is as good as the other.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19290913); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'That terrible mood of depression of whether it\'s any good or not is what is known as The Artist\'s Reward.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Hemingway\'s famous phrase in a letter to F. Scott Fitzgerald (19260420), published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker. In the letter, he wrote that he was "not referring to guts but to something else." The phrase was later used by Dorothy Parker in a profile of Hemingway, "The Artist\'s Reward," in the New Yorker (19291130)',
  quote: 'Grace under pressure'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Marlene Dietrich (19300701)',
  quote: 'I\'ve been in love (truly) with five women, the Spanish Republic and the 4th Infantry Division.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (5–19320106); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Eschew the monumental. Shun the Epic. All the guys who can paint great big pictures can paint great small ones.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Nick Adams of "Fathers and Sons" in Winner Take Nothing (1932)',
  quote: 'When you have shot one bird flying you have shot all birds flying. They are all different and they fly in different ways but the sensation is the same and the last one is as good as the first.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The old waiter of "A Clean, Well-Lighted Place" in Winner Take Nothing (1932)',
  quote: 'Our nada who art in nada, nada be thy name thy kingdom nada thy will be nada in nada as it is in nada. Give us this nada our daily nada and nada us our nada as we nada our nadas and nada us not into nada but deliver us from nada; pues nada. Hail nothing full of nothing, nothing is with thee.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F. Scott Fitzgerald (19340528); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'That is what we are supposed to do when we are at our best — make it all up — but make it up so truly that later it will happen that way.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Esquire editor Arnold Gingrich (19350411); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Here is the piece. If you can\'t say fornicate can you say copulate or if not that can you say co-habit? If not that would have to say consummate I suppose. Use your own good taste and judgment.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Postscript to letter to critic, poet and translator Ivan Kashkin (19350819); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Don\'t you drink? I notice you speak slightingly of the bottle. I have drunk since I was fifteen and few things have given me more pleasure. When you work hard all day with your head and know you must work again the next day what else can change your ideas and make them run on a different plane like whisky? When you are cold and wet what else can warm you? Before an attack who can say anything that gives you the momentary well-being that rum does?... The only time it isn\'t good for you is when you write or when you fight. You have to do that cold. But it always helps my shooting. Modern life, too, is often a mechanical oppression and liquor is the only mechanical relief.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19360112); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I\'ve seen a lot of patriots and they all died just like anybody else if it hurt bad enough and once they were dead their patriotism was only good for legends; it was bad for their prose and made them write bad poetry. If you are going to be a great patriot, i.\ne., loyal to any existing order of government (not one who wishes to destroy the existing for something better), you want to be killed early if your life and works won\'t stink.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"The Snows of Kilimanjaro," first published in Esquire (193608); later published in The Fifth Column and the First Forty-Nine Stories (1938)',
  quote: 'Kilimanjaro is a snow-covered mountain 19,\n710 feet high, and is said to be the highest mountain in Africa. Its western summit is called by the Masai "Ngàje Ngài," the House of God. Close to the western summit there is the dried and frozen carcass of a leopard. No one has explained what the leopard was seeking at that altitude.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"The Snows of Kilimanjaro," first published in Esquire (193608); later published in The Fifth Column and the First Forty-Nine Stories (1938)',
  quote: 'However you make your living is where your talent lies.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"The Snows of Kilimanjaro," first published in Esquire (193608); later published in The Fifth Column and the First Forty-Nine Stories (1938). Originally in Esquire "Julian" was named as F. Scott Fitzgerald, who, in "The Rich Boy" (1926) had written: "Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft where we are hard, and cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand..." Fitzgerald responded to this in a letter (193608) to Hemingway saying: "Riches have never fascinated me, unless combined with the greatest charm or distinction."',
  quote: 'The rich were dull and they drank too much or they played too much backgammon. They were dull and they were repetitious. He remembered poor Julian and his romantic awe of them and how he had started a story once that began, "The very rich are different from you and me." And how someone had said to Julian, "Yes, they have more money."'
}, {
  figure: 'Ernest Hemingway',
  mark: 'On Ezra Pound, as quoted in The New Republic (19361111)',
  quote: 'Ezra was right half the time, and when he was wrong, he was so wrong you were never in any doubt about it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to S. Kip Farrington Jr., Atlantic Game Fishing (1937)',
  quote: 'Anglers have a way of romanticizing their battles with fish and of forgetting that the fish has a hook in his mouth, his gullet, or his belly and that his gameness is really an extreme of panic in which he runs, leaps, and pulls to get away until he dies. It would seem to be enough advantage to the angler that the fish has the hook in his mouth rather than the angler.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Address, American Writers Congress, New York City (1937). Reprinted in New Masses (19370622)',
  quote: 'There is only one form of government that cannot produce good writers, and that system is Fascism. For Fascism is a lie told by bullies. A writer who will not lie cannot live or work under Fascism.\nBecause Fascism is a lie, it is condemned to literary sterility. And when it is past, it will have no history, except the bloody history of murder.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"On the American Dead in Spain", New Masses (19390214)',
  quote: 'For our dead are a part of the earth of Spain now and the earth of Spain can never die.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"On the American Dead in Spain", New Masses (19390214)',
  quote: 'As long as all our dead live in the Spanish earth, and they will live as long as the earth lives, no system of tyranny ever will prevail in Spain.'
}, {
  figure: 'Ernest Hemingway',
  mark: '"On the American Dead in Spain", New Masses (19390214)',
  quote: 'The dead do not need to rise. They are a part of the earth now and the earth can never be conquered. For the earth endureth forever...Those who have entered it honorably, and no man ever entered earth more honorably than those who died in Spain, already have achieved immortality.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Preface to The Great Crusade (1940) by Gustav Regler',
  quote: 'There are events which are so great that if a writer has participated in them his obligation is to write truly rather than assume the presumption of altering them with invention.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19400826); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I don\'t like to write like God. It is only because you never do it, though, that the critics think you can\'t do it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'In response to Communist writer Mike Gold\'s criticism of Hemingway\'s depiction of the Spanish Civil War in For Whom the Bell Tolls; as quoted in Carlos Baker, Ernest Hemingway: A Life, New York, Scribners, 1969, p459.',
  quote: 'Go tell Mike Gold, Ernest Hemingway says he should go fuck himself.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to Men at War (1942)',
  quote: 'Cowardice, as distinguished from panic, is almost always simply a lack of ability to suspend the functioning of the imagination.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to Men at War (1942)',
  quote: 'Once we have a war there is only one thing to do. It must be won. For defeat brings worse things than any that can ever happen in war.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Preface to The First Forty-Nine Stories (1944)',
  quote: 'In going where you have to go, and doing what you have to do, and seeing what you have to see, you dull and blunt the instrument you write with. But I would rather have it bent and dulled and know I had to put it on the grindstone again and hammer it into shape and put a whetstone to it, and know that I had something to write about, than to have it bright and shining and nothing to say, or smooth and well oiled in the closet, but unused.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19450409); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'All my life I\'ve looked at words as though I were seeing them for the first time.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19450723); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'It wasn\'t by accident that the Gettysburg address was so short. The laws of prose writing are as immutable as those of flight, of mathematics, of physics.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Malcolm Cowley (19451017); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'You see it\'s awfully hard to talk or write about your own stuff because if it is any good you yourself know about how good it is — but if you say so yourself you feel like a shit.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Malcolm Cowley (19451114); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Do you remember how old Ford was always writing how Conrad suffered so when he wrote? How it was un metier de chien etc. Do you suffer when you write? I don\'t at all. Suffer like a bastard when don\'t write, or just before, and feel empty and fucked out afterwards. But never feel as good as while writing.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in Paris Was Our Mistress (1947) by Samuel Putnam, p128',
  quote: 'Easy writing makes hard reading.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in "Portrait of Mr. Papa" by Malcolm Cowley in LIFE magazine (19490110)',
  quote: 'It\'s enough for you to do it once for a few men to remember you. But if you do it year after year, then many people remember you and they tell it to their children, and their children and grandchildren remember and, if it concerns books, they can read them. And if it\'s good enough, it will last as long as there are human beings.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Arthur Mizener (19500512); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Scott took LITERATURE so solemnly. He never understood that it was just writing as well as you can and finishing what you start.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Source: quoted in Lillian Ross\'s profile of Hemingway, which first appeared in the The New Yorker (19500513). The profile was later published as a short book titled Portrait of Hemingway (1961). Variant:  I started out very quiet and I beat Turgenev. Then I trained hard and I beat de Maupassant. I\'ve fought two draws with Stendhal, and I think I had an edge in the last one. But nobody\'s going to get me in any ring with Tolstoy unless I\'m crazy or I keep getting better.',
  quote: 'I started out very quiet and I beat Mr. Turgenev. Then I trained hard and I beat Mr. de Maupassant. I’ve fought two draws with Mr. Stendhal, and I think I had an edge in the last one. But nobody’s going to get me in any ring with Mr. Tolstoy unless I’m crazy or I keep getting better.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Marlene Dietrich (19500627)',
  quote: 'Wars are Spinach. Life in general is the tough part. In war all you have to do is not worry and know how to read a map and co-ordinates.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19500709); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Writing and travel broaden your ass if not your mind and I like to write standing up.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19520221); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I am opposed to writing about the private lives of living authors and psychoanalyzing them while they are alive. Criticism is getting all mixed up with a combination of the Junior F.\nB.\nI.-men, discards from Freud and Jung and a sort of Columnist peep-hole and missing laundry list school.... Every young English professor sees gold in them dirty sheets now. Imagine what they can do with the soiled sheets of four legal beds by the same writer and you can see why their tongues are slavering.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19520221); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I still need more healthy rest in order to work at my best. My health is the main capital I have and I want to administer it intelligently.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19520621); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'You know lots of criticism is written by characters who are very academic and think it is a sign you are worthless if you make jokes or kid or even clown. I wouldn\'t kid Our Lord if he was on the cross. But I would attempt a joke with him if I ran into him chasing the money changers out of the temple.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Bernard Berenson (19520913); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Then there is the other secret. There isn\'t any symbolysm [sic]. The sea is the sea. The old man is an old man. The boy is a boy and the fish is a fish. The shark are all sharks no better and no worse. All the symbolism that people say is shit. What goes beyond is what you see beyond when you know.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Bernard Berenson (19521002); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Having books published is very destructive to writing. It is even worse than making love too much. Because when you make love too much at least you get a damned clarte that is like no other light. A very clear and hollow light.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19530320); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'Actually if a writer needs a dictionary he should not write. He should have read the dictionary at least three times from beginning to end and then have loaned it to someone who needs it. There are only certain words which are valid and similies (bring me my dictionary) are like defective ammunition (the lowest thing I can think of at this time).'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to Bernard Berenson (19540924); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'You know that fiction, prose rather, is possibly the roughest trade of all in writing. You do not have the reference, the old important reference. You have the sheet of blank paper, the pencil, and the obligation to invent truer than things can be true. You have to take what is not palpable and make it completely palpable and also have it seem normal and so that it can become a part of experience of the person who reads it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in The New York Times Book Review (19541107)',
  quote: 'As a Nobel Prize winner I cannot but regret that the award was never given to Mark Twain, nor to Henry James, speaking only of my own countrymen. Greater writers than these also did not receive the prize. I would have been happy — happier — today if the prize had been given to that beautiful writer Isak Dinesen.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter (19560703); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker',
  quote: 'I wish I could write well enough to write about aircraft. Faulkner did it very well in Pylon but you cannot do something someone else has done though you might have done it if they hadn\'t.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in The New York Post (19570124)',
  quote: 'Pound\'s crazy. All poets are.... They have to be. You don\'t put a poet like Pound in the loony bin. For history\'s sake we shouldn\'t keep him there.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'White, William, ed (1967). By-Line, Ernest Hemingway: Selected Articles and Dispatches of Four Decades by Ernest Hemingway. New York: Charles Scribner\'s Sons. p364.',
  quote: 'It is by riding a bicycle that you learn the contours of a country best, since you have to sweat up the hills and can coast down them. … Thus you remember them as they actually are, while in a motorcar only a high hill impresses you, and you have no such accurate remembrance of country you have driven through as you gain by riding a bicycle.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'New York Journal-American (19610711)',
  quote: 'We are all apprentices in a craft where no one ever becomes a master.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Letter to F Scott Fitzgerald, as quoted in Scott Fitzgerald (1962) by Andrew Turnbull (1962) Ch14',
  quote: 'Forget your personal tragedy. We are all bitched from the start and you especially have to be hurt like hell before you can write seriously. But when you get the damned hurt use it — don\'t cheat with it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in That Summer in Paris (1963) by Morley Callaghan',
  quote: 'If you have a success, you have it for the wrong reasons. If you become popular it is always because of the worst aspects of your work.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in Reporting (1964) by Lillian Ross',
  quote: 'I learned never to empty the well of my writing, but always to stop when there was still something there in the deep part of the well, and let it refill at night from the springs that fed it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'As quoted in Charmed Circle: Gertrude Stein & Co. (1974) by James Mellow',
  quote: 'When I have an idea, I turn down the flame, as if it were a little alcohol stove, as low as it will go. Then it explodes and that is my idea.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Speaking to his son Gregory, as quoted in Papa, a Personal Memoir (1976) Gregory H. Hemingway',
  quote: 'You make your own luck, Gig. You know what makes a good loser? Practice.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'On the loss of a suitcase containing work from his first two years as a writer, as quoted in With Hemingway  (1984) by Arnold Samuelson',
  quote: 'It\'s none of their business that you have to learn how to write. Let them think you were born that way.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Statement to his future wife Mary Welsh, recalled in her obituaries (19861126)',
  quote: 'You\'re beautiful, like a May fly.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'From a set of "rules for life" sent to publisher Charles Scribner IV; quoted in Scribner\'s memoir In the Company of Writers (New York: Scribner, 1991), p64',
  quote: 'Always do sober what you said you\'d do drunk. That will teach you to keep your mouth shut!'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Torrents of Spring (1926). P1Ch1. (the opening lines of the novel)',
  quote: 'Yogi Johnson stood looking out of the window of a big pump-factory in Michigan. Spring would soon be here. Could it be that what this writing fellow Hutchinson had said, \'If winter comes, can spring be far behind?\' would be true again this year? Yogi Johnson wondered.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Torrents of Spring (1926). P2Ch5',
  quote: 'It is very hard to write this way, beginning things backward, and the author hopes the reader will realize this and not grudge this little word of explanation. I know I would be very glad to read anything the reader ever wrote, and I hope the reader will make the same sort of allowances. If any of the readers would care to send me anything they ever wrote, for criticism or advice, I am always at the Café du Dôme any afternoon, talking about Art with Harold Stearns and Sinclair Lewis, and the reader can bring his stuff along with him, or he can send it to me care of my bank, if I have a bank.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Torrents of Spring (1926). P3Ch2',
  quote: 'Red Dog smiled. \'I would like you to meet my friends Mr Sitting Bull, Mr Poisoned Buffalo, and Chief Running Skunk-Backwards.\'\'Sitting Bull\'s a name I know,\' Yogi remarked, shaking hands.\'Oh, I\'m not one of those Sitting Bulls,\' Mr Sitting Bull said.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Robert Cohn to Jake Barnes, in Book 1, Ch2',
  quote: 'Listen Jake... don\'t you ever get the feeling that all your life is going by and you are not taking advantage of it?'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926)',
  quote: 'A bottle of wine was good company.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926)',
  quote: 'All right. Have it your own way. Road to hell paved with unbought stuffed dogs. Not my fault.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Count Mippipopolous, in Book 1, Ch7',
  quote: 'This wine is too good for toast-drinking, my dear. You don\'t want to mix emotions up with a wine like that. You lose the taste.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Bill Gorton to Jake Barnes, in Book 2, Ch12',
  quote: 'You\'re an expatriate. You\'ve lost touch with the soil. You get precious. Fake European standards have ruined you. You drink yourself to death. You become obsessed by sex. You spend all your time talking, not working. You are an expatriate, see? You hang around cafés.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Book 2, Ch13',
  quote: 'How did you go bankrupt?\' Bill asked.\'Two ways,\' Mike said. \'Gradually and then suddenly.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Lady Brett Ashley to Jake Barnes, in Book 3, Ch19',
  quote: 'You know it makes one feel rather good deciding not to be a bitch.\'\'Yes.\'\'It’s sort of what we have instead of God.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Sun Also Rises (1926). Book 3, Ch19. (the last lines of the novel)',
  quote: 'Oh, Jake,\' Brett said, \'we could have had such a damned good time together.\'Ahead was a mounted policeman in khaki directing traffic. He raised his baton. The car slowed suddenly pressing Brett against me.\'Yes,\' I said. \'Isn’t it pretty to think so?'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Men Without Women (short story collection) (1927). Ten Indians',
  quote: 'In the morning there was a big wind blowing and the waves were running high up on the beach and he was awake a long time before he remembered that his heart was broken.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch2',
  quote: 'All thinking men are atheists.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch15',
  quote: 'I have noticed that doctors who fail in the practice of medicine have a tendency to seek one another\'s company and aid in consultation. A doctor who cannot take out your appendix properly will recommend you to a doctor who will be unable to remove your tonsils with success.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Catherine, in Ch18',
  quote: 'You\'re my religion. You\'re all I\'ve got.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch21',
  quote: 'Life isn\'t hard to manage when you\'ve nothing to lose.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch27',
  quote: 'I was always embarrassed by the words sacred, glorious and sacrifice and the expression in vain. We had heard them, sometimes standing in the rain almost out of earshot, so that only the shouted words came through, and had read them, on proclamations that were slapped up by billposters over other proclamations, now for a long time, and I had seen nothing sacred, and the things that were glorious had no glory and the sacrifices were like the stockyards at Chicago if nothing was done with the meat except to bury it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch34',
  quote: 'The world breaks everyone and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Ch35',
  quote: 'No, that is the great fallacy: the wisdom of old men. They do not grow wise. They grow careful.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). Catherine and Henry discussing whether he should grow a beard, in Ch38',
  quote: 'Darling, would you like to grow a beard?\'\'Would you like me to?\'\'It might be fun. I\'d like to see you with a beard.\'\'All right. I\'ll grow one. I\'ll start now this minute. It\'s a good idea. It will give me something to do.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Farewell to Arms (1929). One of the alternative endings to the novel, published in A Farewell to Arms The Special Edition.',
  quote: 'That is all there is to the story. Catherine died and you will die and I will die and that is all I can promise you.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch1',
  quote: 'About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch7',
  quote: 'All our words from loose using have lost their edge.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch7',
  quote: 'Decadence is a difficult word to use since it has become little more than a term of abuse applied by critics to anything they do not yet understand or which seems to differ from their moral concepts.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch9',
  quote: 'Bullfighting is the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter\'s honor.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch9',
  quote: 'Honor to a Spaniard, no matter how dishonest, is as real a thing as water, wine, or olive oil. There is honor among pickpockets and honor among whores. It is simply that the standards differ.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch10',
  quote: 'The individual, the great artist when he comes, uses everything that has been discovered or known about his art up to that point, being able to accept or reject in a time so short it seems that the knowledge was born with him, rather than that he takes instantly what it takes the ordinary man a lifetime to know, and then the great artist goes beyond what has been done or known and makes something of his own.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch11',
  quote: 'There is no lonelier man in death, except the suicide, than that man who has lived many years with a good wife and then outlived her. If two people love each other there can be no happy end to it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch11',
  quote: 'Madame, it is an old word and each one takes it new and wears it out himself. It is a word that fills with meaning as a bladder with air and the meaning goes out of it as quickly. It may be punctured as a bladder is punctured and patched and blown up again and if you have not had it it does not exist for you. All people talk of it, but those who have had it are marked by it, and I would not wish to speak of it further since of all things it is the most ridiculous to talk of and only fools go through it many times.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch11',
  quote: 'Madame, all stories, if continued far enough, end in death, and he is no true-story teller who would keep that from you.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'Prose is architecture, not interior decoration, and the Baroque is over.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'If a writer of prose knows enough about what he is writing about he  may omit things that he knows, and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things only because he does not know them only makes hollow places in his writing.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'A serious writer is not to be confused with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'When writing a novel a writer should create living people; people not characters. A character is a caricature.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Death in the Afternoon (1932). Ch16',
  quote: 'There are some things which cannot be learned quickly, and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man\'s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'All good books are alike in that they are truer than if they had really happened and after you are finished reading one you will feel that all that happened to you and afterwards it all belongs to you; the good and the bad, the ecstasy, the remorse, and sorrow, the people and the places and how the weather was. If you can get so that you can give that to people, then you are a writer.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'The hardest thing to do is to write straight honest prose on human beings. First you have to know the subject; then you have to know how to write. Both take a lifetime to learn, and anybody is cheating who takes politics as a way out. All the outs are too easy, and the thing itself is too hard to do.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'Now a writer can make himself a nice career while he is alive by espousing a political cause, working for it, making a profession of believing in it, and if it wins he will be very well placed. All politics is a matter of working hard without reward, or with a living wage for a time, in the hope of booty later. A man can be a Fascist or a Communist and if his outfit gets in he can get to be an ambassador or have a million copies of his books printed by the Government or any of the other rewards the boys dream about.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'Personal columnists … are jackals and no jackal has been known to live on grass once he had learned about meat — no matter who killed the meat for him.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'If the book is good, is about something that you know, and is truly written, and reading it over you see that this is so, you can let the boys yip and the noise will have that pleasant sound coyotes make on a very cold night when they are out in the snow and you are in your own cabin that you have built or paid for with your work.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Letter from Cuba (1934)',
  quote: 'All the critics who could not make their reputations by discovering you are hoping to make them by predicting hopefully your approaching impotence, failure and general drying up of natural juices. Not a one will wish you luck or hope that you will keep on writing unless you have political affiliations in which case these will rally around and speak of you and Homer, Balzac, Zola and Link Steffens.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935)',
  quote: 'War is no longer made by simply analysed economic forces if it ever was. War is made or planned now by individual men, demagogues and dictators who play on the patriotism of their people to mislead them into a belief in the great fallacy of war when all their vaunted reforms have failed to satisfy the people they misrule.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935)',
  quote: 'We in America should see that no man is ever given, no matter how gradually or how noble and excellent the man, the power to put this country into a war which is now being prepared and brought closer each day with all the pre-meditation of a long planned murder. For when you give power to an executive you do not know who will be filling that position when the time of crisis comes.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935). Dulce et decorum est pro patria mori. Sweet and glorious it is to die for our country. ~ Horace in Odes, Book 3, Ode 2, L13. as translated in The Works of Horace by J. C. Elgood',
  quote: 'They wrote in the old days that it is sweet and fitting to die for ones country. But in modern war there is nothing sweet nor fitting in your dying. You will die like a dog for no good reason.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935)',
  quote: 'Hit in the head you will die quickly and cleanly even sweetly and fittingly except for the white blinding flash that never stops, unless perhaps it is only the frontal bone or your optic nerve that is smashed, or your jaw carried away, or your nose and cheek bones gone so you can still think but you have no face to talk with. But if you are not hit in the head you will be hit in the chest, and choke in it, or in the lower belly, and feel it all slip and slide loosely as you open, to spill out when you try to get up, it\'s not supposed to be so painful but they always scream with it, it\'s the idea I suppose, or have the flash, the slamming clang of high explosive on a hard road and find your legs are gone above the knee, or maybe just a foot gone and watch the white bone sticking through your puttee, or watch them take a boot off with your foot a mush inside it, or feel an arm flop and learn how a bone feels grating, or you will burn, choke and vomit, or be blown to hell a dozen ways, without sweetness or fittingness: but none of this means anything. No catalogue of horrors ever kept men from war. Before the war you always think that it\'s not you that dies. But you will die, brother, if you go to it long enough.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Notes on the Next War (1935)',
  quote: 'The first panacea for a mismanaged nation is inflation of the currency; the second is war. Both bring a temporary prosperity; both bring a permanent ruin. But both are the refuge of political and economic opportunists.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P1Ch1',
  quote: 'All modern American literature comes from one book by Mark Twain called Huckleberry Finn. […] it\'s the best book we\'ve had. All American writing comes from that. There was nothing before. There has been nothing as good since.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P1Ch1',
  quote: 'I have a good life but I must write because if I do not write a certain amount I do not enjoy the rest of my life.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P2Ch2',
  quote: 'Dostoevsky was made by being sent to Siberia. Writers are forged in injustice as a sword is forged.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P2Ch2',
  quote: 'The best sky was in Italy and Spain and northern Michigan in the fall and in the fall in the Gulf off Cuba.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P3Ch1',
  quote: '[T]he rain was making the finest sound that we, who live much outside of houses, ever hear.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Green Hills of Africa (1935). P4Ch1',
  quote: 'They [the best of the Masai] had that attitude that makes brothers, that unexpressed but instant and complete acceptance that you must be Masai wherever it is you come from. That attitude you only get from the best of the English, the best of the Hungarians and the very best Spaniards; the thing that used to be the most clear distinction of nobility when there was nobility. It is an ignorant attitude and the people who have it do not survive, but very few pleasanter things ever happen to you than the encountering of it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'To Have and Have Not (1937). Helen Gordon to her husband Richard Gordon in Ch21',
  quote: 'I was so sentimental about you I\'d break any one\'s heart for you. My, I was a damned fool. I broke my own heart, too. It\'s broken and gone. Everything I believe in and everything I cared about I left for you because you were so wonderful and you loved me so much that love was all that mattered. Love was the greatest thing, wasn\'t it? Love was what we had that no one else had or could ever have? And you were a genius and I was your whole life. I was your partner and your little black flower. Slop. Love is just another dirty lie. Love is ergoapiol pills to make me come around because you were afraid to have a baby. Love is that quinine and quinine and quinine until I\'m deaf with it. Love is that dirty aborting horror that you took me to. Love is my insides all messed up. Its half atheters and half whirling douches. I know about love. Love always hangs up behind the bathroom door. It smells like Lysol. To hell with love. Love is you making me happy and then going off to sleep with your mouth open while I lie awake all night afraid to say my prayers even because I know I have no right to any more. Love is all the dirty little tricks you taught me that you probably got out of some book. All right. I\'m through with you and I\'m through with love. Your kind of picknose love.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'To Have and Have Not (1937). Ch24',
  quote: 'At pier four there is a 34-foot yawl-rigged yacht with two of the three hundred and twenty-four Esthonians who are sailing around in different parts of the world, in boats between 28 and 36 feet long and sending back articles to the Esthonian newspapers. These articles are very popular in Esthonia and bring their authors between a dollar and a dollar and thirty cents a column. They take the place occupied by the baseball or football news in American newspapers and are run under the heading of Sagas of Our Intrepid Voyagers. No well-run yacht basin in Southern waters is complete without at least two sun-burned, salt bleached-headed Esthonians who are waiting for a check from their last article. When it comes they will set sail to another yacht basin and write another saga. They are very happy too. Almost as happy as the people on the Alzira III. It\'s great to be an Intrepid Voyager.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940). Ch13',
  quote: 'I am no romantic glorifier of the Spanish woman, nor did I ever think of a casual piece as anything much other than a casual piece in any country. But when I am with Maria I love her so that I feel, literally, as though I would die and I never believed in that or thought that it could happen.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940). Ch13',
  quote: 'What a business. You go along your whole life and they seem as though they mean something and they always end up not meaning anything. There was never any of what this is. You think that is one thing you will never have. And then, on a lousy show like this, co-ordinating two chicken-crut guerilla bands to help you blow a bridge under impossible conditions, to abort a counter-offensive that will probably already be started, you run into a girl like this Maria.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940). Ch16',
  quote: '\'But are there not many Fascists in your country?\'  \'There are many who do not know they are Fascists, but will find it out when the time comes\'.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940). Ch30',
  quote: 'He was just a coward and that was the worst luck any man could have.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940). Ch43',
  quote: 'If we win here we will win everywhere. The world is a fine place and worth the fighting for and I hate very much to leave it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940). Ch43',
  quote: 'There\'s no one thing that\'s true. It\'s all true.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940). Ch13',
  quote: 'For him it was a dark passage which led to nowhere, then to nowhere, then again to nowhere, once again to nowhere, always and forever to nowhere, heavy on the elbows in the earth to nowhere, dark, never any end to nowhere, hung on all time always to unknowing nowhere, this time and again for always to nowhere, now not to be borne once again always and to nowhere, now beyond all bearing up, up, up and into nowhere, suddenly, scaldingly, holdingly all nowhere gone and time absolutely still and they were both there, time having stopped and he felt the earth move out and away from under them.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940)',
  quote: 'If every one said orders were impossible to carry out when they were received where would you be? Where would we all be if you just said, "Impossible," when orders came?'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940)',
  quote: 'Today is only one day in all the days that will ever be. But what will happen in all the other days that ever come can depend on what you do today. It\'s been that way all this year. It\'s been that way so many times. All of war is that way.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'For Whom the Bell Tolls (1940)',
  quote: 'That tomorrow should come and that I should be there.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to Treasury of the Free World (1946)',
  quote: 'We have come out of the time when obedience, the acceptance of discipline, intelligent courage and resolution were most important, into that more difficult time when it is a man\'s duty to understand his world rather than simply fight for it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to Treasury of the Free World (1946)',
  quote: 'It would be easy for us, if we do not learn to understand the world and appreciate the rights, privileges and duties of al other countries and peoples, to represent in our power the same danger to the world that Fascism did.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to Treasury of the Free World (1946)',
  quote: 'No weapon has ever settled a moral problem. It can impose a solution but it cannot guarantee it to be a just one. You can wipe out your opponents. But if you do it unjustly you become eligible for being wiped out yourself.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to Treasury of the Free World (1946)',
  quote: 'An aggressive war is the great crime against everything good in the world. A defensive war, which must necessarily turn to aggressive at the earliest moment, is the necessary great counter-crime. But never think that war, no matter how necessary, nor how justified, is not a crime. Ask the infantry and ask the dead.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Intro to Treasury of the Free World (1946)',
  quote: 'We have fought this war and won it. Now let us not be sanctimonious; nor hypocritical; nor vengeful; nor stupid. Let us make our enemies incapable of ever making war again, let us re-educate them, let us learn to live in peace and justice with all countries and all peoples in this world. To do this we must educate and re-educate. But first we must educate ourselves.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Across the River and into the Trees (1950). Ch1. (the opening paragraph of the novel)',
  quote: 'They started two hours before daylight, and at first, it was not necessary to break the ice across the canal as other boats had gone on ahead. In each boat, in the darkness, so you could not see, but only hear him, the poler stood in the stern, with his long oar. The shooter sat on a shooting stool fastened to the top of a box that contained his lunch and shells, and the shooter\'s two, or more, guns were propped against the load of wooden decoys. Somewhere, in each boat, there was a sack with one or two live mallard hens, or a hen and a drake, and in each boat there was a dog who shifted and shivered uneasily at the sound of the wings of the ducks that passed overhead in the darkness.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Across the River and into the Trees (1950). Renata and Colonel Richard Cantwell in Ch12',
  quote: 'Tell me some true things about fighting.\'\'Tell me you love me.\'\'I love you,\' the girl said. \'You can publish it in the Gazzettino if you like. I love your hard, flat body and your strange eyes that frighten me when they become wicked. I love your hand and all your other wounded places.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Across the River and into the Trees (1950). Colonel Richard Cantwell and Renata in Ch38',
  quote: 'What happens to people that love each other?\'\'I suppose they have whatever they have and they are more fortunate than others. Then one of them gets the emptiness for ever.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: '“Age is my alarm clock,” the old man said. “Why do old men wake so early? Is it to have one longer day?” “I don’t know,” the boy said. “All I know is that young boys sleep late and hard.”'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: 'Every day above earth is a good day.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: 'He always thought of the sea as la mar, which is what people call her in spanish when they love her.  Sometimes those who love her say bad things of her, but they are always said as though she were a woman.  Some of the younger fisherman, those who used buoys as floats for their lines or had motorboats bought when the shark lovers had much money, spoke of her as el mar, which is masculine, they spoke of her as a contestant or a place or even an enemy. But the old man always thought of her as feminine, as something that gave or withheld great favors.  If she did wild or wicked things, it is because she could not help them.  The moon affects her as it does a woman, he thought.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: 'Let him think I am more man than I am and I will be so.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: 'Keep your head clear and know how to suffer like a man. Or a fish, he thought.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: 'But man is not made for defeat,\' he said. \'A man can be destroyed but not defeated.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: '\'Ay,\' he said aloud. There is no translation for this word and perhaps it is just a noise such as a man might make, involuntarily, feeling the nail go through his hands and into the wood.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: 'Now is no time to think of what you do not have. Think of what you can do with what there is.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: 'Every day is a new day. It is better to be lucky. But I would rather be exact. Then when luck comes you are ready.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Old Man and the Sea (1952)',
  quote: 'You did not do so badly for something that is worthless. But there was a time when I could not find you.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Nobel Prize Speech (1954)',
  quote: 'No writer who knows the great writers who did not receive the Prize can accept it other than with humility. There is no need to list these writers. Everyone here may make his own list according to his knowledge and his conscience.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Nobel Prize Speech (1954)',
  quote: 'Things may not be immediately discernible in what a man writes, and in this sometimes he is fortunate; but eventually they are quite clear and by these and the degree of alchemy that he possesses he will endure or be forgotten. Writing, at its best, is a lonely life. Organizations for writers palliate the writer\'s loneliness but I doubt if they improve his writing. He grows in public stature as he sheds his loneliness and often his work deteriorates. For he does his work alone and if he is a good enough writer he must face eternity, or the lack of it, each day. For a true writer each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Nobel Prize Speech (1954)',
  quote: 'How simple the writing of literature would be if it were only necessary to write in another way what has been well written. It is because we have had such great writers in the past that a writer is driven far out past where he can go, out to where no one can help him.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Nobel Prize Speech (1954)',
  quote: 'A writer should write what he has to say and not speak it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Paris Review interview (1958)',
  quote: 'You can write any time people will leave you alone and not interrupt you. Or rather you can if you will be ruthless enough about it. But the best writing is certainly when you are in love.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Paris Review interview (1958)',
  quote: 'Once writing has become your major vice and greatest pleasure only death can stop it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Paris Review interview (1958)',
  quote: 'I might say that what amateurs call a style is usually only the unavoidable awkwardnesses in first trying to make something that has not heretofore been made.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Paris Review interview (1958)',
  quote: 'From things that have happened and from things as they exist and from all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive, and you make it alive, and if you make it well enough, you give it immortality. That is why you write and for no other reason that you know of. But what about all the reasons that no one knows?'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Paris Review interview (1958)',
  quote: 'The most essential gift for a good writer is a built-in, shock-proof, shit detector. This is the writer\'s radar and all great writers have had it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Paris Review interview (1958)',
  quote: 'Survival, with honor, that outmoded and all-important word, is as difficult as ever and as all-important to a writer. Those who do not last are always more beloved since no one has to see them in their long, dull, unrelenting, no-quarter-given-and-no-quarter-received, fights that they make to do something as they believe it should be done before they die. Those who die or quit early and easy and with every good reason are preferred because they are understandable and human. Failure and well-disguised cowardice are more human and more beloved.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Paris Review interview (1958)',
  quote: 'All you can be sure about in a political-minded writer is that if his work should last you will have to skip the politics when you read it. Many of the so-called politically enlisted writers change their politics frequently... Perhaps it can be respected as a form of the pursuit of happiness.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Epigraph',
  quote: 'If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Ch1',
  quote: 'As I ate the oysters with their strong taste of the sea and their faint metallic taste that the cold white wine washed away, leaving only the sea taste and the succulent texture, and as I drank their cold liquid from each shell and washed it down with the crisp taste of the wine, I lost the empty feeling and began to be happy and to make plans.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Ch2',
  quote: 'I would stand and look out over the roofs of Paris and think, "Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence you know."'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Ch5',
  quote: 'The only thing that could spoil a day was people.... People were always the limiters of happiness except for the very few that were as good as spring itself.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Ch8. \'Hunger Was Good Discipline\'',
  quote: 'You got very hungry when you did not eat enough in Paris because all the bakery shops had such good things in windows and people ate outside at tables on the sidewalk so that you saw and smelled the food. When you were skipping meals at a time when you had given up journalism and were writing nothing that anyone in America would buy, explaining at home that you were lunching out with someone, the best place to do it was the Luxembourg gardens... There you could always go into the Luxembourg museum and all the paintings were heightened and clearer and more beautiful if you were belly-empty, hollow-hungry. I learned to understand Cézanne much better and to see truly how he made landscapes when I was hungry.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Ch8',
  quote: 'Then I started to think in Lipp\'s about when I had first been able to write a story about losing everything. It was up in Cortina d\'Ampezzo when I had come back to join Hadley there after the spring skiing which I had to interrupt to go on assignment to Rhineland and the Ruhr. It was a very simple story called "Out of Season" and I had omitted the real end of it which was that the old man hanged himself. This was omitted on my new theory that you could omit anything if you knew that you omitted and the omitted part would strengthen the story and make people feel something more than they understood.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Ch11',
  quote: 'They say the seeds of what we will do are in all of us, but it always seemed to me that in those who make jokes in life the seeds are covered with better soil and with a higher grade of manure.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Ch12',
  quote: 'Some people show evil as a great racehorse shows breeding. They have the dignity of a hard chancre.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Ch12',
  quote: 'I do not think I had ever seen a nastier-looking man.... Under the black hat, when I had first seen them, the eyes had been those of an unsuccessful rapist.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). Ch17. ; Variant: All things truly wicked start from innocence.\nAs quoted by R Z Sheppard in review of The Garden of Eden (1986) TIME (19860526)',
  quote: 'All things truly wicked start from an innocence.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'A Moveable Feast (1964). An assessment of F. Scott Fitzgerald, Ch17',
  quote: 'His talent was as natural as the pattern that was made by the dust on a butterfly\'s wings. At one time he understood it no more than the butterfly did and he did not know when it was brushed or marred. Later he became conscious of his damaged wings and of their construction and he learned to think and could not fly any more because the love of flight was gone and he could only remember when it had been effortless.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966)',
  quote: 'One battle doesn\'t make a campaign but critics treat one book, good or bad, like a whole goddamn war.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Ernest\'s own account of how he once chased away a black bear that had been blocking a road. Pt. 1, Ch1',
  quote: 'Why, you sad son-of-a-bitch, how can you be so cocky and stand there and block cars when you\'re nothing but a miserable bear and a black bear at that - not even a polar or a grizzly or anything worth while.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). As quoted by Marlene Dietrich, who added "In those five words he gave me a whole philosophy." Pt. 1, Ch1',
  quote: 'Never confuse movement with action.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 1, Ch3',
  quote: 'Hesitation increases in relation to risk in equal proportion to age.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). On being informed that Faulkner had said that Hemingway "had never been known to use a word that might send the reader to the dictionary." Pt. 1, Ch4',
  quote: 'Poor Faulkner. Does he really think big emotions come from big words? He thinks I don\'t know the ten-dollar words. I know them all right. But there are older and simpler and better words, and those are the ones I use.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 1, Ch4',
  quote: 'The parody is the last refuge of the frustrated writer. Parodies are what you write when you are associate editor of the Harvard Lampoon. The greater the work of literature, the easier the parody. The step up from writing parodies is writing on the wall above the urinal.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 2, Ch5',
  quote: 'Only one marriage I regret. I remember after I got that marriage license I went across from the license bureau to a bar for a drink. The bartender said, "What will you have, sir?" And I said, "A glass of hemlock."'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 2, Ch5',
  quote: 'Only three things in my life I\'ve really liked to do - hunt, write and make love.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 2, Ch5',
  quote: 'You can have true affection for only a few things in your life, and by getting rid of material things, I make sure I won\'t waste mine on something that can\'t feel my affection.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 2, Ch5',
  quote: 'To be a successful father … there\'s one absolute rule: when you have a kid, don\'t look at it for the first two years.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 2, Ch6',
  quote: 'The way to learn whether a person is trustworthy is to trust him.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 2, Ch7. - Similar to his remark in "A Letter from Cuba" (1934)',
  quote: 'All good books have one thing in common — they are truer than if they had really happened.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 2, Ch7',
  quote: 'Fear of death increases in exact proportion to increase in wealth: Hemingstein\'s Law on the Dynamics of Dying.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 2, Ch7',
  quote: 'But don\'t try to find an untroublesome woman. She will dull out on you. What makes a woman good in bed makes it impossible for her to live alone.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). On his short story A Clean, Well-Lighted Place. Pt. 2, Ch9',
  quote: 'But that story has in it the only constructive thing I ever learned about women - that no matter what happened to them and how they turned, you should try to disregard all that and remember them only as they were on the best day they ever had.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 3, Ch.\n12',
  quote: 'The worst death for anyone is to lose the center of his being, the thing he really is. Retirement is the filthiest word in the language. Whether by choice or by fate, to retire from what you do - and makes you what you are - is to back up into the grave.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Statement after seeing David O. Selznick\'s remake of A Farewell to Arms (1957).',
  quote: 'You write a book like that that you\'re fond of over the years, then you see that happen to it, it\'s like pissing in your father\'s beer.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Papa Hemingway (1966). Pt. 4, Ch14. after receiving electric shock therapy for depression',
  quote: 'What is the sense of ruining my head and erasing my memory, which is my capital, and putting me out of business? It was a brilliant cure but we lost the patient. It\'s a bum turn, Hotch, terrible.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 1: Bimini, Section 1 (the opening two paragraphs of the novel)',
  quote: 'The house was built on the highest part of the narrow tongue of land between the harbor and the open sea. It had lasted through three hurricanes and it was built solid as a ship. It was shaded by tall coconut palms that were bent by the trade wind and on the ocean side you could walk out of the door and down the bluff across the white sand and into the Gulf Stream. The water of the Stream was usually a dark blue when you looked out at it when there was no wind. But when you walked out into it there was just the green light of the water over that floury white sand and you could see the shadow of any big fish a long time before he could ever come in close to the beach.\nIt was a safe and fine place to bathe in the day but it was no place to swim at night. At night the sharks came in close to the beach, hunting at the edge of the Stream, and from the upper porch of the house on quiet nights you could hear the splashing of the fish they hunted and if you went down to the beach you could see the phosphorescent wakes they made in the water. At night the sharks had no fear and everything else feared them. But in the day they stayed out away from the clear white sand and if they did come in you could see their shadows a long way away.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 1: Bimini, Section 4',
  quote: 'Being against evil doesn\'t make you good. Tonight I was against it and then I was evil myself.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 1: Bimini, Section 8',
  quote: 'Happiness is often presented as being very dull but, he thought, lying awake, that is because dull people are sometimes very happy and intelligent people can and do go around making themselves and everyone else miserable.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 1: Bimini, Section 10',
  quote: 'You\'re going to write straight and simple and good now. That\'s the start.\'\'What if I\'m not straight and simple and good? Do you think I can write that way?\'\'Write how you are but make it straight.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 1: Bimini, Section 14. Thomas Hudson has just learnt that his sons David (\'Davy\') and Andrew and their mother were killed in a motor accident.',
  quote: 'Shit,\' said Eddie. \'What the fuck they kill that Davy for?\'\'Let\'s leave it alone, Eddy,\' Thomas Hudson said. \'It\'s way past things we know about.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 2: Cuba (a few paragraphs from the end). The \'boy\' is Thomas Hudson\'s last surviving son, Tom, a fighter pilot who was killed in action.',
  quote: 'Get it straight. Your boy you lose. Love you lose. Honor has been gone for a long time. Duty you do.\nSure and what\'s your duty? What I said I\'d do. And all the other things you said you\'d do?'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 3: At Sea, Section 6',
  quote: 'All a man has is pride. Sometimes you have it so much it is a sin. We have all done things for pride that we knew were impossible. We didn\'t care. But a man must implement his pride with intelligence and care.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 3: At Sea, Section 15',
  quote: 'Well, I know what I have to do, so it is simple. Duty is a wonderful thing. I do not know what I should have done without duty since young Tom died. You could have painted, he told himself. Or you could have done something useful. Maybe, he thought. Duty is simpler.\nThis is useful, he thought. Do not think against it. It helps to get it over with. That\'s all we are working for. Christ knows what there is beyond that.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 3: At Sea, Section 17',
  quote: 'Everybody is friends when things are bad enough.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 3: At Sea, Section 19',
  quote: 'Now Tom was - the hell with that, he said to himself. It is something that happens to everybody. I should know about that by now. It is the only thing that is really final, though.\nHow do you know that? he asked himself. Going away can be final. Walking out the door can be final. Any form of real betrayal can be final. Dishonesty can be final. Selling out is final. But you are just talking now. Death is what is really final.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 3: At Sea, Section 21',
  quote: 'But life is a cheap thing beside a man\'s work. The only thing is that you need it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'Islands in the Stream (1970). Pt. 3: At Sea, Section 21 (the last sentence of the novel)',
  quote: 'You never understand anybody that loves you.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch1. (the opening paragraph of the book)',
  quote: 'It was strange going back to Spain again: I had never expected to be allowed to return to the country that I loved more than any other except my own and I would not return so long as any of my friends there were in jail. But in the spring of 1953 in Cuba I talked with good friends who had fought on opposing sides in the Spanish Civil War about stopping in Spain on our way to Africa and they agreed that I might honorably return to Spain if I did not recant anything that I had written and kept my mouth shut on politics. There was no question of applying for a visa. They were no longer required for American tourists.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch1',
  quote: 'They say that if you can stay away from bullfighting for a year you can stay away from it forever. That is not true but it has some truth in it and, except for fights in Mexico, I had been away for fourteen years. A lot of that time though was like being in jail except that I was locked out; not locked in.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch1',
  quote: 'Fortunately I have never learned to take the good advice I give myself nor the counsel of my fears.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch3',
  quote: 'Like all truly brave people Antonio is light-hearted and likes to joke and make fun of serious things.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch9',
  quote: 'The faces that were young once were old as mine but everyone remembered how we were. The eyes had not changed and nobody was fat. No mouths were bitter no matter what the eyes had seen. Bitter lines around the mouth are the first sign of defeat. Nobody was defeated.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch9',
  quote: 'We had spoken about death without being morbid about it and I had told Antonio what I thought about it which is worthless since none of us knows anything about it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch9',
  quote: 'Any man can face death but to be committed to bring it as close as possible while performing certain classic movements and do this again and again and again and then deal it out yourself with a sword to an animal weighing half a ton which you love is more complicated than just facing death. It is facing your performance as a creative artist each day and your necessity to function as a skillful killer. Antonio had to kill quickly and mercifully and still give the bull one full chance at him when he crossed over the horn at least twice a day.\nEveryone in bullfighting helps everyone else in bullfighting in the ring. In spite of all rivalries and hatreds it is the closest brotherhood there is. Only bullfighters know the risks they run and what the bull can do with his horns to their bodies and their minds.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch9',
  quote: 'Antonio always prayed in the room before the fight at the last when the well-wishers and the followers were gone. If there was time at the ring nearly everyone slipped into the chapel to pray once before the paseo. Antonio knew I prayed for him and never for myself. I was not fighting and I had quit praying for myself during the Spanish Civil War when I saw the terrible things that happened to other people and I felt that to pray for oneself was selfish and egotistical.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch10',
  quote: 'Luis Miguel had the pride of the devil and a feeling of absolute superiority that was justified in many things. He had said so long that he was the best that he really believed it. He had to believe it to go on. It was not just something he believed. It was his belief.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch10',
  quote: '[W]hen he came out of the anaesthetic the first thing he said was, \'What a man Ernesto would be if he could only write.\''
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Dangerous Summer (1985). Ch13',
  quote: 'A bullfighter can never see the work of art that he is making. He has no chance to correct it as a painter or writer has. He cannot hear it as a musician can. He can only feel it and hear the crowd\'s reaction to it. When he feels it and knows that it is great it takes hold of him so that nothing else in the world matters. All the time that he is making his work of art he knows that he must keep within the limits of his skill and his knowledge of the animal. Those matadors are called cold who visibly show that they are thinking of this. Antonio was not cold and the public belonged to him now. He looked up at them and let them know, modestly but not humbly, that he knew it and as he circled the ring with the ear in his hand he looked at the different segments of Bilbao, a city that he loved, as they stood up as he passed and was happy that he owned them.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Garden of Eden (1986). Catherine and David Bourne in Ch1',
  quote: 'But I get so hungry,\' she said. \'Is it normal do you think? Do you always get so hungry when you make love?\'\'When you love somebody.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Garden of Eden (1986). Catherine in Ch1',
  quote: 'Please love me David the way I am. Please understand and love me.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Garden of Eden (1986). David and Colonel John Boyle in Ch7',
  quote: 'I didn\'t marry her family.\'\'Of course not. But you always do. Dead or alive.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Garden of Eden (1986). Colonel John Boyle and David in Ch7',
  quote: 'Remember everything is right until it\'s wrong. You\'ll know when it\'s wrong.\'\'You think so?\'\'I\'m quite sure. If you don\'t it doesn\'t matter. Nothing will matter then.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'The Garden of Eden (1986). Marita in Ch11',
  quote: 'Happiness in intelligent people is the rarest thing I know.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'True at First Light (1999). Ch1',
  quote: 'A man must comport himself as a man. He must fight always preferably and soundly with the odds in his favor but on necessity against any sort of odds and with no thought of the outcome. He should follow his tribal laws and customs insofar as he can and accept the tribal discipline when he cannot. But it is never a reproach that he has kept a child\'s heart, a child\'s honesty and a child\'s freshness and nobility.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'True at First Light (1999). Ch9',
  quote: 'This looking and not seeing things was a great sin, I thought, and one that was easy to fall into. It was always the beginning of something bad and I thought that we did not deserve to live in the world if we did not see it.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'True at First Light (1999). Ch10',
  quote: 'In Africa a thing is true at first light and a lie by noon and you have no more respect for it than for the lovely, perfect wood-fringed lake you see across the sun-baked salt plain. You have walked across that plain in the morning and you know that no such lake is there. But now it is there absolutely true, beautiful and believable.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'True at First Light (1999). Ch12',
  quote: 'When you stop doing things for fun you might as well be dead.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'True at First Light (1999). Ch12',
  quote: 'Miss Mary, having been a journalist, had splendid powers of invention. I had never heard her tell a story in the same way twice and always had the feeling she was remolding it for the later editions.'
}, {
  figure: 'Ernest Hemingway',
  mark: 'True at First Light (1999). Ch17',
  quote: 'I was as afraid as the next man in my time and maybe more so. But with the years, fear had come to be regarded as a form of stupidity to be classed with overdrafts, acquiring a venereal disease or eating candies. Fear is a child\'s vice and while I loved to feel it approach, as one does with any vice, it was not for grown men and the only thing to be afraid of was the presence of true and imminent danger in a form that you should be aware of and not be a fool if you were responsible for others.'
}];

var Guy_de_Maupassant = [{
  figure: 'Guy de Maupassant',
  mark: 'As quoted in "Guy De Maupassant : A Study" by Pol Neveux, in Original Short Stories',
  quote: 'I entered literary life as a meteor, and I shall leave it like a thunderbolt.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'As quoted in Contemporary Portraits (1920) by Frank Harris, p263',
  quote: 'There are in France some fifty thousand young men of good birth and fairly well off who are encouraged to live a life of complete idleness. They must either cease to exist or must come to see that there can be no happiness, no health even, without regular daily labor of some sort … The need of work is in me.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"The Bed"',
  quote: 'I have come to the conclusion that the bed comprehends our whole life; for we were bom in it, we live in it, and we shall die in it.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"Beside Schopenhauer\'s Corpse"',
  quote: 'I took the book from him reverently, and I gazed at these forms incomprehensible to me, but which revealed the immortal thoughts of the greatest shatterer of dreams who had ever dwelt on earth.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"Beside Schopenhauer\'s Corpse"',
  quote: 'Let us protest and let us be angry, let us be indignant, or let us be enthusiastic, Schopenhauer has marked humanity with the seal of his disdain and of his disenchantment.  A disabused pleasure-seeker, he overthrew beliefs, hopes, poetic ideals and chimeras, destroyed the aspirations, ravaged the confidence of souls, killed love, dragged down the chivalrous worship of women, crushed the illusions of hearts, and accomplished the most gigantic task ever attempted by scepticism. He spared nothing with his mocking spirit, and exhausted everything. And even to-day those who execrate him seem to carry in their own souls particles of his thought.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"The Englishman of Etretat"',
  quote: 'Great minds that are healthy are never considered geniuses, while this sublime qualification is lavished on brains that are often inferior but are slightly touched by madness.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"Friend Joseph"',
  quote: 'Let them respect my convictions, and I will respect theirs!'
}, {
  figure: 'Guy de Maupassant',
  mark: '"Sundays of a Bourgeois"',
  quote: 'You have the army of mediocrities followed by the multitude of fools. As the mediocrities and the fools always form the immense majority, it is impossible for them to elect an intelligent government.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"The Love of Long Ago"',
  quote: 'There is only one good thing in life, and that is love. And how you misunderstand it! how you spoil it! You treat it as something solemn like a sacrament, or something to be bought, like a dress.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"Miss Harriet"',
  quote: 'Love is always love, come whence it may. A heart that beats at your approach, an eye that weeps when you go away are things so rare, so sweet, so precious that they must never be despised.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"My Uncle Sosthenes"',
  quote: 'Patriotism is a kind of religion; it is the egg from which wars are hatched.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"The Question of Latin"',
  quote: 'A man forced to spend his life without ever having the right, without ever finding the time, to shut himself up all alone, no matter where, to think, to reflect, to work, to dream? Ah! my dear boy, a key, the key of a door which one can lock — this is happiness, mark you, the only happiness!'
}, {
  figure: 'Guy de Maupassant',
  mark: '"Suicides"',
  quote: 'Our memory is a more perfect world than the universe: it gives back life to those who no longer exist.'
}, {
  figure: 'Guy de Maupassant',
  mark: '"A Wife\'s Confession"',
  quote: 'A legal kiss is never as good as a stolen one.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'For several days in succession fragments of a defeated army had passed through the town. They were mere disorganized bands, not disciplined forces. The men wore long, dirty beards and tattered uniforms; they advanced in listless fashion, without a flag, without a leader. All seemed exhausted, worn out, incapable of thought or resolve, marching onward merely by force of habit, and dropping to the ground with fatigue the moment they halted.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'Life seemed to have stopped short; the shops were shut, the streets deserted. Now and then an inhabitant, awed by the silence, glided swiftly by in the shadow of the walls. The anguish of suspense made men even desire the arrival of the enemy.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'The same thing happens whenever the established order of things is upset, when security no longer exists, when all those rights usually protected by the law of man or of Nature are at the mercy of unreasoning, savage force. The earthquake crushing a whole nation under falling roofs; the flood let loose, and engulfing in its swirling depths the corpses of drowned peasants, along with dead oxen and beams torn from shattered houses; or the army, covered with glory, murdering those who defend themselves, making prisoners of the rest, pillaging in the name of the Sword, and giving thanks to God to the thunder of cannon — all these are appalling scourges, which destroy all belief in eternal justice, all that confidence we have been taught to feel in the protection of Heaven and the reason of man.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'At the end of a short time, once the first terror had subsided, calm was again restored. In many houses the Prussian officer ate at the same table with the family. He was often well-bred, and, out of politeness, expressed sympathy with France and repugnance at being compelled to take part in the war. This sentiment was received with gratitude; besides, his protection might be needful some day or other.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'Legitimized love always despises its easygoing brother.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'In the cold light of the morning they almost bore a grudge against the girl for not having secretly sought out the Prussian, that the rest of the party might receive a joyful surprise when they awoke. What more simple?  Besides, who would have been the wiser? She might have saved appearances by telling the officer that she had taken pity on their distress. Such a step would be of so little consequence to her.\nBut no one as yet confessed to such thoughts.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'The count uttered several rather risky witticisms, but so tactfully were they said that his audience could not help smiling. Loiseau in turn made some considerably broader jokes, but no one took offence; and the thought expressed with such brutal directness by his wife was uppermost in the minds of all: "Since it\'s the girl\'s trade, why should she refuse this man more than another?"'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'They held up to admiration all those women who from time to time have arrested the victorious progress of conquerors, made of their bodies a field of battle, a means of ruling, a weapon; who have vanquished by their heroic caresses hideous or detested beings, and sacrificed their chastity to vengeance and devotion. All was said with due restraint and regard for propriety, the effect heightened now and then by an outburst of forced enthusiasm calculated to excite emulation.\nA listener would have thought at last that the one role of woman on earth was a perpetual sacrifice of her person, a continual abandonment of herself to the caprices of a hostile soldiery.\nThe two nuns seemed to hear nothing, and to be lost in thought. Boule de Suif also was silent.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'At first no one spoke. Boule de Suif dared not even raise her eyes. She felt at once indignant with her neighbors, and humiliated at having yielded to the Prussian into whose arms they had so hypocritically cast her.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Boule de Suif (1880)',
  quote: 'No one looked at her, no one thought of her. She felt herself swallowed up in the scorn of these virtuous creatures, who had first sacrificed, then rejected her as a thing useless and unclean.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'La Parure (The Necklace) (1884). Variant translation:  She was one of those pretty and charming girls, born by a blunder of destiny in a family of employees. She had no dowry, no expectations, no means of being known, understood, loved, married by a man rich and distinguished; and she let them make a match for her with a little clerk in the Department of Education.',
  quote: 'The girl was one of those pretty and charming young creatures who sometimes are born, as if by a slip of fate, into a family of clerks. She had no dowry, no expectations, no way of being known, understood, loved, married by any rich and distinguished man; so she let herself be married to a little clerk of the Ministry of Public Instruction.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'La Parure (The Necklace) (1884)',
  quote: 'With women there is neither caste nor rank, for beauty, grace and charm take the place of family and birth. Natural ingenuity, instinct for what is elegant, a supple mind are their sole hierarchy, and often make of women of the people the equals of the very greatest ladies.  Mathilde suffered ceaselessly, feeling herself born to enjoy all delicacies and all luxuries.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'La Parure (The Necklace) (1884). Variant translation:  What would have happened if she had not lost that necklace? Who knows? Who knows? How singular life is, how changeable! What a little thing it takes to save you or to lose you.',
  quote: 'What would have happened if she had not lost that necklace? Who knows? who knows? How strange and changeful is life! How small a thing is needed to make or ruin us!'
}, {
  figure: 'Guy de Maupassant',
  mark: 'The Wreck',
  quote: 'I did not love her, I did not even know her. And for all that, I was touched and conquered. I wanted to save her, to sacrifice myself for her, to commit a thousand follies! Strange thing! How does it happen that the presence of a woman overwhelms us so? Is it the power of her grace which enfolds us? Is it the seduction of her beauty and youth, which intoxicates one like wine? Is it not rather the touch of Love, of Love the Mysterious, who seeks constantly to unite two beings, who tries his strength the instant he has put a man and a woman face to face?'
}, {
  figure: 'Guy de Maupassant',
  mark: 'The Wreck',
  quote: 'I was hard hit. I wanted to ask this little girl to marry me. If we had passed eight days together, I should have done so! How weak and incomprehensible a man sometimes is!'
}, {
  figure: 'Guy de Maupassant',
  mark: 'The Wreck',
  quote: 'That was perhaps the only woman I have ever loved — no — that I ever should have loved. Ah, well! who can tell? Circumstances rule one. And then — and then — all passes.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Sur l’eau (1888)',
  quote: 'We live always under the weight of the old and odious customs … of our barbarous ancestors.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Sur l’eau (1888)',
  quote: 'Military men are the scourges of the world.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Sur l’eau (1888)',
  quote: 'Since governments take the right of death over their people, it is not astonishing if the people should sometimes take the right of death over governments.'
}, {
  figure: 'Guy de Maupassant',
  mark: 'Sur l’eau (1888). Variant translation: Every government has as much of a duty to avoid war as a ship\'s captain has to avoid a shipwreck.',
  quote: 'Any government has as much of a duty to avoid war as a ship\'s captain has to avoid a shipwreck.'
}];

var Honor_de_Balzac = [{
  figure: 'Honoré de Balzac',
  mark: 'Those who spend too fast never grow rich.\nLa Maison du Chat-qui-pelote [At the Sign of the Cat and Racket] (1830), translated by Clara Bell',
  quote: 'Qui dépense trop n’est jamais riche.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'I am a galley slave to pen and ink.\nLetter to Zulma Carraud (18320702), translated by C. Lamb Kenney',
  quote: 'Je suis un galérien de plume et d\'encre.'
}, {
  figure: 'Honoré de Balzac',
  mark: '"Thinking is seeing," said he one day, carried away by some objection raised as to the first principles of our organisation."Every human science is based on deduction, which is a slow process of seeing by which we work up from the effect to the cause; or, in a wider sense, all poetry like every work of art proceeds from a swift vision of things."\nHonoré de Balzac, Louis Lambert (1832), translated by Clara Bell',
  quote: 'Penser, c\'est voir! me dit-il un jour emporté par une de nos objections sur le principe de notre organisation. Toute science humaine repose sur la déduction, qui est une vision lente par laquelle on descend de la cause à l\'effet, par laquelle on remonte de l\'effet à la cause; ou, dans une plus large expression, toute poésie comme toute oeuvre d\'art procède d\'une rapide vision des choses.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'I prefer thought to action, an idea to a transaction, contemplation to activity.\nLouis Lambert (1832), as translated by Clara Bell',
  quote: 'Je préfère la pensée à l\'action, une idée à une affaire, la contemplation au mouvement.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'All human power is a compound of time and patience.\nEugénie Grandet (1833), translated by Katharine Prescott Wormeley, ch6',
  quote: 'Tout pouvoir humain est un composé de patience et de temps.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Glory is the sun of the dead.\nLa Recherche de l\'Absolu [The Quest of the Absolute] (1834), translated by Ellen Marriage',
  quote: 'La gloire est le soleil des morts.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Equality may be a right, but no power on earth can convert it into fact.\nLa Duchesse de Langeais (1834), translated by Ellen Marriage, p2',
  quote: 'L\'égalité sera peut-être un droit, mais aucune puissance humaine ne saura le convertir en fait.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Men are like that, they can resist sound argument, yet yield to a glance.',
  quote: 'Les hommes sont ainsi faits, ils résistent à une discussion sérieuse et tombent sous un regard.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'True love is eternal, infinite, always like unto itself; it is equable, pure, without violent demonstration; white hair often covers the head, but the heart that holds it is ever young.\nLe lys dans la vallée (1836), translated by Katharine Prescott Wormeley, p2. First Love',
  quote: 'Le véritable amour est éternel, infini, toujours semblable à lui-même; il est égal et pur, sans démonstrations violentes; il se voit en cheveux blancs, toujours jeune de cœur.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'My further advice on your relations to women is based upon that other motto of chivalry, "Serve all, love one."\nLe lys dans la vallée (1836), translated by Katharine Prescott Wormeley, p2. First Love',
  quote: 'Mes avis sur vos relations avec les femmes sont aussi dans ce mot de chevalerie: Les servir toutes, n\'en aimer qu\'une.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'You know what my religion is. I am not orthodox, and I do not believe in the Roman Church. I think that if there is a scheme worthy of our kind it is that of human transformations causing the human being to advance toward unknown zones. That is the law of creations inferior to ourselves; it ought to be the law of superior creations. Swedenborgianism, which is only a repetition in the Christian sense of ancient ideas, is my religion, with the addition which I wish to make to it of the incomprehensibility of God.\nLetter to Evelina de Hanska (18370531), translated by Katharine Prescott Wormeley',
  quote: 'Vous savez quelles sont mes religions.\nJe ne suis point orthodoxe et ne crois pas à l\'Église romaine. Je trouve que s\'il ya quelque plan digne du sien, ce sont les transformations humaines faisant marcher l\'être vers des zones inconnues.\nC\'est la loi des créations qui nous sont inférieures: ce doit être la loi des créations supérieures.\nLe swedenborgisme, qui n\'est qu\'une répétition, dans le sens chrétien, d\'anciennes idées, est ma religion, avec l\'augmentation que j\'y fais de l\'incompréhensibilité de Dieu.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'As routine business must always be dispatched, there is always a fluctuating number of supernumeraries who cannot be dispensed with, and yet are liable to dismissal at a moment\'s notice. All of these naturally are anxious to be "established clerks." And thus Bureaucracy, the giant power wielded by pigmies, came into the world. Possibly Napoleon retarded its influence for a time, for all things and all men were forced to bend to his will; but none the less the heavy curtain of Bureaucracy was drawn between the right thing to be done and the right man to do it. Bureaucracy was definitely organized, however, under a constitutional government with a natural kindness for mediocrity, a predilection for categorical statements and reports, a government as fussy and meddlesome, in short, as a small shopkeeper\'s wife.\nLes Employés [The Government Clerks] (1838), translated by James Waring; also known as Bureaucracy, or, A Civil Service Reformer.',
  quote: 'Le courant des affaires devant toujours s\'expédier, il surnage une certaine quantité de commis qui se sait indispensable quoique congéable à merci et qui veut rester en place. La bureaucratie, pouvoir gigantesque mis en mouvement par des nains, est née ainsi. Si en subordonnant toute chose et tout homme à sa volonté, Napoléon avait retardé pour un moment l\'influence de la bureaucratie, ce rideau pesant placé entre le bien à faire et celui qui peut l\'ordonner, elle s\'était définitivement organisée sous le gouvernement constitutionnel, nécessairement ami des médiocrités, grand amateur de pièces probantes et de comptes, enfin tracassier comme une petite bourgeoise.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Music is of two kinds: one petty, poor, second-rate, never varying, its base the hundred or so phrasings which all musicians understand, a babbling which is more or less pleasant, the life that most composers live.\nMassimilla Doni (1839), translated by Clara Bell and James Waring',
  quote: 'Il y a deux musiques: une petite, mesquine, de second ordre, partout semblable à elle-même, qui repose sur une centaine de phrases que chaque musicien s\'approprie, et qui constitue un bavardage plus ou moins agréable avec lequel vivent la plupart des compositeurs.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'What is Art, monsieur, but Nature concentrated?\nIllusions perdues, vol1. Un grand homme de province à Paris, 1re partie [Lost Illusions, vol1. A Distinguished Provincial at Paris, p1. ] (1839), translated by Ellen Marriage, ch1. section 5',
  quote: 'Qu\'est-ce que l\'Art, monsieur?\nC\'est la Nature concentrée.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Eve and David (Lost Illusions P3. ), Translated by Ellen Marriage.',
  quote: 'History is of two kinds—there is the official history taught in schools, a lying compilation ad usum delphini; and there is the secret history which deals with the real causes of events—a scandalous chronicle.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The winters are to fashionable women what a campaign once was to the soldiers of the Empire.\nLa Fausse Maîtresse (1842), translated by Katharine Prescott Wormeley, ch2',
  quote: 'Les hivers sont pour les femmes à la mode ce que fut jadis une campagne pour les militaires de l’empire.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'When women love, they forgive everything, even our crimes; when they do not love, they cannot forgive anything, not even our virtues.\nLa Muse du Département (1843), translated by James Waring, p2ch34. (p13. in the translated version)',
  quote: 'Lorsque les femmes nous aiment, elles nous pardonnent tout, même nos crimes; lorsqu\'elles ne nous aiment pas, elles ne nous pardonnent rien, pas même nos vertus!'
}, {
  figure: 'Honoré de Balzac',
  mark: 'People exaggerate both happiness and unhappiness; we are never so fortunate nor so unfortunate as people say we are.\nModeste Mignon (1844), translated by Katharine Prescott Wormeley, ch24. The Poet Feels That He Is Loved Too Well',
  quote: 'On amplifie également le malheur et le bonheur, nous ne sommes jamais ni si malheureux, ni si heureux qu\'on le dit.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A young bride is like a plucked flower; but a guilty wife is like a flower that had been walked over.\nHonorine (1845), translated by Clara Bell',
  quote: 'Une jeune fille est comme une fleur qu\'on a cueillie; mais la femme coupable est une fleur sur laquelle on a marché.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Unfortunately her portrait will cure no one of the addiction to loving sweetly smiling angels with dreamy looks, innocent faces, and a strong-box for a heart.\nLa cousine Bette (1846), translated by Sylvia Raphael, ch37. Moral reflections on immorality',
  quote: 'Malheureusement, ce portrait ne corrigera personne de la manie d’aimer de anges au doux sourire, à l’air rêveur, à figure candide, dont le cœur est un coffre-fort.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'To kill a relative of whom you are tired, is something; but to inherit his property afterwards — that is a real pleasure!\nLe cousin Pons (1847), translated by Ellen Marriage, ch46',
  quote: 'Tuer un parent de qui l’on se plaint, c’est quelque chose; mais hériter de lui, c’est là un plaisir!'
}, {
  figure: 'Honoré de Balzac',
  mark: 'I should like one of these days to be so well known, so popular, so celebrated, so famous, that it would permit me to break wind in society, and society would think it a most natural thing.\nAs quoted in the entry for 18551013, in the Journals of Jules and Edmond de Goncourt, also known as Mémoires de la vie littéraire, vol1. (1887), translated by Lewis Galantière',
  quote: 'Je voudrais, un jour, avoir un nom si connu, si populaire, si célèbre, si glorieux enfin, qu\'il m\'authorisât, à p[éter] dans le monde, et que le monde trouvât ça tout naturel.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). Marriage is a fight to the death, before which the wedded couple ask a blessing from heaven, because it is the rashest of all undertakings to swear eternal love; the fight at once commences and victory, that is to say liberty, remains in the hands of the cleverer of the two.\nPart I, Meditation I: The Subject',
  quote: 'Le mariage est un combat à outrage avant lequel les deux époux demandent au ciel sa bénédiction, parce que s\'aimer toujours est la plus téméraire des entreprises; le combat ne tarde pas à commencer, et la victoire, c\'est-à-dire la liberté, demeure au plus adroit.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). There are certain wives whose confinement makes sarcastic celibates smile.\nPart I, Meditation II: Marriage Statistics',
  quote: 'Il y a des femmes dont la grossesse fait sourire quelque célibataire sournois.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). Who would not at the present moment wish to retain the persuasion that wives are virtuous? Are they not the supreme flower of the country? Are they not all blooming creatures, fascinating the world by their beauty, their youth, their life and their love?\nTo believe in their virtue is a sort of social religion, for they are the ornament of the world, and form the chief glory of France.\nPart I, Meditation II: Marriage Statistics',
  quote: 'Qui ne voudrait pas rester persuadé que ces femmes sont vertueuses?\nNe sont-elles pas la fleur du pays?\nNe sont-elles pas toutes verdissantes, ravissantes, étourdissantes de beauté, de jeunesse, de vie et d\'amour?\nCroire à leur vertu est une espèce de religion sociale; car elles sont l\'ornement du monde et font la gloire de la France.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). To saunter is a science; it is the gastronomy of the eye. To take a walk is to vegetate; to saunter is to live… To saunter is to enjoy life; it is to indulge the flight of fancy; it is to enjoy the sublime pictures of misery, of love, of joy, of gracious or grotesque physiognomies; it is to pierce with a glance the abysses of a thousand existences; for the young it is to desire all, and to possess all; for the old it is to live the life of the youthful, and to share their passions.\nPart I, Meditation III: Of the Honest Woman',
  quote: 'Flâner est une science, c\'est la gastronomie de l\'œil.\nSe promener, c\'est végéter; flâner, c\'est vivre... Flâner, c\'est jouir, c\'est recueillir des traits d\'esprit, c\'est admirer de sublimes tableaux de malheur, d\'amour, de joie, des portraits gracieux ou grotesques; c\'est plonger ses regards au fond de mille existences: jeune, c\'est tout désirer, tout posséder; vieillard, c\'est vivre de la vie des jeunes gens, c\'est épouser leurs passions.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). Manners are the hypocrisy of nations.\nPart I, Meditation IV: Of the Virtuous Woman, aphorism XVI',
  quote: 'Les moeurs sont l\'hypocrisie des nations.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). The virtue of women is perhaps a question of temperament.\nPart I, Meditation IV, aphorism XIX',
  quote: 'La vertu des femmes est peut-être une question de tempérament.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). The most virtuous women have in them something that is never chaste.\nPart I, Meditation IV, aphorism XX',
  quote: 'Les femmes les plus vertueuses ont en elles quelque chose qui n\'est jamais chaste.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). Love is the most melodious of all harmonies and the sentiment of love is innate. Woman is a delightful instrument of pleasure, but it is necessary to know its trembling strings, to study the position of them, the timid keyboard, the fingering so changeful and capricious which befits it.\nPart I, Meditation V: Of the Predestined',
  quote: 'L\'amour est la plus mélodieuse de toutes les harmonies, et nous en avons le sentiment inné.La femme est un délicieux instrument de plaisir, mais il faut en connaitre les frémissantes cordes, en étudier la pose, le clavier timide, le doigté changeant et capricieux.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). A man ought not to marry without having studied anatomy, and dissected at least one woman.\nPart I, Meditation V: Of the Predestined, aphorism XXVIII',
  quote: 'Un homme ne peut se marier sans avoir étudié l\'anatomie et disséqué une femme au moins.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). Power does not consist in striking with force or with frequency, but in striking true.\nPart I, Meditation V: Of the Predestined, aphorism XLIII',
  quote: 'La puissance ne consiste pas à frapper fort ou souvent, mais à frapper juste.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). It is easier to be a lover than a husband, for the same reason that it is more difficult to be witty every day, than to say bright things from time to time.\nPart I, Meditation V: Of the Predestined, aphorism LXIX',
  quote: 'Il est plus facile d\'être amant que mari, par la raison qu\'il est plus difficile d\'avoir de l\'esprit tous les jours que de dire de jolies choses de temps en temps.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). The more a man judges, the less he loves.\nPart I, Meditation VIII: Of the First Symptoms, aphorism LX',
  quote: 'Plus on juge, moins on aime.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). The wife is a piece of property, acquired by contract; she is part of your furniture, for possession is nine-tenths of the law; in fact, the woman is not, to speak correctly, anything but an adjunct to the man; therefore abridge, cut, file this article as you choose; she is in every sense yours.\nPart II, Meditation Number XII: The Hygiene of Marriage',
  quote: 'La femme est une propriété que l\'on acquiert par contrat, elle est mobilière, car la possession vaut titre; enfin, la femme n\'est, à proprement parler, qu\'une annexe de l\'homme; or, tranchez, coupez, rognez, elle vous appartient à tous les titres.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). Do not therefore allow yourself to be led astray by the specious good nature of such an institution as that of twin beds.\nIt is the silliest, the most treacherous, the most dangerous in the world. Shame and anathema to him who conceived it.\nPart II, Meditation XVII, The Theory of the Bed, I: Twin Beds',
  quote: 'Ainsi ne vous laissez jamais séduire par la fausse bonhomie des lits jumeaux.\nC\'est l\'invention la plus sotte, la plus perfide et la plus dangereuse qui soit au monde. Honte et anathème à qui l\'imagina!'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Physiology of Marriage (1829). To be able to keep a mother-in-law in the country while he lives in Paris, and vice versa, is a piece of good fortune which a husband too rarely meets with.\nPart III, Meditation XXV: Allies, Section II: Of the Mother-in-Law',
  quote: 'Avoir sa belle-mère en province quand on demeure à Paris, et vice versa, est une de ces bonnes fortunes qui se rencontrent toujours trop rarement.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Gobseck (1830). Life — is it anything more than a machine to which money imparts the motion?',
  quote: 'La vie n\'est-elle pas une machine à laquelle l\'argent imprime le mouvement?'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Gobseck (1830). What frightful tableaux might present themselves, if one could paint the ideas found in the souls of those who surround the deathbeds? And money is always the mobilizer of the intrigues elaborated, the plans formulated, the conspiracies woven!',
  quote: 'Quels effroyables tableaux ne présenteraient pas les âmes de ceux qui environnent les lits funèbres, si l\'on pouvait en peindre les idées? Et toujours la fortune est le mobile des intrigues qui s\'élaborent, des plans qui se forment, des trames qui s\'ourdissent!'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P1. The Talisman. Between the daylight gambler and the player at night there is the same difference that lies between a careless husband and the lover swooning under his lady’s window.',
  quote: 'Entre le joueur du matin et le joueur du soir il existe la différence qui distingue le mari nonchalant de l\'amant pâmé sous les fenêtres de sa belle.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P1. The Talisman. There is something great and terrible about suicide.',
  quote: 'Il existe je ne sais quoi de grand et d\'épouvantable dans le suicide.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P1. The Talisman. Thought is a key to all treasures; the miser’s gains are ours without his cares. Thus I have soared above this world, where my enjoyments have been intellectual joys.',
  quote: 'La pensée est la clef de tous les trésors, elle procure les joies de l\'avare sans donner ses soucis. Aussi ai-je plané sur le monde, où mes plaisirs ont toujours été des jouissances intellectuelles.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P1. The Talisman. For pain is perhaps but a violent pleasure? Who could determine the point where pleasure becomes pain, where pain is still a pleasure? Is not the utmost brightness of the ideal world soothing to us, while the lightest shadows of the physical world annoy?',
  quote: 'Le mal n\'est peut-être qu\'un violent plaisir. Qui pourrait déterminer le point où la volupté devient un mal et celui où le mal est encore la volupté ? Les plus vives lumières du monde idéal ne caressent-elles pas la vue, tandis que les plus douces ténèbres du monde physique la blessent toujours.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P1. The Talisman. When law becomes despotic, morals are relaxed, and vice versa.',
  quote: 'Quand le despotisme est dans les lois, la liberté se trouve dans les mœurs, et vice versa.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P1. The Talisman. But does not happiness come from the soul within?',
  quote: 'Le bonheur ne vient-il donc pas de l\'âme?'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. I declare, on my soul and conscience, that the attainment of power, or of a great name in literature, seemed to me an easier victory than a success with some young, witty, and gracious lady of high degree.',
  quote: 'Je te le déclare, en mon âme et conscience, la conquête du pouvoir ou d\'une grande renommée littéraire me paraissait un triomphe moins difficile à obtenir qu\'un succès auprès d\'une femme de haut rang, jeune, spirituelle et gracieuse.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. If you are to judge a man, you must know his secret thoughts, sorrows, and feelings; to know merely the outward events of a man’s life would only serve to make a chronological table — a fool’s notion of history.',
  quote: 'Pour juger un homme, au moins faut-il être dans le secret de sa pensée, de ses malheurs, de ses émotions; ne vouloir connaître de sa vie que les événements matériels, c\'est faire de la chronologie, l\'histoire des sots!'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. Women, perhaps, even require a little hypocrisy.',
  quote: 'Peut-être veulent-elles [les femmes] un peu d\'hypocrisie?'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. Love in the abstract is not enough for a great man in poverty; he has need of its utmost devotion... She who is really a wife, one in heart, flesh, and bone, must follow wherever he leads, in whom her life, her strength, her pride, and happiness are centered.',
  quote: 'L\'amour abstrait ne suffit pas à un homme pauvre et grand, il en veut tous les dévouements... La véritable épouse en cœur, en chair et en os, se laisse traîner là où va celui en qui réside sa vie, sa force, sa gloire, son bonheur.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. Ambitious men spend their youth in rendering themselves worthy of patronage; it is their great mistake. While the foolish creatures are laying in stores of knowledge and energy, so that they shall not sink under the weight of responsible posts that recede from them, schemers come and go who are wealthy in words and destitute of ideas, astonish the ignorant, and creep into the confidence of those who have a little knowledge.',
  quote: 'La faute des hommes supérieurs est de dépenser leurs jeunes années à se rendre dignes de la faveur. Pendant qu\'ils thésaurisent, leur force est la science pour porter sans effort le poids d\'une puissance qui les fuit; les intrigants, riches de mots et dépourvus d\'idées, vont et viennent, surprennent les sots, et se logent dans la confiance des demi-niais.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. The tranquility and peace that a scholar needs is something as sweet and exhilarating as love. Unspeakable joys are showered on us by the exertion of our mental faculties; the quest of ideas, and the tranquil contemplation of knowledge; delights indescribable, because purely intellectual and impalpable to our senses.',
  quote: 'Le calme et le silence nécessaires au savant ont je ne sais quoi de doux, d\'enivrant comme l\'amour. L\'exercice de la pensée, la recherche des idées, les contemplations tranquilles de la science nous prodiguent d\'ineffables délices, indescriptibles comme tout ce qui participe de l\'intelligence, dont les phénomènes sont invisibles à nos sens extérieurs.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. Study lends a kind of enchantment to all our surroundings.',
  quote: 'L\'étude prête une sorte de magie à tout ce qui nous environne.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. The life of a man who deliberately runs through his fortune often becomes a business speculation; his friends, his pleasures, patrons, and acquaintances are his capital.',
  quote: 'La vie d\'un homme occupé à manger sa fortune devient souvent une spéculation; il place ses capitaux en amis, en plaisirs, en protecteurs, en connaissances.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. Love is like some fresh spring, that leaves its cresses, its gravel bed and flowers to become first a stream and then a river, changing its aspect and its nature as it flows to plunge itself in some boundless ocean, where restricted natures only find monotony, but where great souls are engulfed in endless contemplation.',
  quote: 'L\'amour est une source naïve, partie de son lit de cresson, de fleurs, de gravier, qui rivière, qui fleuve, change de nature et d\'aspect à chaque flot, et se jette dans un incommensurable océan où les esprits incomplets voient la monotonie, où les grandes âmes s\'abîment en de perpétuelles contemplations.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. A penniless man who has no ties to bind him is master of himself at any rate, but a luckless wretch who is in love no longer belongs to himself, and may not take his own life. Love makes us almost sacred in our own eyes; it is the life of another that we revere within us; then and so begins for us the cruelest trouble of all.',
  quote: 'Un homme sans passion et sans argent reste maître de sa personne; mais un malheureux qui aime ne s\'appartient plus et ne peut pas se tuer. L\'amour nous donne une sorte de religion pour nous-mêmes, nous respectons en nous une autre vie; il devient alors le plus horrible des malheurs.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. Conscience is our unerring judge until we finally stifle it.',
  quote: 'Notre conscience est un juge infaillible, quand nous ne l\'avons pas encore assassinée.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Wild Ass’s Skin (1831). P2. A Woman Without a Heart. Musicians are seldom unemotional; a woman who could sing like that must know how to love indeed.',
  quote: 'Les musiciennes sont presque toujours amoureuses. Celle qui chantait ainsi devait savoir bien aimer.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Vicar of Tours (1832). Persons without minds are like weeds that delight in good earth; they want to be amused by others, all the more because they are dull within.\nCh. I',
  quote: 'Les gens sans esprit ressemblent aux mauvaises herbes qui se plaisent dans les bons terrains, et ils aiment d\'autant plus être amusés qu\'ils s\'ennuient eux-mêmes.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Vicar of Tours (1832). Old maids who have never yielded in their habits of life or in their characters to other lives and other characters, as the fate of woman exacts, have, as a general thing, a mania for making others give way to them.\nCh. I',
  quote: 'Les vieilles filles n\'ayant pas fait plier leur caractère et leur vie à une autre vie ni à d\'autres caractères, comme l\'exige la destinée de la femme, ont, pour la plupart, la manie de vouloir tout faire plier autour d\'elles.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Vicar of Tours (1832). Between persons who are perpetually in each other\'s company dislike or love increases daily; every moment brings reasons to love or hate each other more and more.\nCh. I',
  quote: 'Entre personnes sans cesse en présence, la haine et l\'amour vont toujours croissant: on trouve à tout moment des raisons pour s\'aimer ou se haïr mieux.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'The Vicar of Tours (1832). The habits of life form the soul, and the soul forms the physical presence.\nCh. II',
  quote: 'La vie habituelle fait l\'âme, et l\'âme fait la physionomie.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'La Fille aux yeux d\'or (1833)',
  quote: 'In Paris the rich encounter wit ready-made, pre-digested science, and opinions already formulated, which excuse them from hand to have wit, science or opinion.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'La Fille aux yeux d\'or (1833). Discretion is the best form of calculation.\nLa Fille aux yeux d\'or (The Girl with the Golden Eyes) (1835), translated by Ellen Marriage, ch3',
  quote: 'La discrétion est le plus habile des calculs.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Le Père Goriot (1835). The next day Rastignac dressed himself very elegantly, and about three o\'clock in the afternoon went to call on Mme. de Restaud. On the way thither he indulged in the wild intoxicating dreams which fill a young head so full of delicious excitement. Young men at his age take no account of obstacles nor of dangers; they see success in every direction; imagination has free play, and turns their lives into a romance; they are saddened or discouraged by the collapse of one of the visionary schemes that have no existence save in their heated fancy. If youth were not ignorant and timid, civilization would be impossible.\nPart I',
  quote: 'Le lendemain Rastignac s\'habilla fort élégamment, et alla, vers trois heures de l\'après-midi, chez madame de Restaud, en se livrant pendant la route à ces espérances étourdiment folles qui rendent la vie des jeunes gens si belle d\'émotions: ils ne calculent alors ni les obstacles ni les dangers, ils voient en tout le succès, poétisent leur existence par le seul jeu de leur imagination, et se font malheureux ou tristes par le renversement de projets qui ne vivaient encore que dans leurs désirs effrénés; s\'ils n\'étaient pas ignorants et timides, le monde social serait impossible.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Le Père Goriot (1835). Our heart is a treasury; if you pour out all its wealth at once, you are bankrupt. We show no more mercy to the affection that reveals its utmost extent than we do to another kind of prodigal who has not a penny left.\nPart I',
  quote: 'Notre cœur est un trésor, videz-le d\'un coup, vous êtes ruinés. Nous ne pardonnons pas plus à un sentiment de s\'être montré tout entier qu\'à un homme de ne pas avoir un sou à lui.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Le Père Goriot (1835). "I shall succeed!" he said to himself. So says the gambler; so says the great captain; but the three words that have been the salvation of some few, have been the ruin of many more.\nPart I',
  quote: '"Je réussirai!" Le mot du joueur, du grand capitaine, mot fataliste qui perd plus d\'hommes qu\'il n\'en sauve.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Le Père Goriot (1835). Mankind are not perfect, but one age is more or less hypocritical than another, and then simpletons say that its morality is high or low.\nPart II',
  quote: 'L\'homme est imparfait. Il est parfois plus ou moins hypocrite, et les niais disent alors qu\'il a ou n\'a pas de mœurs.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Le Père Goriot (1835). The secret of great fortunes without apparent cause is a crime forgotten, for it was properly done.\nPart II\nA variant, "Behind every great fortune there is a great crime," has appeared as a quotation of Balzac; but it may have originated in a paraphrase in The Oil Barons: Men of Greed and Grandeur (1971) by Richard O\'Connor, p47: "Balzac maintained that behind every great fortune there is a great crime." It also appears at the beginning of the novel "The Godfather," published two years earlier.',
  quote: 'Le secret des grandes fortunes sans cause apparente est un crime oublié, parce qu\'il a été proprement fait.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Le Père Goriot (1835). "I am tormented by temptations.""What kind? There is a cure for temptation.""What?""Yielding to it."\nPart II',
  quote: '— Je suis tourmenté par de mauvaises idées.— En quel genre? Ça se guérit, les idées.- Comment?- En y succombant.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Le Père Goriot (1835). Man is imperfect. He is at some times more or less hypocritical than at others, and then simpletons say that his morality is high or low.',
  quote: 'L’homme est imparfait. Il est parfois plus ou moins hypocrite, et les niais disent alors qu’il a ou n’a pas de mœurs.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch2. Seraphita',
  quote: 'If we study Nature attentively in its great evolutions as in its minutest works, we cannot fail to recognize the possibility of enchantment — giving to that word its exact significance. Man does not create forces; he employs the only force that exists and which includes all others, namely Motion, the breath incomprehensible of the sovereign Maker of the universe.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch3. Seraphita - Seraphitus',
  quote: 'Wisdom is the understanding of celestial things to which the Spirit is brought by Love.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch3. Seraphita - Seraphitus',
  quote: 'Man dies in despair while the Spirit dies in ecstasy.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch3. Seraphita - Seraphitus',
  quote: 'The tiniest flower is a thought, — a life which corresponds to certain lineaments of the Great Whole, of which they have a constant intuition.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch3. Seraphita - Seraphitus',
  quote: 'Clouds signify the veil of the Most High.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch3. Seraphita - Seraphitus',
  quote: 'Science is the language of the Temporal world, Love is that of the Spiritual world. Thus man takes note of more than he is able to explain, while the Angelic Spirit sees and comprehends. Science depresses man; Love exalts the Angel. Science is still seeking, Love has found. Man judges Nature according to his own relations to her; the Angelic Spirit judges it in its relation to Heaven. In short, all things have a voice for the Spirit.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch3. Seraphita - Seraphitus',
  quote: 'Remorse is impotence, impotence which sins again. Repentance alone is powerful; it ends all.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch3. Seraphita - Seraphitus',
  quote: 'We have long struggles with ourself, of which the outcome is one of our actions; they are, as it were, the inner side of human nature. This inner side is God\'s; the outer side belongs to men.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch4. The Clouds of the Sanctuary',
  quote: 'The most real of all splendors are not in outward things, they are within us.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch4. The Clouds of the Sanctuary',
  quote: 'Nature knows nothing but solid bodies; your science deals only with combinations of surfaces. And so nature constantly gives the lie to all your laws; can you name one to which no fact makes an exception?'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Seraphita (1835). Ch6. The Road to Heaven',
  quote: 'White and shining virgin of all human virtues, ark of the covenant between earth and heaven, tender and strong companion partaking of the lion and of the lamb, Prayer! Prayer will give you the key of heaven! Bold and pure as innocence, strong, like all that is single and simple, this glorious, invincible Queen rests, nevertheless, on the material world; she takes possession of it; like the sun, she clasps it in a circle of light.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Gambara (1837)',
  quote: 'Tone is light in another shape. In music, instruments perform the functions of the colours employed in painting.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). Girls brought up as you were, in a very strait-laced and puritan fashion, always pant for liberty and happiness, and the happiness they have never comes up to what they imagined. Those are the girls that make bad wives.\nCh. 2: Sisterly Confidences',
  quote: 'Les filles élevées comme vous l\'avez été, dans la contrainte et les pratiques religieuses, ont soif de la liberté, désirent le bonheur, et le bonheur dont elles jouissent n\'est jamais aussi grand ni aussi beau que celui qu\'elles ont rêvé. De pareilles filles font de mauvaises femmes.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). Tyranny produces two results, exactly opposite in character, and which are symbolized in those two great types of the slave in classical times — Epictetus and Spartacus. The one is hatred with its evil train, the other meekness with its Christian graces.\nCh. 3: The Story of a Happy Woman',
  quote: 'La tyrannie produit deux effets contraires dont les symboles existent dans deux grandes figures de l\'esclavage antique: Epictète et Spartacus, la haine et ses sentiments mauvais, la résignation et ses tendresses chrétiennes.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). Mothers with marriageable daughters ought to look out for men of this stamp, men with brains to act as protecting divinity, with worldly wisdom to diagnose like a surgeon, and with experience to take a mother’s place in warding off evil. These are the three cardinal virtues in matrimony.\nCh. 3: The Story of a Happy Woman',
  quote: 'Les mères de famille devraient rechercher de pareils hommes pour leurs filles: l\'Esprit est protecteur comme la Divinité, le Désenchantement est perspicace comme un chirurgien, l\'Expérience est prévoyante comme une mère. Ces trois sentiments sont les vertus théologales du mariage.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). The man whose action habitually bears the stamp of his mind is a genius, but the greatest genius is not always equal to himself, or he would cease to be human.\nCh. 3: The Story of a Happy Woman',
  quote: 'L\'homme qui peut empreindre perpétuellement la pensée dans le fait est un homme de génie; mais l\'homme qui a le plus de génie ne le déploie pas à tous les instants, il ressemblerait trop à Dieu.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). Kindness is not without its rocks ahead. People are apt to put it down to an easy temper and seldom recognize it as the secret striving of a generous nature; whilst, on the other hand, the ill-natured get credit for all the evil they refrain from.\nCh. 3: The Story of a Happy Woman',
  quote: 'La bonté n\'est pas sans écueils: on l\'attribue au caractère, on veut rarement y reconnaître les efforts secrets d\'une belle âme, tandis qu\'on récompense les gens méchants du mal qu\'ils ne font pas.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). This surface good-nature which captivates a new acquaintance and is no bar to treachery, which knows no scruple and is never at fault for an excuse, which makes an outcry at the wound which it condones, is one of the most distinctive features of the journalist. This camaraderie (the word is a stroke of genius) corrodes the noblest minds; it eats into their pride like rust, kills the germ of great deeds, and lends a sanction to moral cowardice.\nCh. 4: A Man of Note',
  quote: 'Cette bonhomie apparente qui séduit les nouveaux venus et n\'empêche aucune trahison, qui se permet et justifie tout, qui jette les hauts cris à une blessure et la pardonne, est un des caractères distinctifs du journaliste. Cette camaraderie, mot créé par un homme d\'esprit, corrode les plus belles âmes: elle rouille leur fierté, tue le principe des grandes œuvres, et consacre la lâcheté de l\'esprit.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). At fifteen, beauty and talent do not exist; there can only be promise of the coming woman.\nCh. 5: Florine',
  quote: 'A quinze ans, ni la beauté ni le talent n\'existent: une femme est tout promesse.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). Suicide, moreover, was at that time in vogue in Paris: what more suitable key to the mystery of life for a skeptical society?\nCh. 7: Suicide',
  quote: 'D\'ailleurs, le suicide régnait alors à Paris; ne doit-il pas être le dernier mot des sociétés incrédules?'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). Lovers have a way of using this word "nothing" which implies exactly the opposite.\nCh. 7: Suicide',
  quote: 'Il y a une manière de dire ce mot rien entre amants, qui signifie tout le contraire.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Daughter of Eve (1839). A man is a poor creature compared to a woman.\nCh. 9: A Husband\'s Triumph',
  quote: 'Nous [les hommes] valons moins que vous [les femmes].'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Pierrette (1840). No man would have torn himself from the comfort of a morning nap to listen to a minstrel in a jacket; none but a maid awakes to songs of love.\nCh. I: The Lorrains',
  quote: 'Aucun homme ne s\'arrache aux douceurs du sommeil matinal pour écouter un troubadour en veste, une fille seule se réveille à un chant d\'amour.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Pierrette (1840). Like many widows, she came to the unwise decision of remarrying.\nCh. I: The Lorrains',
  quote: 'Comme beaucoup de veuves, elle eut l\'idée malsaine de se remarier.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Pierrette (1840). The provinces are provinces; they are only ridiculous when they mimic Paris.\nCh III: Pathology of Retired Mercers',
  quote: 'La province est la province: elle est ridicule quand elle veut singer Paris.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Pierrette (1840). It is as difficult for towns and cities as it is for commercial houses to recover from ruin.\nCh. III: Pathology of Retired Mercers',
  quote: 'Les villes se relèvent aussi difficilement que les maisons de commerce de leur ruine.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Pierrette (1840). Little minds need to practise despotism to relieve their nerves, just as great souls thirst for equality in friendship to exercise their hearts. Narrow natures expand by persecuting as much as others through beneficence; they prove their power over their fellows by cruel tyranny as others do by loving kindness; they simply go the way their temperaments drive them. Add to this the propulsion of self-interest and you may read the enigma of most social matters.\nCh. IV: Pierrette',
  quote: 'Les petits esprits ont besoin de despotisme pour le jeu de leurs nerfs, comme les grandes âmes ont soif d\'égalité pour l\'action du cœur. Or les êtres étroits s\'étendent aussi bien par la persécution que par la bienfaisance; ils peuvent s\'attester leur puissance par un empire ou cruel ou charitable sur autrui, mais ils vont du côté où les pousse leur tempérament. Ajoutez le véhicule de l\'intérêt, et vous aurez l\'énigme de la plupart des choses sociales.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Pierrette (1840). Sufferings predispose the mind to devotion, and nearly all young girls, impelled by instinctive tenderness, are inclined to mysticism, the deepest aspect of religion.\nCh. V: History of Poor Cousins in the Home of Rich Ones',
  quote: 'Les souffrances disposent à la dévotion, et presque toutes les jeunes filles, poussées par une tendresse instinctive, inclinent au mysticisme, le côté profond de la religion.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Pierrette (1840). Pierrette, like all those who suffer more than they have strength to bear, kept silence.\nSilence is the only weapon by which such victims can conquer; it baffles the Cossack charges of envy, the savage skirmishings of suspicion; it does at times give victory, crushing and complete, — for what is more complete than silence? it is absolute; it is one of the attributes of infinity.\nCh. VI: An Old Maid\'s Jealousy',
  quote: 'Pierrette fit comme les gens qui souffrent au delà de leurs forces, elle garda le silence.\nCe silence est, pour tous les êtres attaqués, le seul moyen de triompher: il lasse les charges cosaques des envieux, les sauvages escarmouches des ennemis; il donne une victoire écrasante et complète. Quoi de plus complet que le silence?\nIl est absolu, n\'est-ce pas une des manières d\'être de l\'infini?'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Society bristles with enigmas which look hard to solve. It is a perfect maze of intrigue.\nPart I, ch4',
  quote: 'Le monde offre énormément d’énigmes dont le mot paraît difficile à trouver. Il y a des intrigues multipliées.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). A flow of words is a sure sign of duplicity.\nPart I, ch6',
  quote: 'Qui parle trop veut tromper.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). The man as he converses is the lover; silent, he is the husband.\nPart I, ch7',
  quote: 'L’homme qui nous parle est l’amant, l’homme qui ne nous parle plus est le mari.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Courtesy is only a thin veneer on the general selfishness.\nPart I, ch7',
  quote: 'La politesse cache très-imparfaitement l’égoïsme général.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). A country is strong which consists of wealthy families, every member of whom is interested in defending a common treasure; it is weak when composed of scattered individuals, to whom it matters little whether they obey seven or one, a Russian or a Corsican, so long as each keeps his own plot of land, blind in their wretched egotism, to the fact that the day is coming when this too will be torn from them.\nPart I, ch12',
  quote: 'Un pays est fort quand il se compose de familles riches, dont tous les membres sont intéressés à la défense du trésor commun: trésor d’argent, de gloire, de priviléges, de jouissances; il est faible quand il se compose d’individus non solidaires, auxquels il importe peu d’obéir à sept hommes ou à un seul, à un Russe ou à un Corse, pourvu que chaque individu garde son champ; et ce malheureux égoïste ne voit pas qu’un jour on le lui ôtera.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). A husband who submits to his wife’s yoke is justly held an object of ridicule. A woman’s influence ought to be entirely concealed.\nPart I, ch13',
  quote: 'L’homme subjugué par sa femme est justement couvert de ridicule. L’influence d’une femme doit être entièrement secrète.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). It is the mark of a great man that he puts to flight all ordinary calculations. He is at once sublime and touching, childlike and of the race of giants.\nPart I, ch15',
  quote: 'Le propre d’un grand homme est de dérouter les calculs ordinaires. Il est sublime et attendrissant, naïf et gigantesque.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Love may be or it may not, but where it is, it ought to reveal itself in its immensity.\nPart I, ch15',
  quote: 'Oh! voilà l’amour vrai, sans chicanes: il est ou n’est pas; mais quand il est, il doit se produire dans son immensité.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Virtue, my pet, is an abstract idea, varying in its manifestations with the surroundings. Virtue in Provence, in Constantinople, in London, and in Paris bears very different fruit, but is none the less virtue.\nPart I, ch18',
  quote: 'La vertu, mignonne, est un principe dont les manifestations diffèrent selon les milieux: la vertu de Provence, celle de Constantinople, celle de Londres et celle de Paris ont des effets parfaitement dissemblables sans cesser d’être la vertu.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). The fact is that love is of two kinds — one which commands, and one which obeys. The two are quite distinct, and the passion to which the one gives rise is not the passion of the other.\nPart I, ch21',
  quote: 'Il y a deux amours: celui qui commande et celui qui obéit; ils sont distincts et donnent naissance à deux passions, et l’une n’est pas l’autre.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Love may be the fairest gem which Society has filched from Nature; but what is motherhood save Nature in her most gladsome mood? A smile has dried my tears.\nPart I, ch28',
  quote: 'L’amour est le plus joli larcin que la Société ait su faire à la Nature; mais la maternité, n’est-ce pas la Nature dans sa joie? Un sourire a séché mes larmes.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Chance, my dear, is the sovereign deity in child-bearing.\nPart I, ch28',
  quote: 'Le hasard, ma chère, est le dieu de la maternité.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). A child is tied to our heart-strings, as the spheres are linked to their creator; we cannot think of God except as a mother\'s heart writ large. It is only in the act of nursing that a woman realizes her motherhood in visible and tangible fashion; it is a joy of every moment.\nPart I, ch31',
  quote: 'Les mondes doivent se rattacher à Dieu comme un enfant se rattache à toutes les fibres de sa mère: Dieu, c’est un grand cœur de mère.\nIl n’y a rien de visible, ni de perceptible dans la conception, ni même dans la grossesse; mais être nourrice,... c’est un bonheur de tous les moments.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). A mother’s happiness is like a beacon, lighting up the future but reflected also on the past in the guise of fond memories.\nPart I, ch31',
  quote: 'La joie d’une mère est une lumière qui jaillit jusque sur l’avenir et le lui éclaire, mais qui se reflète sur le passé pour lui donner le charme des souvenirs.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Ah! how much a mother learns from her child! The constant protection of a helpless being forces us to so strict an alliance with virtue, that a woman never shows to full advantage except as a mother. Then alone can her character expand in the fulfillment of all life’s duties and the enjoyment of all its pleasures.\nPart I, ch31',
  quote: 'Ah! combien de choses un enfant apprend à sa mère. Il y a tant de promesses faites entre nous et la vertu dans cette protection incessante due à un être faible, que la femme n’est dans sa véritable sphère que quand elle est mère; elle déploie alors seulement ses forces, elle pratique les devoirs de sa vie, elle en a tous les bonheurs et tous les plaisirs.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). A year at the breast is quite enough; children who are suckled longer are said to grow stupid, and I am all for popular sayings.\nPart I, ch38',
  quote: 'Un an de lait suffit. Les enfants qui tettent trop deviennent des sots. Je suis pour les dictons populaires.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). A mother’s life, you see, is one long succession of dramas, now soft and tender, now terrible. Not an hour but has its joys and fears.\nPart I, ch45',
  quote: 'La maternité comporte une suite de poésies douces ou terribles. Pas une heure qui n’ait ses joies et ses craintes.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). A mother, who is really a mother, is never free.\nPart I, ch45',
  quote: 'Une vraie mère n’est pas libre.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). The art of motherhood involves much silent, unobtrusive self-denial, an hourly devotion which finds no detail too minute.\nPart I, ch45',
  quote: 'La science de la mère comporte des mérites silencieux, ignorés de tous, sans parade, une vertu en détail, un dévouement de toutes les heures.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Excess of joy is harder to bear than any amount of sorrow.\nPart II, ch50',
  quote: 'On porte encore moins facilement la joie excessive que la peine la plus lourde.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). The passion of love is essentially selfish, while motherhood widens the circle of our feelings.\nPart II, ch52',
  quote: 'L’amour est profondément égoïste, tandis que la maternité tend à multiplier nos sentiments.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Children, dear and loving children, can alone console a woman for the loss of her beauty.\nPart II, ch52',
  quote: 'Il n’y a que des enfants aimants et aimés qui puissent consoler une femme de la perte de sa beauté.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'Letters of Two Brides (1841-1842). Death unites as well as separates; it silences all paltry feeling.\nPart II, ch57',
  quote: 'La mort rapproche autant qu’elle sépare, elle fait taire les passions mesquines.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). Intro. In France, and that, too, during the most serious epoch of modern history, no woman, unless it be Brunehaut or Fredegonde, has suffered from popular error so much as Catherine de\' Medici; whereas Marie de\' Medici, all of whose actions were prejudicial to France, has escaped the shame which ought to cover her name... Catherine de\' Medici, on the contrary, saved the crown of France; she maintained the royal authority in the midst of circumstances under which more than one great prince would have succumbed. Having to make head against factions and ambitions like those of the Guises and the house of Bourbon, against men such as the two Cardinals of Lorraine, the two Balafrés, and the two Condés, against the queen Jeanne d\'Albret, Henri IV., the Connetable de Montmorency, Calvin, the three Colignys, Theodore de Beze, she needed to possess and to display the rare qualities and precious gifts of a statesman under the mocking fire of the Calvinist press.',
  quote: 'En France, et dans la partie la plus grave de l\'histoire moderne, aucune femme, si ce n\'est Brunehault ou Frédégonde, n\'a plus souffert des erreurs populaires que Catherine de Médicis; tandis que Marie de Médicis, dont toutes les actions on été préjudiciables à la France, échappe à la honte qui devrait couvrir son nom... Catherine de Médicis, au contraire, a sauvé la couronne de France; elle a maintenu l\'authorité royale dans des des circonstances au milieur desquelles plus d\'un grand prince aurait succombé.Ayant en tête des factieux et des ambitions comme celles des Guise et de la maison de Bourbon, des hommes commes les deux cardinaux de Lorraine et comme les deux Balafrés, les deux princes de Condé, la reine Jeanne d\'Albret, Henri IV, le connétable de Montmorency, Calvin, les Coligny, Théodore de Bèze, il lui a fallu déployer les plus rares qualités, les plus précieux dons de l\'homme d\'État, sous le feu des railleries de la presse calviniste.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). Intro. Power is action, and the elective principle is discussion.\nThere is no policy, no statesmanship possible where discussion is permanent.',
  quote: 'Le pouvoir est une action, et le principe électif est la discussion.\nIl n\'y a pas de politique possible avec la discussion en permanence.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). P1. The Calvinist Martyr. Whoso says "Investigate" says "Revolt." All revolt is either the cloak that hides a prince, or the swaddling-clothes of a new mastery.\nCh. I: A House Which No Longer Exists at the Corner of a Street Which No Longer Exists in a Paris Which No Longer Exists',
  quote: 'Qui dit examen, dit révolte.\nToute révolte est, ou le manteau sous lequel se cache un prince, ou les langes d\'une domination nouvelle.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). P1. The Calvinist Martyr. Peter the Hermit, Calvin, and Robespierre, each at an interval of three hundred years and all three from the same region, were, politically speaking, the Archimedean screws of their age, — at each epoch a Thought which found its fulcrum in the self-interest of mankind.\nCh. XIII: Calvin',
  quote: 'Pierre l\'Ermite, Calvin et Robespierre, chacun à trois cents ans de distance, ces trois Picards ont été, politiquement parlant, des leviers d\'Archimède.\nC\'était à chaque époque une pensée qui recontrait un point d\'appel dans les intérêts et chez les hommes.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). P2. The Ruggieri\'s Secret. It is certain that during the sixteenth century, and the years that preceded and followed it, poisoning was brought to a perfection unknown to modern chemistry, as history itself will prove. Italy, the cradle of modern science, was, at this period, the inventor and mistress of these secrets, many of which are now lost.\nCh. II: Schemes Against Schemes',
  quote: 'Il est certain que pendant le seizième siècle, dans les années qui le précédèrent et le suivirent, l\'empoisonnement était arrivé à une perfection inconnue à la chimie moderne et que l\'histoire a constatée. L\'Italie, berceau des sciences modernes, fut, à cette époque, inventrice et maîtresse de ces secrets dont plusieurs se perdirent.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). P2. The Ruggieri\'s Secret. To those who have exhausted statecraft, nothing remains but the realm of pure thought.\nCh. V: The Alchemists',
  quote: 'A ceux qui ont épuisé la politique, il ne reste plus que la pensée pure.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). P2. The Ruggieri\'s Secret. When religion and royalty are destroyed the people will attack the nobles; after the nobles, the rich.\nCh. V: The Alchemists',
  quote: 'Quand la religion et la royauté seront abattues, le peuple en viendra aux grands, après les grands il s\'en prendra aux riches.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). P2. The Ruggieri\'s Secret. Ideas consume the ages as passions consume men. When man is cured, humanity may possibly cure itself.\nCh. V: The Alchemists',
  quote: 'Les idées dévorent les siècles comme les hommes sont dévorés par leurs passions. Quand l\'homme sera guéri, l\'humanité se guérira peut-être.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). P2. The Ruggieri\'s Secret. Our most cruel enemies are our nearest in blood!... Kings have neither brothers, nor sons, nor mothers.\nCh. V: The Alchemists',
  quote: 'Nos plus cruels ennemis sont nos proches... Les rois n\'ont ni frères, ni fils, ni mère.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'About Catherine de\' Medici (1842). P3. The Two Dreams. Political liberty, the tranquility of a nation, nay, knowledge itself, are gifts on which destiny has laid a tax of blood!',
  quote: 'La liberté politique, la tranquillité d\'une nation, la science même, sont des présents pour lesquels le destin prélève des impôts de sang!'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Bachelor\'s Establishment (1842). A grocer is drawn to his business by an attracting force quite equal to the repelling force which drives artists away from it. We do not sufficiently study the social potentialities which make up the various vocations of life. It would be interesting to know what determines one man to be a stationer rather than a baker; since, in our day, sons are not compelled to follow the calling of their fathers, as they were among the Egyptians.\nCh. I',
  quote: 'L’épicier est entraîné vers son commerce par une force attractive égale à la force de répulsion qui en éloigne les artistes.\nOn n’a pas assez étudié les forces sociales qui constituent les diverses vocations. Il serait curieux de savoir ce qui détermine un homme à se faire papetier plutôt que boulanger, du moment où les fils ne succèdent pas forcément au métier de leur père comme chez les Egyptiens.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Bachelor\'s Establishment (1842). A widow has two tasks before her, whose duties clash: she is a mother, and yet she must exercise paternal authority.\nCh. I',
  quote: 'Une veuve a deux tâches dont les obligations se contredisent: elle est mère et doit exercer la puissance paternelle.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Bachelor\'s Establishment (1842). Lucidity of mind, like the rays of the sun, can have no effect except by the continuity of a direct line; it can divine only on condition of not breaking that line; the curvettings of chance bemuddle it.\nCh. IV',
  quote: 'La lucidité, de même que les rayons du soleil, n’a d’effet que par la fixité de la ligne droite, elle ne devine qu’à la condition de ne pas rompre son regard; elle se trouble dans les sautillements de la chance.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Bachelor\'s Establishment (1842). There are two species of timidity, — the timidity of the mind, and the timidity of the nerves; a physical timidity, and a moral timidity. The one is independent of the other. The body may fear and tremble, while the mind is calm and courageous, or vice versa. This is the key to many moral eccentricities. When the two are united in one man, that man will be a cipher all his life.\nCh. IX',
  quote: 'Il y a deux timidités: la timidité d’esprit, la timidité de nerfs ; une timidité physique et une timidité morale. L’une est indépendante de l’autre. Le corps peut avoir peur et trembler pendant que l’esprit reste calme et courageux, et vice versa. Ceci donne la clef de bien des bizarreries morales. Quand les deux timidités se réunissent chez un homme, il sera nul pendant toute sa vie.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Bachelor\'s Establishment (1842). The passion, observe, which is able to reflect, gives even to ninnies, fools, and imbeciles a species of intelligence, especially in youth.\nCh. IX',
  quote: 'La passion qui, remarquez-le, porte son esprit avec elle, peut donner aux niais, aux sots, aux imbéciles une sorte d’intelligence, surtout pendant la jeunesse.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Woman of Thirty (1842). Girls are apt to imagine noble and enchanting and totally imaginary figures in their own minds; they have fanciful extravagant ideas about men, and sentiment, and life; and then they innocently endow somebody or other with all the perfections for their daydreams, and put their trust in him.\nCh. I: Early Mistakes',
  quote: 'Les jeunes filles se créent souvent de nobles, de ravissantes images, des figures tout idéales, et se forgent des idées chimériques sur les hommes, sur les sentiments, sur le monde; puis elles attribuent innocemment à un caractère les perfections qu\'elles ont rêvées, et s\'y confient.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Woman of Thirty (1842). Many men are deeply moved by the mere semblance of suffering in a woman; they take the look of pain for a sign of constancy or of love.\nCh. I: Early Mistakes',
  quote: 'Il y a beaucoup d\'hommes dont le cœur est puissamment ému par la seule apparence de la souffrance chez une femme: pour eux la douleur semble être une promesse de constance ou d\'amour.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Woman of Thirty (1842). What is a child, monsieur, but the image of two beings, the fruit of two sentiments spontaneously blended?\nCh. II: A Hidden Grief',
  quote: 'Un enfant, monsieur, n\'est-il pas l\'image de deux êtres, le fruit de deux sentiments librement confondus?'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Woman of Thirty (1842). A girl\'s coquetry is of the simplest, she thinks that all is said when the veil is laid aside; a woman\'s coquetry is endless, she shrouds herself in veil after veil, she satisfies every demand of man\'s vanity, the novice responds but to one.\nAnd there are terrors, fears, and hesitations — trouble and storm in the love of a woman of thirty years, never to be found in a young girl\'s love. At thirty years a woman asks her lover to give her back the esteem she has forfeited for his sake; she lives only for him, her thoughts are full of his future, he must have a great career, she bids him make it glorious; she can obey, entreat, command, humble herself, or rise in pride; times without number she brings comfort when a young girl can only make moan.\nCh. III: At Thirty Years',
  quote: 'La jeune fille n\'a qu\'une coquetterie, et croit avoir tout dit quand elle a quitté son vêtement; mais la femme en a d\'innombrables et se cache sous mille voiles; enfin elle caresse toutes les vanités, et la novice n\'en flatte qu\'une. Il s\'émeut d\'ailleurs des indécisions, des terreurs, des craintes, des troubles et des orages chez la femme de trente ans, qui ne se rencontrent jamais dans l\'amour d\'une jeune fille.\nArrivée à cet âge, la femme demande à un jeune homme de lui restituer l\'estime qu\'elle lui a sacrifiée; elle ne vit que pour lui, s\'occupe de son avenir, lui veut une belle vie, la lui ordonne glorieuse; elle obéit, elle prie et commande, s\'abaisse et s\'élève, et sait consoler en mille occasions, où la jeune fille ne sait que gémir.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Woman of Thirty (1842). The sanctity of womanhood is incompatible with social liberty and social claims; and for a woman emancipation means corruption.\nCh. III: At Thirty Years',
  quote: 'La sainteté des femmes est inconciliable avec les devoirs et les libertés du monde. Emanciper les femmes, c\'est les corrompre.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Woman of Thirty (1842). Women are tenacious, and all of them should be tenacious of respect; without esteem they cannot exist; esteem is the first demand that they make of love.\nCh. III: At Thirty Years',
  quote: 'Les femmes tiennent et doivent toutes tenir à être honorées, car sans l\'estime elles n\'existent plus. Aussi est-ce le premier sentiment qu\'elles demandent à l\'amour.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Woman of Thirty (1842). But reason always cuts a poor figure beside sentiment; the one being essentially restricted, like everything that is positive, while the other is infinite.\nCh. III: At Thirty Years',
  quote: 'Mais la raison est toujours mesquine auprès du sentiment; l\'une est naturellement bornée, comme tout ce qui est positif, et l\'autre est infini.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Woman of Thirty (1842). Love has its own instinct, finding the way to the heart, as the feeblest insect finds the way to its flower, with a will which nothing can dismay nor turn aside.\nCh. III: At Thirty Years',
  quote: 'L\'amour a son instinct, il sait trouver le chemin du cœur comme le plus faible insecte marche à sa fleur avec une irrésistible volonté qui ne s\'épouvante de rien.'
}, {
  figure: 'Honoré de Balzac',
  mark: 'A Woman of Thirty (1842). Nothing is so discreet as a young face, for nothing is less mobile; it has the serenity, the surface smoothness, and the freshness of a lake. There is no character in women’s faces before the age of thirty.\nCh. VI: The Old Age of a Guilty Mother',
  quote: 'Rien n\'est-il si discret qu\'un jeune visage, parce que rien n\'est plus immobile. La figure d\'une jeune femme a le calme, le poli, la fraîcheur de la surface d\'un lac. La physionomie des femmes ne commence qu\'à trente ans.'
}];

var Leo_Tolstoy = [{
  figure: 'Leo Tolstoy',
  mark: 'Sevastopol in May (1855), Ch16',
  quote: 'The hero of my tale, whom I love with all the power of my soul, whom I have tried to portray in all his beauty, who has been, is, and will be beautiful, is Truth.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Translation: Never did Christ utter a single word attesting to a personal resurrection and a life beyond the grave.',
  quote: '…никогда Христос … ни одним словом не утверждал личное воскресение и бессмертие личности за гробом…В чем моя вера?'
}, {
  figure: 'Leo Tolstoy',
  mark: 'My Religion (1884), Ch12',
  quote: 'Error is the force that welds men together; truth is communicated to men only by deeds of truth.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'My Religion (1884), as translated in The Human Experience : Contemporary American and Soviet Fiction and Poetry (1989) by the Quaker US/USSR Committee',
  quote: 'I know that my unity with all people cannot be destroyed by national boundaries and government orders.'
}, {
  figure: 'Leo Tolstoy',
  mark: '"Where Love Is, God Is" (1885), also translated as "Where Love is, There God is Also" -  (full text online)',
  quote: 'Martin\'s soul grew very very glad. He crossed himself put on his spectacles, and began reading the Gospel just where it had opened; and at the top of the page he read: I was an hungered, and ye gave me meat; I was thirsty, and ye gave me drink; I was a stranger, and ye took me in. And at the bottom of the page he read: Inasmuch as ye did it unto one of these my brethren even these least, ye did it unto me (Matt. xxv). And Martin understood that his dream had come true; and that the Saviour had really come to him that day, and he had welcomed him.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Writings on Civil Disobedience and Nonviolence (1886)',
  quote: 'A man can live and be healthy without killing animals for food; therefore, if he eats meat, he participates in taking animal life merely for the sake of his appetite. And to act so is immoral.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Writings on Civil Disobedience and Nonviolence (1886)',
  quote: 'I sit on a man\'s back, choking him, and making him carry me, and yet assure myself and others that I am very sorry for him and wish to ease his lot by any means possible, except getting off his back.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'How Much Land Does a Man Need? (1886)',
  quote: 'Six feet of land was all that he needed.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What Is To Be Done? (1886) Chap. XXXVIII, as translated in The Novels and Other Works of Lyof N. Tolstoï (1902) edited by Nathan Haskell Dole, p259',
  quote: 'The happiness of men consists in life. And life is in labor.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What Is To Be Done? (1886) Chap. XL, as translated in The Novels and Other Works of Lyof N. Tolstoï (1902) edited by Nathan Haskell Dole, p281',
  quote: 'The vocation of every man and woman is to serve other people.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Help for the Starving, Pt. III (189201)',
  quote: 'The more is given the less the people will work for themselves, and the less they work the more their poverty will increase.'
}, {
  figure: 'Leo Tolstoy',
  mark: '"Letter to N.\nN.," quoted by Havelock Ellis in "The New Spirit" (1892) p226',
  quote: 'Condemn me if you choose — I do that myself, — but condemn me, and not the path which I am following, and which I point out to those who ask me where, in my opinion, the path is.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Christianity and Patriotism (1895), as translated in The Novels and Other Works of Lyof N. Tolstoï, Vol20. p44',
  quote: 'In all history there is no war which was not hatched by the governments, the governments alone, independent of the interests of the people, to whom war is always pernicious even when successful. The government assures the people that they are in danger from the invasion of another nation, or from foes in their midst, and that the only way to escape this danger is by the slavish obedience of the people to their government. This fact is seen most prominently during revolutions and dictatorships, but it exists always and everywhere that the power of the government exists. Every government explains its existence, and justifies its deeds of violence, by the argument that if it did not exist the condition of things would be very much worse. After assuring the people of its danger the government subordinates it to control, and when in this condition compels it to attack some other nation. And thus the assurance of the government is corroborated in the eyes of the people, as to the danger of attack from other nations.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism, or Peace? (1896), translated by Nathan Haskell Dole',
  quote: 'Tell people that war is an evil, and they will laugh; for who does not know it? Tell them that patriotism is an evil, and most of them will agree, but with a reservation. "Yes," they will say, "wrong patriotism is an evil; but there is another kind, the kind we hold." But just what this good patriotism is, no one explains.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Government',
  quote: 'It will be said, "Patriotism has welded mankind into states, and maintains the unity of states." But men are now united in states; that work is done; why now maintain exclusive devotion to one\'s own state, when this produces terrible evils for all states and nations? For this same patriotism which welded mankind into states is now destroying those same states. If there were but one patriotism say of the English only then it were possible to regard that as conciliatory, or beneficent. But when, as now, there is American patriotism, English, German, French, Russian, all opposed to one another, in this event, patriotism no longer unites, but disunites.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Government',
  quote: 'Understand that all the evils from which you suffer, you yourselves cause by yielding to the suggestions by which yourselves cause by yielding to the suggestions by which emperors, kings, members of parliament, governors, officers, capitalists, priests, authors, artists, and all who need this fraud of patriotism in order to live upon your labour, deceive you!'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Government',
  quote: 'If people would but understand that they are not the sons of some fatherland or other, nor of Governments, but are sons of God, and can therefore neither be slaves nor enemies one to another - those insane, unnecessary, worn-out, pernicious organizations called Governments, and all the sufferings, violations, humiliations and crimes which they occasion, would cease.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is to be Done (1899) p262',
  quote: 'The workmen\'s revolution, with the terrors of destruction and murder, not only threatens us, but we have already been living upon its verge during the last thirty years, and it is only by various cunning devices that we have been postponing the crisis... The hatred and contempt of the oppressed people are increasing, and the physical and moral strength of the richer classes are decreasing: the deceit which supports all this is wearing out, and the rich classes have nothing wherewith to comfort themselves.'
}, {
  figure: 'Leo Tolstoy',
  mark: '"On Anarchy", in Pamphlets : Translated from the Russian (1900) as translated by Aylmer Maude, p22',
  quote: 'The Anarchists are right in everything; in the negation of the existing order, and in the assertion that, without authority, there could not be worse violence than that of authority under existing conditions. They are mistaken only in thinking that Anarchy can be instituted by a revolution. "To establish Anarchy." "Anarchy will be instituted." But it will be instituted only by there being more and more people who do not require protection from governmental power, and by there being more and more people who will be ashamed of applying this power.'
}, {
  figure: 'Leo Tolstoy',
  mark: '"Three Methods Of Reform" in Pamphlets : Translated from the Russian (1900) as translated by Aylmer Maude, p29',
  quote: 'There can be only one permanent revolution — a moral one; the regeneration of the inner man. How is this revolution to take place? Nobody knows how it will take place in humanity, but every man feels it clearly in himself. And yet in our world everybody thinks of changing humanity, and nobody thinks of changing himself.'
}, {
  figure: 'Leo Tolstoy',
  mark: '"To the Working People," Complete Works, trans. Leo Wiener, Vol24. p129 (1905)',
  quote: 'Every one who has a heart and eyes sees that you, working men, are obliged to pass your lives in want and in hard labor, which is useless to you, while other men, who do not work, enjoy the fruits of your labor—that you are the slaves of these men, and that this ought not to exist.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Meaning of the Russian Revolution (1906), a work about the 1905 Russian Revolution.',
  quote: 'Not only does the action of Governments not deter men from crimes; on the contrary, it increases crime by always disturbing and lowering the moral standard of society. Nor can this be otherwise, since always and everywhere a Government, by its very nature, must put in the place of the highest, eternal, religious law (not written in books but in the hearts of men, and binding on every one) its own unjust, man-made laws, the object of which is neither justice nor the common good of all but various considerations of home and foreign expediency.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Meaning of the Russian Revolution (1906)',
  quote: 'One might think that it must be quite clear to people not deprived of reason, that violence breeds violence; that the only means of deliverance from violence lies in not taking part in it. This method, one would think, is quite obvious. It is evident that a great majority of men can be enslaved by a small minority only if the enslaved themselves take part in their own enslavement. If people are enslaved, it is only because they either fight violence with violence or participate in violence for their own personal profit. Those who neither struggle against violence nor take part in it can no more be enslaved than water can be cut. They can be robbed, prevented from moving about, wounded or killed, but they cannot be enslaved: that is, made to act against their own reasonable will.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Law of Love and the Law of Violence (1908)',
  quote: 'All violence consists in some people forcing others, under threat of suffering or death, to do what they do not want to do.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Passage written for for The Law of Love and the Law of Violence (1908), released in 1917, as quoted in Equality in Liberty and Justice (2001) by Antony Flew, p89',
  quote: 'Understand then all of you, especially the young, that to want to impose an imaginary state of government on others by violence is not only a vulgar superstition, but even a criminal work. Understand that this work, far from assuring the well-being of humanity is only a lie, a more or less unconscious hypocrisy, camouflaging the lowest passions we posses.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Entry in Tolstoy\'s Diary (19101101)',
  quote: 'God is the infinite ALL. Man is only a finite manifestation of Him. Or better yet: God is that infinite All of which man knows himself to be a finite part. God alone exists truly. Man manifests Him in time, space and matter. The more God\'s manifestation in man (life) unites with the manifestations (lives) of other beings, the more man exists. This union with the lives of other beings is accomplished through love. God is not love, but the more there is of love, the more man manifests God, and the more he truly exists... We acknowledge God only when we are conscious of His manifestation in us. All conclusions and guidelines based on this consciousness should fully satisfy both our desire to know God as such as well as our desire to live a life based on this recognition.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Pathway of Life: Teaching Love and Wisdom (posthumous), P1. International Book Publishing Company, New York, 1919, p68',
  quote: 'Men think it right to eat animals, because they are led to believe that God sanctions it. This is untrue. No matter in what books it may be written that it is not sinful to slay animals and to eat them, it is more clearly written in the heart of man than in any books that animals are to be pitied and should not be slain any more than human beings. We all know this if we do not choke the voice of our conscience.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Last Diaries (1979) edited by Leon Stilman, p77',
  quote: 'How good is it to remember one\'s insignificance: that of a man among billions of men, of an animal amid billions of animals; and one\'s abode, the earth, a little grain of sand in comparison with Sirius and others, and one\'s life span in comparison with billions on billions of ages. There is only one significance, you are a worker. The assignment is inscribed in your reason and heart and expressed clearly and comprehensibly by the best among the beings similar to you. The reward for doing the assignment is immediately within you. But what the significance of the assignment is or of its completion, that you are not given to know, nor do you need to know it. It is good enough as it is. What else could you desire?'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Tolstoy\'s Diaries (1985) edited and translated by R. F. Christian. London: Athlone Press, Vol2. p512',
  quote: 'People usually think that progress consists in the increase of knowledge, in the improvement of life, but that isn\'t so. Progress consists only in the greater clarification of answers to the basic questions of life. The truth is always accessible to a man. It can\'t be otherwise, because a man\'s soul is a divine spark, the truth itself. It\'s only a matter of removing from this divine spark (the truth) everything that obscures it. Progress consists, not in the increase of truth, but in freeing it from its wrappings. The truth is obtained like gold, not by letting it grow bigger, but by washing off from it everything that isn\'t gold.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'As quoted in Tolstoy (1988) by A. N. Wilson, p146',
  quote: 'The truth is that the State is a conspiracy designed not only to exploit, but above all to corrupt its citizens … Henceforth, I shall never serve any government anywhere.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Quoted by Max Weber in his lecture "Science as a Vocation"; in Lynda Walsh (2013), Scientists as Prophets: A Rhetorical Genealogy (2013), Oxford University Press, p90',
  quote: 'Science is meaningless because it gives no answer to our question, the only question important for us: \'what shall we do and how shall we live'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Family Happiness (1859)',
  quote: 'I longed for activity, instead of an even flow of existence. I wanted excitement and danger and the chance to renounce self for the sake of my love. I was conscious of a superabundance of energy which found no outlet in our quiet life. I had bouts of depression, which I tried to hide, as something to be ashamed of…My mind, even my senses were occupied, but there was another feeling – the feeling of youth and a craving for activity – which found no scope in our quiet life…So time went by, the snow piled higher and higher round the house, and there we remained together, always and for ever alone and just the same in each other’s eyes; while somewhere far away amidst glitter and noise multitudes of people thrilled, suffered and rejoiced, without one thought of us and our existence which was ebbing away. Worst of all, I felt that every day that passed riveted another link to the chain of habit which was binding our life into a fixed shape, that our emotions, ceasing to be spontaneous, were being subordinated to the even, passionless flow of time… ‘It’s all very well … ‘ I thought, ‘it’s all very well to do good and lead upright lives, as he says, but we’ll have plenty of time for that later, and there are other things for which the time is now or never.’ I wanted, not what I had got, but a life of challenge; I wanted feeling to guide us in life, and not life to guide us in feeling.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Family Happiness (1859). P1ch2',
  quote: 'There is only one enduring happiness in life—to live for others.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Family Happiness (1859). P1Ch5',
  quote: 'I have lived through much, and now I think I have found what is needed for happiness. A quiet secluded life in the country, with the possibility of being useful to people to whom it is easy to do good, and who are not accustomed to have it done to them; then work which one hopes may be of some use; then rest, nature, books, music, love for one\'s neighbor -- such is my idea of happiness. And then, on the top of all that, you for a mate, and children perhaps -- what more can the heart of man desire?'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Ch1',
  quote: 'The only thing that we know is that we know nothing — and that is the highest flight of human wisdom.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. III, ch16',
  quote: '"What\'s this? Am I falling? My legs are giving way under me," he thought, and fell on his back. He opened his eyes, hoping to see how the struggle of the French soldiers with the artilleryman was ending, and eager to know whether the red-haired gunner artilleryman was killed or not, whether the cannons had been taken or saved. But he saw nothing of all that. Above him there was nothing but the sky — the lofty sky, not clear, but still immeasurably lofty, with gray clouds creeping quietly over it.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. IV, ch9',
  quote: 'Three days later the little princess was buried, and Prince Andrei went up the steps to where the coffin stood, to give her the farewell kiss. And there in the coffin was the same face, though with closed eyes. "Ah, what have you done to me?" it still seemed to say, and Prince Andrei felt that something gave way in his soul and that he was guilty of a sin he could neither remedy nor forget.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Book IV, ch11',
  quote: 'Seize the moments of happiness, love and be loved! That is the only reality in the world, all else is folly. It is the one thing we are interested in here.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. V, ch1',
  quote: 'You will die — and it will all be over. You will die and find out everything — or cease asking.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. IX, ch1',
  quote: 'In historical events great men — so-called — are but labels serving to give a name to the event, and like labels they have the least possible connection with the event itself. Every action of theirs, that seems to them an act of their own free will, is in an historical sense not free at all, but in bondage to the whole course of previous history, and predestined from all eternity.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. IX, ch1',
  quote: 'A king is history\'s slave.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. IX, ch10',
  quote: 'A Frenchman is self-assured because he regards himself personally, both in mind and body, as irresistibly attractive to men and women. An Englishman is self-assured, as being a citizen of the best-organized state in the world, and therefore as an Englishman always knows what he should do and knows that all he does as an Englishman is undoubtedly correct. An Italian is self-assured because he is excitable and easily forgets himself and other people. A Russian is self-assured just because he knows nothing and does not want to know anything, since he does not believe that anything can be known. The German\'s self-assurance is worst of all, stronger and more repulsive than any other, because he imagines that he knows the truth — science — which he himself has invented but which is for him the absolute truth.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. X, ch16',
  quote: 'Everything comes in time to him who knows how to wait.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. X, ch16',
  quote: 'The strongest of all warriors are these two — Time and Patience.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. X, ch17',
  quote: 'At the approach of danger there are always two voices that speak with equal force in the heart of man: one very reasonably tells the man to consider the nature of the danger and the means of avoiding it; the other even more reasonable says that it is too painful and harassing to think of the danger, since it is not a man\'s power to provide for everything and escape from the general march of events; and that it is therefore better to turn aside from the painful subject till it has come, and to think of what is pleasant. In solitude a man generally yields to the first voice; in society to the second.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. X, ch25',
  quote: 'War is not a courtesy but the most horrible thing in life; and we ought to understand that, and not play at war.  We ought to accept this terrible necessity sternly and seriously. It all lies in that: get rid of falsehood and let war be war and not a game. As it is now, war is the favourite pastime of the idle and frivolous.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). About Platon Karataev in Bk. XII, ch13',
  quote: 'He did not, and could not, understand the meaning of words apart from their context. Every word and action of his was the manifestation of an activity unknown to him, which was his life.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Thoughts of Prince Andrew Bk XII, Ch16',
  quote: 'Love hinders death. Love is life. All, everything that I understand, I understand only because I love. Everything is, everything exists, only because I love. Everything is united by it alone. Love is God, and to die means that I, a particle of love, shall return to the general and eternal source.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. XIV, ch12',
  quote: 'While imprisoned in the shed Pierre had learned not with his intellect but with his whole being, by life itself, that man is created for happiness, that happiness is within him, in the satisfaction of simple human needs, and that all unhappiness arises not from privation but from superfluity. And now during these last three weeks of the march he had learned still another new, consolatory truth- that nothing in this world is terrible. He had learned that as there is no condition in which man can be happy and entirely free, so there is no condition in which he need be unhappy and lack freedom. He learned that suffering and freedom have their limits and that those limits are very near together....'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. XIV, ch15',
  quote: 'To love life is to love God. Harder and more blessed than all else is to love this life in one\'s sufferings, in undeserved sufferings.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. XIV, ch18',
  quote: 'For us, with the rule of right and wrong given us by Christ, there is nothing for which we have no standard. And there is no greatness where there is not simplicity, goodness, and truth.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Bk. XV, ch1',
  quote: 'Pure and complete sorrow is as impossible as pure and complete joy.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Epilogue II, ch1',
  quote: 'History is the life of nations and of humanity. To seize and put into words, to describe directly the life of humanity or even of a single nation, appears impossible.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'War and Peace (1865–1867; 1869). Vol2. pt 5, p236 — Selected Works, Moscow, 1869',
  quote: 'The peculiar and amusing nature of those answers stems from the fact that modern history is like a deaf person who is in the habit of answering questions that no one has put to them. If the purpose of history be to give a description of the movement of humanity and of the peoples, the first question — in the absence of a reply to which all the rest will be incomprehensible — is: what is the power that moves peoples? To this, modern history laboriously replies either that Napoleon was a great genius, or that Louis XIV was very proud, or that certain writers wrote certain books. All that may be so and mankind is ready to agree with it, but it is not what was asked.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Epigraph',
  quote: 'Vengeance is mine; I will repay.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). All happy families resemble one another, each unhappy family is unhappy in its own way.\nPt. I, ch1. \nVariant translations: Happy families are all alike; every unhappy family is unhappy in its own way. All happy families resemble one another; every unhappy family is unhappy in its own way.',
  quote: 'Все счастливые семьи похожи друг на друга, каждая несчастливая семья несчастлива по-своему.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Pt. 1, ch2',
  quote: 'There was no answer, except the general answer life gives to all the most complex and insoluble questions. That answer is: one must live for the needs of the day, in other words, become oblivious. To become oblivious in dreams was impossible now, at least till night-time; it was impossible to return to that music sung by carafe-women; and so one had to become oblivious in the dreams of life.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). P1Ch3',
  quote: 'Stephan Arkadievich chose neither his attitudes nor his opinions, no, the attitudes and opinions came to him on their own, just as he chose neither the style of his hat nor of his coats but got what people were wearing.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Pt. I, ch9',
  quote: 'He knew she was there by the joy and fear that overwhelmed his heart.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Pt. I, ch9',
  quote: 'He stepped down, trying not to look long at her, as if she were the sun, yet he saw her, like the sun, even without looking.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). P2Ch8',
  quote: 'All his life Alexey Alexandrovitch had lived and worked in official spheres, having to do with the reflection of life. And every time he had stumbled against life itself he had shrunk away from it. Now he experienced a feeling akin to that of a man who, wile calmly crossing a precipice by a bridge, should suddenly discover that the bridge is broken, and that there is a chasm below. That chasm was life itself, the bridge that artificial life in which Alexey Alexandrovitch had lived.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878)',
  quote: 'Vronsky, meanwhile, in spite of the complete realization of what he had so long desired, was not perfectly happy. He soon felt that the realization of his desires gave him no more than a grain of sand out of the mountain of happiness he had expected. It showed him the mistake men make in picturing to themselves happiness as the realization of their desires. For a time after joining his life to hers, and putting on civilian dress, he had felt all the delight of freedom in general, of which he had known nothing before, and of freedom in his love — and he was content, but not for long. He was soon aware that there was springing up in his heart a desire for desires — longing. Without conscious intention he began to clutch at every passing caprice, taking it for a desire and an object.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Anna’s thoughts about Liza, P3Ch13',
  quote: 'There was something in her higher than what surrounded her. There was in her the glow of the real diamond among glass imitations. This glow shone out in her exquisite, truly enigmatic eyes. The weary, and at the same time passionate, glance of those eyes, encircled by dark rings, impressed one by its perfect sincerity. Everyone looking into those eyes fancied he knew her wholly, and knowing her, could not but love her.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Vronky and Anna discussing the visiting Prince, P4Ch3',
  quote: '“If you want him defined, here he is: a prime, well-fed beast such as takes medals at the cattle shows, and nothing more,” he said, with a tone of vexation that interested her.“No; how so?” she replied. “He\'s seen a great deal, anyway; he\'s cultured?”“It\'s an utterly different culture—their culture. He\'s cultivated, one sees, simply to be able to despise culture, as they despise everything but animal pleasures.”'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Pt. IV, ch4',
  quote: 'One can insult an honest man or an honest woman, but to tell a thief that he is a thief is merely la constation d\'un fait [The establishing of a fact.]'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). P4Ch6',
  quote: 'The new commission for the inquiry into the condition of the native tribes in all its branches had been formed and dispatched to its destination with an unusual speed and energy inspired by Alexey Alexandrovitch. Within three months a report was presented.  The condition of the native tribes was investigated in its political, administrative, economic, ethnographic, material, and religious aspects. To all these questions there were answers admirably stated, and answers admitting no shade of doubt, since they were not a product of human thought, always liable to error, but were all the product of official activity. The answers were all based on official data furnished by governors and heads of churches, and founded on the reports of district magistrates and ecclesiastical superintendents, founded in their turn on the reports of parochial overseers and parish priests; and so all of these answers were unhesitating and certain. All such questions as, for instance, of the cause of failure of crops, of the adherence of certain tribes to their ancient beliefs, etc.—questions which, but for the convenient intervention of the official machine, are not, and cannot be solved for ages—received full, unhesitating solution.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). (voice of Anna) C. Garnett, trans. (New York: 2003), P7Ch24. p685',
  quote: '"Respect was invented to cover the empty place where love should be."'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Pt. VIII, ch13',
  quote: 'Reason has discovered the struggle for existence and the law that I must throttle all those who hinder the satisfaction of my desires. That is the deduction reason makes. But the law of loving others could not be discovered by reason, because it is unreasonable.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Pt. VIII, ch19',
  quote: 'There is one evident, indubitable manifestation of the Divinity, and that is the laws of right which are made known to the world through Revelation.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Anna Karenina (1875–1877; 1878). Pt. VIII, ch19',
  quote: 'My reason will still not understand why I pray, but I shall still pray, and my life, my whole life, independently of anything that may happen to me, is every moment of it no longer meaningless as it was before, but has an unquestionable meaning of goodness with which I have the power to invest it.\''
}, {
  figure: 'Leo Tolstoy',
  mark: 'What Men Live By (1881). Ch4',
  quote: 'Go — take the mother\'s soul, and learn three truths: Learn What dwells in man, What is not given to man, and What men live by. When thou hast learnt these things, thou shalt return to heaven.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What Men Live By (1881)',
  quote: 'I thought: "I am perishing of cold and hunger, and here is a man thinking only of how to clothe himself and his wife, and how to get bread for themselves. He cannot help me. When the man saw me he frowned and became still more terrible, and passed me by on the other side. I despaired, but suddenly I heard him coming back. I looked up, and did not recognize the same man: before, I had seen death in his face; but now he was alive, and I recognized in him the presence of God.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What Men Live By (1881). Ch11',
  quote: 'Then I remembered the first lesson God had set me: "Learn what dwells in man." And I understood that in man dwells Love! I was glad that God had already begun to show me what He had promised, and I smiled for the first time.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What Men Live By (1881). Ch11',
  quote: 'The man is making preparations for a year, and does not know that he will die before evening. And I remembered God\'s second saying, "Learn what is not given to man." \'What dwells in man" I already knew. Now I learnt what is not given him. It is not given to man to know his own needs.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What Men Live By (1881). Ch11',
  quote: 'When the woman showed her love for the children that were not her own, and wept over them, I saw in her the living God, and understood What men live by.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What Men Live By (1881). Ch12',
  quote: 'And the angel\'s body was bared, and he was clothed in light so that eye could not look on him; and his voice grew louder, as though it came not from him but from heaven above. And the angel said: I have learnt that all men live not by care for themselves, but by love. It was not given to the mother to know what her children needed for their life. Nor was it given to the rich man to know what he himself needed. Nor is it given to any man to know whether, when evening comes, he will need boots for his body or slippers for his corpse. I remained alive when I was a man, not by care of myself, but because love was present in a passer-by, and because he and his wife pitied and loved me. The orphans remained alive, not because of their mother\'s care, but because there was love in the heart of a woman a stranger to them, who pitied and loved them. And all men live not by the thought they spend on their own welfare, but because love exists in man. I knew before that God gave life to men and desires that they should live; now I understood more than that. I understood that God does not wish men to live apart, and therefore he does not reveal to them what each one needs for himself; but he wishes them to live united, and therefore reveals to each of them what is necessary for all. I have now understood that though it seems to men that they live by care for themselves, in truth it is love alone by which they live. He who has love, is in God, and God is in him, for God is love.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Confession (1882). Pt. I, ch1',
  quote: 'Quite often a man goes on for years imagining that the religious teaching that had been imparted to him since childhood is still intact, while all the time there is not a trace of it left in him.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Confession (1882). Pt. I, ch2',
  quote: 'I cannot recall those years without horror, loathing, and heart-rending pain. I killed people in war, challenged men to duels with the purpose of killing them, and lost at cards; I squandered the fruits of the peasants\' toil and then had them executed; I was a fornicator and a cheat. Lying, stealing, promiscuity of every kind, drunkenness, violence, murder — there was not a crime I did not commit... Thus I lived for ten years.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Confession (1882). Pt. I, ch5',
  quote: 'Several times I asked myself, "Can it be that I have overlooked something, that there is something which I have failed to understand? Is it not possible that this state of despair is common to everyone?" And I searched for an answer to my questions in every area of knowledge acquired by man. For a long time I carried on my painstaking search; I did not search casually, out of mere curiosity, but painfully, persistently, day and night, like a dying man seeking salvation. I found nothing.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Confession (1882). Ch5. translated by David Patterson, 1983',
  quote: 'The only absolute knowledge attainable by man is that life is meaningless.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Confession (1882). Ch9',
  quote: 'For man to be able to live he must either not see the infinite, or have such an explanation of the meaning of life as will connect the finite with the infinite.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Death of Ivan Ilyich (1886). Ch2',
  quote: 'Ivan Ilych\'s life had been most simple and most ordinary and therefore most terrible.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Death of Ivan Ilyich (1886). Ch6',
  quote: 'Ivan Ilych saw that he was dying, and he was in continual despair. In the depth of his heart he knew he was dying, but not only was he not accustomed to the thought, he simply did not and could not grasp it. The syllogism he had learnt from Kiesewetter\'s Logic: "Caius is a man, men are mortal, therefore Caius is mortal," had always seemed to him correct as applied to Caius, but certainly not as applied to himself. That Caius — man in the abstract — was mortal, was perfectly correct, but he was not Caius, not an abstract man, but a creature quite, quite separate from all others.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Death of Ivan Ilyich (1886). Ch11',
  quote: 'It occurred to him that what had appeared perfectly impossible before, namely that he had not spent his life as he should have done, might after all be true. It occurred to him that his scarcely perceptible attempts to struggle against what was considered good by the most highly placed people, those scarcely noticeable impulses which he had immediately suppressed, might have been the real thing, and all the rest false. And his professional duties and the whole arrangement of his life and of his family, and all his social and official interests, might all have been false. He tried to defend all those things to himself and suddenly felt the weakness of what he was defending.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'The unhappiness of our life; patch up our false way of life as we will, propping it up by the aid of the sciences and arts - that life becomes feebler, sicklier, and more tormenting every year; every year the number of suicides and the avoidance of motherhood increases; every year the people of that class become feebler; every year we feel the increasing gloom of our lives. Evidently salvation is not to be found by increasing the comforts and pleasures of life, medical treatments, artificial teeth and hair, breathing exercises, massage, and so forth;...It is impossible to remedy this by any amusements, comforts, or powders - it can only be remedied by a change of life.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'The conscience of a man of our circle, if he retains but a scrap of it, cannot rest, and poisons all the comforts and enjoyments of life supplied to us by the labour of our brothers, who suffer and perish at that labour. And not only does every conscientious man feel this himself (he would be glad to forget it, but cannot do so in our age) but all the best part of science and art - that part which has not forgotten the purpose of its vocation - continually reminds us of our cruelty and of our unjustifiable position. The old firm justifications are all destroyed; the new ephemeral justifications of the progress of science for science\'s sake and art for art\'s sake do not stand the light of simple common sense. Men\'s consciences cannot be set at rest by new excuses, but only by a change of life which will make any justification of oneself unnecessary as there will be nothing needing justification.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886). Ch29',
  quote: 'When I started life Hegelianism was the basis of everything: it was in the air, found expression in magazine and newspaper articles, in novels and essays, in art, in histories, in sermons, and in conversation. A man unacquainted with Hegel had no right to speak: he who wished to know the truth studied Hegel. Everything rested on him; and suddenly forty years have gone by and there is nothing left of him, he is not even mentioned — as though he had never existed. And what is most remarkable is that, like pseudo-Christianity, Hegelianism fell not because anyone refuted it, but because it suddenly became evident that neither the one nor the other was needed by our learned, educated world.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'Is not the reason of the confidence of the positive, critical, experimental scientists, and of the reverent attitude of the crowd towards their doctrines, still the same? At first it seems strange how the theory of evolution (which, like the redemption in theology, serves the majority as a popular expression of the whole new creed) can justify people in their injustice, and it seems as if the scientific theory dealt only with facts and did nothing but observe facts. But that only seems so. It seemed just the same in the case of theological doctrine: theology, it seemed, was only occupied with dogmas and had no relation to people\'s lives, and it seemed the same with regard to philosophy, which appeared to be occupied solely with transcendental reasonings. But that only seemed so. It was just the same with the Hegelian doctrine on a large scale and with the particular case of the Malthusian teaching.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'The positivist philosophy of Comte and the I doctrine deduced from it that humanity is an organism, and Darwin\'s doctrine of a law of the struggle for existence that is supposed to govern life, with the differentiation of various breeds of people which follows from it, and the anthropology, biology, and sociology of which people are now so fond-all have the same aim. These have all become favourite sciences because they serve to justify the way in which people free themselves from the human obligation to labour, while consuming the fruits of other people\'s labour.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'This new fraud is just like the old ones: its essence lies in substituting something external for the use of our own reason and conscience and that of our predecessors: in the Church teaching this external thing was revelation, in the scientific teaching it is observation. The trick played by this science is to destroy man\'s faith in reason and conscience by directing attention to the grossest deviations from the use of human reason and conscience, and having clothed the deception in a scientific theory, to assure them that by acquiring knowledge of external phenomena they will get to know indubitable facts which will reveal to them the law of man\'s life. And the mental demoralization consists in this, that coming to believe that things which should be decided by conscience and reason are decided by observation, these people lose their consciousness of good and evil and become incapable of understanding the expression and definitions of good and evil that have been formed by the whole preceding life of humanity. All this, in their jargon, is conditional and subjective. It must all be abandoned - they say - the truth cannot be understood by one\'s reason, for one may err, but there is another path which is infallible and almost mechanical: one must study facts. And facts must be studied on the basis of the scientists\' science, that is, on the basis of two unfounded propositions: positivism and evolution which are put forward as indubitable truths. And the reigning science, with not less misleading solemnity than the Church, announces that the solution of all questions of life is only possible by the study of the facts of nature, and especially of organisms. A frivolous crowd of youths mastered by the novelty of this authority, which is as yet not merely not destroyed but not even touched by criticism, throws itself into the study of these facts of natural science as the sole path which, according to the assertions of the prevailing doctrine, can lead to the elucidation of the questions of life. But the further these disciples advance in this study the further and further are they removed not only from the possibility but even from the very thought of solving life\'s problems, and the more they become accustomed not so much to observe as to take on trust what they are told of the observations of others (to believe in cells, in protoplasm, in the fourth state of matter,\n1 &c.), the more and more does the form hide the contents from them; the more and more do they lose consciousness of good and evil and capacity to understand the expressions and definitions of good and evil worked out by the whole preceding life of humanity; the more and more do they adopt the specialized scientific jargon of conventional expressions which have no general human significance; the farther and farther do they wander among the debris of quite unilluminated observations; the more and more do they lose capacity not only to think independently but even to under-stand another man\'s fresh human thought lying outside their Talmud; and, what is most important, they pass their best years in growing unaccustomed to life, that is, to labour, and grow accustomed to consider their condition justified, while they become physically good-for-nothing parasites. And just like the theologians and the Talmudists they completely castrate their brains and become eunuchs of thought. And just like them, to the degree to which they become stupefied, they acquire a self-confidence which deprives them for ever of the possibility of returning to a simple clear and human way of thinking.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'Science has adapted itself entirely to the wealthy classes and accordingly has set itself to heal those who can afford everything, and it prescribes the same methods for those who have nothing to spare.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'Science may fall back on its stupid excuse that science works for science, and that when it has been developed by the scientists it will become accessible to the people also; but art, if it be art, should be accessible to all, and particularly to those for whom it is produced. And the position of our art strikingly arraigns the producers of art for not wishing, not knowing how, and being unable, to serve the people.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'Service of the people by sciences and arts will only exist when men live with the people and as the people live, and without presenting any claims will offer their scientific and artistic services, which the people will be free to accept or decline as they please.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'To say that the activity of science and art helps humanity\'s progress, if by that activity we mean the activity which now calls itself by those names, is as though one said that the clumsy, obstructive splashing of oars in a boat moving down stream assists the boat\'s progress. It only hinders it... The proof of this is seen in the confession made by men of science that the achievements of the arts and sciences are inaccessible to the labouring masses on account of the unequal distribution of wealth.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: '\'BUT science and art! You are denying science and art: that is you are denying that by which humanity lives.\'  People constantly make this rejoinder to me, and they employ: this method in order to reject my arguments without examination.  \'He rejects science and art, he wishes man to revert to a state of savagery - why listen to him or discuss with him?\'  But this is unjust. Not only do I not repudiate science, that is, the reasonable activity of humanity, and art - the expression of that reasonable activity - but it is just on behalf of that reasonable activity and its expression that I speak, only that It may be possible for mankind to escape from the savage state into which it is rapidly lapsing thanks to the false teaching of our time. It is only on that account that I speak as I do.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'A real mother, who knows the will of God by experience, will prepare her children also to fulfil it. Such a mother will suffer if she sees her child overfed, effeminate, and dressed-up, for she knows that these things will make it difficult for it to fulfil the will of God which she recognizes.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What then must we do? (1886)',
  quote: 'If there may be doubts for men and for a childless woman as to the way to, fulfil the will of God, for a mother that path is firmly and clearly defined, and if she fulfils it humbly with a simple heart she stands on the highest point of perfection a human being can attain, and becomes for all a model of that complete performance of God\'s will which all desire. Only a mother can before her death tranquilly say to Him who sent her into this world, and Whom she has served by bearing and bringing up children whom she has loved more than herself - only she having served Him in the way appointed to her can say with tranquillity, Now lettest Thou Thy servant depart in peace. And that is the highest perfection to which, as to the highest good, men aspire.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kreutzer Sonata (1889). Ch23.. This is not, as it is often quoted, a stand-alone Tolstoy epigram, but part of the narration by the novella\'s jealousy-ridden protagonist Pozdnyshev.',
  quote: 'If one has no vanity in this life of ours, there is no sufficient reason for living.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Slavery of Our Times (1890). Ch5. Why Learned Economists Assert What Is False',
  quote: 'The condition of life to which people of the well-to-do classes are accustomed is that of an abundant production of various articles necessary for their comfort and pleasure, and these things are obtained only thanks to the existence of factories and works organized as at present. And, therefore, discussing the improvement of the workers\' position, the men of science belonging to the well- to-do classes always have in view only such improvements as will not do away with the system of factory-production and those conveniences of which they avail themselves.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Slavery of Our Times (1890). Ch8. Slavery Exists Among Us',
  quote: 'If the slave-owner of our times has no slave, John, whom he can send to the cesspool, he has five shillings, of which hundreds of such Johns are in such need that the slave-owner of our times may choose any one out of hundreds of Johns and be a benefactor to him by giving him the preference, and allowing him, rather than another, to climb down into the cesspool.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Slavery of Our Times (1890). Ch8. Slavery Exists Among Us',
  quote: 'The slaves of our times are not all those factory and workshop hands only who must sell themselves completely into the power of the factory and foundry-owners in order to exist, but nearly all the agricultural laborers are slaves, working, as they do, unceasingly to grow another\'s corn on another\'s field, and gathering it into another\'s barn; or tilling their own fields only in order to pay to bankers the interest on debts they cannot get rid of. And slaves also are all the innumerable footmen, cooks, porters, housemaids, coachmen, bathmen, waiters, etc., who all their life long perform duties most unnatural to a human being, and which they themselves dislike.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Slavery of Our Times (1890). Ch8. Slavery Exists Among Us',
  quote: 'Slavery exists in full vigor, but we do not perceive it, just as in Europe at the end of the Eighteenth Century the slavery of serfdom was not perceived.\nPeople of that day thought that the position of men obliged to till the land for their lords, and to obey them, was a natural, inevitable, economic condition of life, and they did not call it slavery.\nIt is the same among us: people of our day consider the position of the laborer to be a natural, inevitable economic condition, and they do not call it slavery. And as, at the end of the Eighteenth Century, the people of Europe began little by little to understand that what formerly seemed a natural and inevitable form of economic life-namely, the position of peasants who were completely in the power of their lords-was wrong, unjust and immoral, and demanded alteration, so now people today are beginning to understand that the position of hired workmen, and of the working classes in general, which formerly seemed quite right and quite normal, is not what it should be, and demands alteration.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The First Step (1892). Ch7',
  quote: 'To be good and lead a good life means to give to others more than one takes from them.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The First Step (1892). Ch8',
  quote: 'There is a scale of virtues, and it is necessary, if one would mount the higher steps, to begin with the lowest; and the first virtue a man must acquire if he wishes to acquire the others, is that which the ancients called ἐγκράτεια or σωφροσύνη — i.\ne., self-control or moderation.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The First Step (1892). Ch9',
  quote: 'I had wished to visit a slaughter-house, in order to see with my own eyes the reality of the question raised when vegetarianism is discussed. But at first I felt ashamed to do so, as one is always ashamed of going to look at suffering which one knows is about to take place, but which one cannot avert; and so I kept putting off my visit. But a little while ago I met on the road a butcher … He is not yet an experienced butcher, and his duty is to stab with a knife. I asked him whether he did not feel sorry for the animals that he killed. He gave me the usual answer: \'Why should I feel sorry? It is necessary.\' But when I told him that eating flesh is not necessary, but is only a luxury, he agreed; and then he admitted that he was sorry for the animals.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The First Step (1892). Ch9',
  quote: 'Once … I was offered a lift by some carters … It was the Thursday before Easter. I was seated in the first cart, with a strong, red, coarse carman, who evidently drank. On entering a village we saw a well-fed, naked, pink pig being dragged out of the first yard to be slaughtered. It squealed in a dreadful voice, resembling the shriek of a man. Just as we were passing they began to kill it. A man gashed its throat with a knife. The pig squealed still more loudly and piercingly, broke away from the men, and ran off covered with blood. Being near-sighted I did not see all the details. I saw only the human-looking pink body of the pig and heard its desperate squeal; but the carter saw all the details and watched closely. They caught the pig, knocked it down, and finished cutting: its throat. When its squeals ceased the carter sighed heavily. \'Do men really not have to answer for such things?\' he said.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The First Step (1892). Ch9',
  quote: 'And see, a kind, refined lady will devour the carcasses of these animals with full assurance that she is doing right, at the same time asserting two contradictory propositions: First, that she is, as her doctor assures her, so delicate that she cannot be sustained by vegetable food alone, and that for her feeble organism flesh is indispensable; and, secondly, that she is so sensitive that she is unable, not only herself to inflict suffering on animals, but even to bear the sight of suffering. Whereas the poor lady is weak precisely because she has been taught to live upon food unnatural to man; and she cannot avoid causing suffering to animals — for she eats them.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The First Step (1892). Ch10',
  quote: 'We are not ostriches, and cannot believe that if we refuse to look at what we do not wish to see, it will not exist. This is especially the case when what we do not wish to see is what we wish to eat. If it were really indispensable, or, if not indispensable, at least in some way useful! But it is quite unnecessary … And this is continually being confirmed by the fact that young, kind, undepraved people — especially women and girls — without knowing how it logically follows, feel that virtue is incompatible with beefsteaks, and, as soon as they wish to be good, give up eating flesh.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The First Step (1892). Ch10',
  quote: 'The precise reason why abstinence from animal food will be the first act … of a moral life is admirably explained in the book, The Ethics of Diet [by Howard Williams]; and not by one man only, but by all mankind in the persons of its best representatives during all the conscious life of humanity. … the moral progress of humanity — which is the foundation of every other kind of progress — is always slow; but … the sign of true, not casual, progress is its uninterruptedness and its continual acceleration. And the progress of vegetarianism is of this kind. That progress, is expressed both in the words of the writers cited in the above-mentioned book and in the actual life of mankind, which from many causes is involuntarily passing metre and more from carnivorous habits to vegetable food, and is also deliberately following the same path in a movement which shows evident strength, and which is growing larger and larger — viz., vegetarianism.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Preface',
  quote: 'In the year 1884 I wrote a book under the title "What I Believe," in which I did in fact make a sincere statement of my beliefs. In affirming my belief in Christ\'s teaching, I could not help explaining why I do not believe, and consider as mistaken, the Church\'s doctrine...  Among the many points in which this doctrine falls short of the doctrine of Christ I pointed out as the principal one the absence of any commandment of non-resistance to evil by force. The perversion of Christ\'s teaching by the teaching of the Church is more clearly apparent in this than in any other point of difference.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Ch3',
  quote: 'The most difficult subjects can be explained to the most slow-witted man if he has not formed any idea of them already; but the simplest thing cannot be made clear to the most intelligent man if he is firmly persuaded that he knows already, without a shadow of doubt, what is laid before him.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Ch4',
  quote: 'The savage recognizes life only in himself and his personal desires. His interest in life is concentrated on himself alone. The highest happiness for him is the fullest satisfaction of his desires. The motive power of his life is personal enjoyment. His religion consists in propitiating his deity and in worshiping his gods, whom he imagines as persons living only for their personal aims.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Ch4',
  quote: 'The civilized pagan recognizes life not in himself alone, but in societies of men—in the tribe, the clan, the family, the kingdom —and sacrifices his personal good for these societies. The motive power of his life is glory. His religion consists in the exaltation of the glory of those who are allied to him—the founders of his family, his ancestors, his rulers—and in worshiping gods who are exclusively protectors of his clan, his family, his nation, his government'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Ch4',
  quote: 'The man who holds the divine theory of life recognizes life not in his own individuality, and not in societies of individualities (in the family, the clan, the nation, the tribe, or the government), but in the eternal undying source of life—in God; and to fulfill the will of God he is ready to sacrifice his individual and family and social welfare. The motor power of his life is love. And his religion is the worship in deed and in truth of the principle of the whole—God.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Ch4',
  quote: 'The whole historic existence of mankind is nothing else than the gradual transition from the personal, animal conception of life to the social conception of life, and from the social conception of life to the divine conception of life.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Ch5',
  quote: 'We are all brothers—and yet every morning a brother or a sister must empty the bedroom slops for me. We are all brothers, but every morning I must have a cigar, a sweetmeat, an ice, and such things, which my brothers and sisters have been wasting their health in manufacturing, and I enjoy these things and demand them...We are all brothers, but I live on a salary paid me for prosecuting, judging, and condemning the thief or the prostitute whose existence the whole tenor of my life tends to bring about, and who I know ought not to be punished but reformed. We are all brothers, but I live on the salary I gain by collecting taxes from needy laborers to be spent on the luxuries of the rich and idle. We are all brothers, but I take a stipend for preaching a false Christian religion, which I do not myself believe in, and which only serve\'s to hinder men from understanding true Christianity. I take a stipend as priest or bishop for deceiving men in the matter of the greatest importance to them. We are all brothers, but I will not give the poor the benefit of my educational, medical, or literary labors except for money. We are all brothers, yet I take a salary for being ready to commit murder, for teaching men to murder, or making firearms, gunpowder, or fortifications.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Ch5',
  quote: 'The whole life of the upper classes is a constant inconsistency. The more delicate a man\'s conscience is, the more painful this contradiction is to him.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Ch12',
  quote: 'The only significance of life consists in helping to establish the kingdom of God; and this can be done only by means of the acknowledgment and profession of the truth by each one of us.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894)',
  quote: 'The Quakers sent me books, from which I learnt how they had, years ago, established beyond doubt the duty for a Christian of fulfilling the command of non-resistance to evil by force, and had exposed the error of the Church\'s teaching in allowing war and capital punishment.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894)',
  quote: 'Further acquaintance with the labors of the Quakers and their works — with Fox, Penn, and especially the work of Dymond (published in 1827) — showed me not only that the impossibility of reconciling Christianity with force and war had been recognized long, long ago, but that this irreconcilability had been long ago proved so clearly and so indubitably that one could only wonder how this impossible reconciliation of Christian teaching with the use of force, which has been, and is still, preached in the churches, could have been maintained in spite of it.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894)',
  quote: 'William Lloyd Garrison took part in a discussion on the means of suppressing war in the Society for the Establishment of Peace among Men, which existed in 1838 in America. He came to the conclusion that the establishment of universal peace can only be founded on the open profession of the doctrine of non-resistance to evil by violence (Matt. v. 39), in its full significance, as understood by the Quakers, with whom Garrison happened to be on friendly relations. Having come to this conclusion, Garrison thereupon composed and laid before the society a declaration, which was signed at the time — in 1838 — by many members.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894). Variant: Government is an association of men who do violence to the rest of us.',
  quote: 'The error arises from the learned jurists deceiving themselves and others, by asserting that government is not what it really is, one set of men banded together to oppress another set of men, but, as shown by science, is the representation of the citizens in their collective capacity.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894)',
  quote: 'Armies are necessary, before all things, for the defense of governments from their own oppressed and enslaved subjects.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894)',
  quote: 'We cannot pretend that we do not see the armed policeman who marches up and down beneath our window to guarantee our security while we eat our luxurious dinner, or look at the new piece at the theater, or that we are unaware of the existence of the soldiers who will make their appearance with guns and cartridges directly our property is attacked.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894)',
  quote: 'The revolutionaries say: "The government organization is bad in this and that respect; it must be destroyed and replaced by this and that." But a Christian says: "I know nothing about the governmental organization, or in how far it is good or bad, and for the same reason I do not want to support it."'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894)',
  quote: 'All state obligations are against the conscience of a Christian: the oath of allegiance, taxes, law proceedings and military service.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894)',
  quote: 'The Churches as Churches have always been and cannot fail to be institutions not only alien to, but directly hostile towards, Christ\'s teaching.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'The Kingdom of God is Within You (1894)',
  quote: 'The Churches as Churches—as institutions affirming their own infallibility—are anti-Christian institutions. Between the Churches as such and Christianity, not only is there nothing in common except the name, but they are two quite opposite and opposing principles. The one represents pride, violence, self-assertion, immobility and death: the other humility, penitence, meekness, progress, and life.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Christianity (1896). Ch1',
  quote: 'There is no single speech nor article in which it is not said that the purpose of all these orgies is the peace of Europe. At a dinner given by the representatives of French literature, all breathe of peace. M. Zola, who, a short time previously, had written that war was inevitable, and even serviceable; M. de Vogue, who more than once has stated the same in print, say, neither of them, a word as to war, but speak only of peace. The sessions of Parliament open with speeches upon the past festivities; the speakers mention that such festivities are an assurance of peace to Europe. It is as if a man should come into a peaceful company, and commence energetically to assure everyone present that he has not the least intention to knock out anyone\'s teeth, blacken their eyes, or break their arms, but has only the most peaceful ideas for passing the evening.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Christianity (1896). Ch17',
  quote: 'No feats of heroism are needed to achieve the greatest and most important changes in the existence of humanity; neither the armament of millions of soldiers, nor the construction of new roads and machines, nor the arrangement of exhibitions, nor the organization of workmen\'s unions, nor revolutions, nor barricades, nor explosions, nor the perfection of aerial navigation; but a change in public opinion. And to accomplish this change no exertions of the mind are needed, nor the refutation of anything in existence, nor the invention of any extraordinary novelty; it is only needful that we should not succumb to the erroneous, already defunct, public opinion of the past, which governments have induced artificially; it is only needful that each individual should say what he really feels or thinks, or at least that he should not say what he does not think.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Christianity (1896). Ch17',
  quote: 'One is ashamed to say how little is needed for all men to be delivered from those calamities which now oppress them; it is only needful not to lie.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Christianity (1896). Ch17',
  quote: 'One free man will say with truth what he thinks and feels amongst thousands of men who by their acts and words attest exactly the opposite. It would seem that he who sincerely expressed his thought must remain alone, whereas it generally happens that every one else, or the majority at least, have been thinking and feeling the same things but without expressing them. And that which yesterday was the novel opinion of one man, to-day becomes the general opinion of the majority. And as soon as this opinion is established, immediately by imperceptible degrees, but beyond power of frustration, the conduct of mankind begins to alter. Whereas at present, every man, even, if free, asks himself, "What can I do alone against all this ocean of evil and deceit which overwhelms us? Why should I express my opinion? Why indeed possess one? It is better not to reflect on these misty and involved questions. Perhaps these contradictions are an inevitable condition of our existence. And why should I struggle alone with all the evil in the world? Is it not better to go with the stream which carries me along ? If anything can be done, it must be done not alone but in company with others." And leaving the most powerful of weapons — thought and its expression — which move the world, each man employs the weapon of social activity, not noticing that every social activity is based on the very foundations against which he is bound to fight, and that upon entering the social activity which exists in our world every man is obliged, if only in part, to deviate from the truth and to make concessions which destroy the force of the powerful weapon which should assist him in the struggle. It is as if a man, who was given a blade so marvelously keen that it would sever anything, should use its edge for driving in nails. We all complain of the senseless order of life, which is at variance with our being, and yet we refuse to use the unique and powerful weapon within our hands — the consciousness of truth and its expression; but on the contrary, under the pretext of struggling with evil, we destroy the weapon, and sacrifice it to the exigencies of an imaginary conflict\'.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Christianity (1896). Ch17',
  quote: 'One man does not assert the truth which he knows, because he feels himself bound to the people with whom he is engaged; another, because the truth might deprive him of the profitable position by which he maintains his family; a third, because he desires to attain reputation and authority, and then use them in the service of mankind; a fourth, because he does not wish to destroy old sacred traditions; a fifth, because he has no desire to offend people; a sixth, because the expression of the truth would arouse persecution, and disturb the excellent social activity to which he has devoted himself. One serves as emperor, king, minister, government functionary, or soldier, and assures himself and others that the deviation from truth indispensable to his condition is redeemed by the good he does. Another, who fulfils the duties of a spiritual pastor, does not in the depths of his soul believe all he teaches, but permits the deviation from truth in view of the good he does. A third instructs men by means of literature, and notwithstanding the silence he must observe with regard to the whole truth, in order not to stir up the government and society against himself, has no doubt as to the good he does. A fourth struggles resolutely with the existing order as revolutionist or anarchist, and is quite assured that the aims he pursues are so beneficial that the neglect of the truth, or even of the falsehood, by silence, indispensable to the success of his activity, does not destroy the utility of his work. In order that the conditions of a life contrary to the consciousness of humanity should change and be replaced by one which is in accord with it, the outworn public opinion must be superseded by a new and living one. And in order that the old outworn opinion should yield its place to the new living one, all who are conscious of the new requirements of existence should openly express them. And yet all those who are conscious of these new requirements, one in the name of one thing, and one in the name of another, not only pass them over in silence, but both by word and deed attest their exact opposites.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Christianity (1896). Ch17',
  quote: 'Only the truth and its expression can establish that new public opinion which will reform the ancient obsolete and pernicious order of life; and yet we not only do not express the truth we know, but often even distinctly give expression to what we ourselves regard as false. If only free men would not rely on that which has no power, and is always fettered — upon external aids; but would trust in that which is always powerful and free — the truth and its expression!'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Patriotism and Christianity (1896). A Reply to Criticisms',
  quote: 'Those attacks upon language and religion in Poland, the Baltic provinces, Alsace, Bohemia, upon the Jews in Russia, in every place that such acts of violence occur—in what name have they been, and are they, perpetrated? In none other than the name of that patriotism which you defend. Ask our savage Russifiers of Poland and the Baltic provinces, ask the persecutors of the Jews, why they act thus. They will tell you it is in defence of their native religion and language; they will tell you that if they do not act thus, their religion and language will suffer—the Russians will be Polonised, Teutonised, Judaised.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897). Ch8',
  quote: 'Art is a human activity having for its purpose the transmission to others of the highest and best feelings to which men have risen.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'The assertion that art may be good art and at the same time incomprehensible to a great number of people is extremely unjust, and its consequences are ruinous to art itself...it is the same as saying some kind of food is good but most people can\'t eat it.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'People understand the meaning of eating lies in the nourishment of the body only when they cease to consider that the object of that activity is pleasure. ...People understand the meaning of art only when they cease to consider that the aim of that activity is beauty, i.\ne., pleasure.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'In spite the mountains of books written about art, no precise definition of art has been constructed. And the reason for this is that the conception of art has been based on the conception of beauty.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'In order to correctly define art, it is necessary, first of all, to cease to consider it as a means to pleasure and consider it as one of the conditions of human life. ...Reflecting on it in this way, we cannot fail to observe that art is one of the means of affective communication between people.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'By words one transmits thoughts to another, by means of art, one transmits feelings.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'To evoke in oneself a feeling one has once experienced, and having evoked it in oneself, then by means of movements, lines, colors, sounds, or forms expressed through words, so to convey this so that others may experience the same feeling — this is the activity of art.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'Art is a human activity consisting in this, that one consciously, by means of certain external symbols, conveys to others the feelings one has experienced, whereby people so infected by these feelings, also experience them.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'Art is not, as the metaphysicians say, the manifestation of some mysterious Idea of beauty or God; it is not, as the aesthetical physiologists say, [play or] a game in which one releases surplus energy, ...not the production of pleasing objects, and is above all, not pleasure itself, but it is the means of union among mankind, joining them in the same feelings, and necessary for the life and progress toward the good of the individual and of humanity.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'The activity of art is... as important as the activity of language itself, and as universal.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'Some teachers of mankind — as Plato... the first Christians, the orthodox Muslims, and the Buddhists — have gone so far as to repudiate art. ...[They consider it] so highly dangerous in its power to infect people against their wills, that mankind will lose far less by banishing all art than by tolerating each and every art. ...such people were wrong in repudiating all art, for they denied that which cannot be denied — one of the indispensable means of communication, without which mankind could not exist. ...Now there is only fear, lest we should be deprived of any pleasures art can afford, so any type of art is patronized. And I think the last error is much grosser than the first and that its consequences are far more harmful.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'The appreciation of the merits of art (of the emotions it conveys) depends upon an understanding of the meaning of life, what is seen as good and evil. Good and evil are defined by religions.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'Humanity unceasingly strives forward from a lower, more partial and obscure understanding of life to one more general and more lucid. And in this, as in every movement, there are leaders — those who have understood the meaning of life more clearly than others — and of those advanced men there is always one who has in his words and life, manifested this meaning more clearly, accessibly, and strongly than others. This man\'s expression … with those superstitions, traditions, and ceremonies which usually form around the memory of such a man, is what is called a religion. Religions are the exponents of the highest comprehension of life … within a given age in a given society … a basis for evaluating human sentiments. If feelings bring people nearer to the religion\'s ideal … they are good, if these estrange them from it, and oppose it, they are bad.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'The Christianity of the first centuries recognized as productions of good art, only legends, lives of saints, sermons, prayers, and hymn-singing evoking love of Christ, emotion at his life, desire to follow his example, renunciation of worldly life, humility, and the love of others; all productions transmitting feelings of personal enjoyment they considered to be bad, and therefore rejected … This was so among the Christians of the first centuries who accepted Christ teachings, if not quite in its true form, at least not yet in the perverted, paganized form in which it was accepted subsequently. But besides this Christianity, from the time of the wholesale conversion of whole nations by order of the authorities, as in the days of Constantine, Charlemagne and Vladimir, there appeared another , a Church Christianity, which was nearer to paganism than to Christ\'s teaching. And this Church Christianity … did not acknowledge the fundamental and essential positions of true Christianity — the direct relationship of each individual to the Father, the consequent brotherhood and equality of all people, and the substitution of humility and love in place of every kind of violence — but, on the contrary, having founded a heavenly hierarchy similar to the pagan mythology, and having introduced the worship of Christ, of the Virgin, of angels, of apostles, of saints, and of martyrs, but not only of these divinities themselves but of their images, it made blind faith in its ordinances an essential point of its teachings. However foreign this teaching may have been to true Christianity, however degraded, not only in comparison with true Christianity, but even with the life-conception of the Romans such as Julian and others, it was for all that, to the barbarians who accepted it, a higher doctrine than their former adoration of gods, heroes, and good and bad spirits. And therefore this teaching was a religion to them, and on the basis of that religion the art of the time was assessed. And art transmitting pious adoration of the Virgin, Jesus, the saints, and the angels, a blind faith in and submission to the Church, fear of torments and hope of blessedness in a life beyond the grave, was considered good; all art opposed to this was considered bad.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'In the upper, rich, more educated classes of European society doubt arose as to the truth of that understanding of life which was expressed by Church Christianity. When, after the Crusades and the maximum development of papal power and its abuses, people of the rich classes became acquainted with the wisdom of the classics and saw, on the one hand, the reasonable lucidity of the teachings of the ancient sages, and on the other hand, the incompatibility of the Church doctrine with the teaching of Christ, they found it impossible to continue to believe the Church teaching.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'No longer able to believe in the Church religion, whose falsehood they had detected, and incapable of accepting true Christian teaching, which denounced their whole manner of life, these rich and powerful people, stranded without any religious conception of life, involuntarily returned to that pagan view of things which places life\'s meaning in personal enjoyment. And then among the upper classes what is called the "Renaissance of science and art" took place, which was really not only a denial of every religion, but also an assertion that religion was unnecessary.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'So the majority of the highest classes of that age, even the popes and ecclesiastics, really believed in nothing at all. They did not believe in the Church doctrine, for they saw its insolvency; but neither could they follow Francis of Assisi, Kelchitsky,  and most of the sectarians in acknowledging the moral, social teaching of Christ, for that undermined their social position. And so these people remained without any religious view of life. And, having none, they could have no standard with which to estimate what was good and what was bad art, but that of personal enjoyment.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'Having acknowledged the measure of the good to be pleasure, i.\ne., beauty, the European upper classes went back in their comprehension of art to the gross conception of the primitive Greeks which Plato had already condemned. And with this understanding of life, a theory of art was formulated.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'The partisans of aesthetic theory denied that it was their own invention, and professed that it existed in the nature of things and even that it was recognized by the ancient Greeks. But... among the ancient Greeks, due to their low grade (compared to the Christian) moral ideal, their conception of the good was not yet sharply distinguished from their conception of the beautiful. That highest conception of goodness (not identical with beauty and for the most part, contrasting with it) discerned by the Jews even in the time of Isaiah and fully expressed by Christianity, was unknown to the Greeks. It is true that the Greek\'s foremost thinkers — Socrates, Plato, Aristotle — felt that goodness may not coincide with beauty. ...But notwithstanding all this, they could not quite dismiss the notion that beauty and goodness coincide. And consequently in the language of that period a compound word (καλο-κάγαθια, beauty-goodness) came into use to express that notion. Evidently the Greek sages began to draw close to the perception of goodness which is expressed in Buddhism and in Christianity, but they got entangled in defining the relationship between goodness and beauty. And it was just this confusion of ideas that those Europeans of a later age … tried to elevate into law. … On this misunderstanding the new science of aesthetics was built.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'After Plotinus, says Schassler, fifteen centuries passed without the slightest scientific interest for the world of beauty and art. ...In reality, nothing of the kind happened. The science of aesthetics … neither did nor could vanish, because it never existed. … the Greeks were so little developed that goodness and beauty seemed to coincide. On that obsolete Greek view of life the science of aesthetics was invented by men of the eighteenth century, and especially shaped and mounted in Baumgarten\'s theory. The Greeks (as anyone may read in Bénard\'s book on Aristotle and Walter\'s work on Plato) never had a science of aesthetics.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'Aesthetic theories arose one hundred fifty years ago among the wealthy classes of the Christian European world. ...And notwithstanding its obvious insolidity, nobody else\'s theory so pleased the cultured crowd or was accepted so readily and with such absence of criticism. It so suited the people of the upper classes that to this day, notwithstanding its entirely fantastic character and the arbitrary nature of its assertions, it is repeated by the educated and uneducated as though it were something indubitable and self-evident.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'Such … was the theory (an outgrowth of Malthusian) of the selection and struggle for existence as the basis of human progress. Such again, is Marx\'s theory, with regard to the gradual destruction of small private production by large capitalistic production... as an inevitable decree of fate. However unfounded such theories are, however contrary to all that is known and confessed by humanity, and however obviously immoral these may be, they are accepted with credulity, pass uncriticized, and are preached … To this class belongs this astonishing theory of the Baungarten trinity — Goodness, Beauty and Truth — according to which it appears that the very best that can be done by the art of nations after 1900 years of Christian teaching is to choose as the ideal of their life that which was held by a small, semi-savage, slaveholding people who lived 2000 years ago, who imitated the nude human body extremely well, and erected buildings pleasing to the eye. Educated people write long, nebulous treatises on beauty as a member of the aesthetic trinity of beauty, truth, and goodness... and they all think that by pronouncing these sacrosanct words, they speak of something quite definite and solid... on which they can base their opinions. … only for the purpose of justifying the false importance we attribute to an art that conveys every feeling, provided those feelings give us pleasure.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'The good is the everlasting, the pinnacle of our life. … life is striving towards the good, toward God. The good is the most basic idea … an idea not definable by reason … yet is the postulate from which all else follows. But the beautiful … is just that which is pleasing. The idea of beauty is not an alignment to the good, but is its opposite, because for most part, the good aids in our victory over our predilections, while beauty is the motive of our predilections. The more we succumb to beauty, the further we are displaced from the good. ...the usual response is that there exists a moral and spiritual beauty … we mean simply the good. Spiritual beauty or the good, generally not only does not coincide with the typical meaning of beauty, it is its opposite.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'Truth is … one approach to the attainment of the good, but in and of itself, it is neither the good nor the beautiful … Socrates, Pascal, and others regarded knowledge of the truth with regard to purposeless objects as incongruous with the good … [by] exposing deception, truth destroys illusion, which is the principle attribute of beauty.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897)',
  quote: 'And so the arbitrary union of three incommensurate, mutually disconnected concepts became the basis of a bewildering theory... [by which] one of the lowest renderings of art, art for mere pleasure — against which all of the master teachers warned — was idealized as the ultimate in art.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897). Feelings, the most diverse, very strong and very weak, very significant and very worthless, very bad and very good, if only they infect the reader, the spectator, the listener, constitute the subject of art.',
  quote: 'Чувства, самые разнообразные, очень сильные и очень слабые, очень значительные и очень ничтожные, очень дурные и очень хорошие, если только они заражают читателя, зрителя, слушателя, составляют предмет искусства.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897). A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist.',
  quote: 'Настоящее произведение искусства делает то, что в сознании воспринимающего уничтожается разделение между ним и художником...'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Art? (1897). Opening to Ch14.. Translation from: What Is Art and Essays on Art (Oxford University Press, 1930, trans. Aylmer Maude)',
  quote: 'I know that most men — not only those considered clever, but even those who are very clever and capable of understanding most difficult scientific, mathematical, or philosophic, problems — can seldom discern even the simplest and most obvious truth if it be such as obliges them to admit the falsity of conclusions they have formed, perhaps with much difficulty — conclusions of which they are proud, which they have taught to others, and on which they have built their lives.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch1',
  quote: 'All the efforts of several hundred thousand people, crowded in a small space, to disfigure the land on which they lived; all the stone they covered it with to keep it barren; how so diligently every sprouting blade of grass was removed; all the smoke of coal and naphtha; all the cutting down of trees and driving off of cattle could not shut out the spring, even from the city. The sun was shedding its light; the grass, revivified, was blooming forth, where it was left uncut, not only on the greenswards of the boulevard, but between the flag-stones, and the birches, poplars and wild-berry trees were unfolding their viscous leaves; the limes were unfolding their buds; the daws, sparrows and pigeons were joyfully making their customary nests, and the flies were buzzing on the sun-warmed walls. Plants, birds, insects and children were equally joyful. Only men—grown-up men—continued cheating and tormenting themselves and each other. People saw nothing holy in this spring morning, in this beauty of God\'s world—a gift to all living creatures—inclining to peace, good-will and love, but worshiped their own inventions for imposing their will on each other.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch13',
  quote: 'Three years ago he was an honest, self-denying youth, ready to devote himself to every good cause; now he was a corrupt and refined egotist, given over to personal enjoyment. … And all this terrible transformation took place in him only because he ceased to have faith in himself, and began to believe in others.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch14',
  quote: 'In Nekhludoff, as in all people, there were two beings; one spiritual, who sought only such happiness for himself as also benefited others; and the animal being, seeking his own happiness for the sake of which he is willing to sacrifice that of the world.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch18',
  quote: 'In the depth of his soul he knew that his action was so base, abominable and cruel that, with that action upon his conscience, not only would he have no right to condemn others but he should not be able to look others in the face, to say nothing of considering himself the good, noble, magnanimous man he esteemed himself. And he had to esteem himself as such in order to be able to continue to lead a valiant and joyous life. And there was but one way of doing so, and that was not to think of it. This he endeavored to do.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch28',
  quote: 'The difference between him as he was then and as he was now was great … Then he was a courageous, free man, before whom opened endless possibilities; now he felt himself caught in the tenets of a stupid, idle, aimless, miserable life, from which there was no escape; aye, from which, for the most part, he would not escape. He remembered how he once had prided himself upon his rectitude; how he always made it a rule to tell the truth, and was in reality truthful, and how he was now steeped in falsehood—falsehood which was recognized as truth by all those around him.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch28',
  quote: '"Let people judge me as they please—I can deceive them, but I cannot deceive myself."And he suddenly understood that the disgust which he had lately felt toward everybody … was disgust with himself.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch28',
  quote: '"Why, you have tried to improve before, and failed," the tempter in his soul whispered. "What is the good of trying again? You are not the only one—all are alike. Such is life." But the free, spiritual being which alone is true, alone powerful, alone eternal, was already awake in Nekhludoff. And he could not help believing it. However great the difference between that which he was and that which he wished to be, for the awakened spiritual being everything was possible.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch28',
  quote: 'He crossed his hands on his breast, as he used to do when a child, raised his eyes and said:"Lord, help me, teach me; come and enter within me and purify me of all this abomination."He prayed, asked God to help him and purify him, while that which he was praying for had already happened. Not only did he feel the freedom, vigor and gladness of life, but he also felt the power of good. He felt himself capable of doing the best that man can do.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch33',
  quote: 'It is remarkable that since Nekhludoff understood that he was disgusted with himself, others ceased to be repulsive to him.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch57',
  quote: 'One of the most popular superstitions consists in the belief that every man is endowed with definite qualities—­that some men are kind, some wicked; some wise, some foolish; some energetic, some apathetic, etc. This is not true. We may say of a man that he is oftener kind than wicked; oftener wise than foolish; oftener energetic than apathetic, and vice versa. But it would not be true to say of one man that he is always kind or wise, and of another that he is always wicked or foolish. And yet we thus divide people. This is erroneous. Men are like rivers—­the water in all of them, and at every point, is the same, but every one of them is now narrow, now swift, now wide, now calm, now clear, now cold, now muddy, now warm. So it is with men. Every man bears within him the germs of all human qualities, sometimes manifesting one quality, sometimes another; and often does not resemble himself at all, manifesting no change. With some people these changes are particularly sharp. And to this class Nekhludoff belonged.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch73',
  quote: 'Nekhludoff recalled his relations with the wife of the district commander, and a flood of shameful recollections came upon him. “There is a disgusting bestiality in man,” he thought; “but when it is in a primitive state, one looks down upon and despises it, whether he is carried away with or withstands it. But when this same bestiality hides itself under a so-called aesthetic, poetic cover, and demands to be worshiped, then, deifying the beast, one gives himself up to it, without distinguishing between the good and the bad. Then it is horrible.”'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch83',
  quote: 'Simonson, in rubber jacket and similar galoshes, bound with whip-cord over woolen socks (he was a vegetarian and did not use the skin of animals), was also awaiting the departure of the party. He stood near the entrance of the house, writing down in a note-book a thought that occurred to him. “If,” he wrote, “a bacterium were to observe and analyze the nail of a man, it would declare him an inorganic being. Similarly, from an observation of the earth’s surface, we declare it to be inorganic. That is wrong.”'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Resurrection (1899). Ch92',
  quote: '“That is the principal thing,” thought Nekhludoff. “We all live in the silly belief that we ourselves are the lords of our world, that this world has been given us for our enjoyment. But this is evidently untrue. Somebody must have sent us here for some reason. And for this reason it is plain that we will suffer like those laborers suffer who do not fulfill the wishes of their Master. The will of the Lord is expressed in the teachings of Christ. Let man obey Him, and the Kingdom of the Lord will come on earth, and man will derive the greatest possible good.“Seek the truth and the Kingdom of God, and the rest will come of itself. We seek that which is to come, and do not find it, and not only do we not build the Kingdom of God, but we destroy it.“So this will henceforth be the task of my life!”And indeed, from that night a new life began for Nekhludoff; not so much because he had risen into a new stage of existence, but because all that had happened to him till then assumed for him an altogether new meaning.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Religion, of What does its Essence Consist? (1902). Ch11',
  quote: 'This divergence and perversion of the essential question is most striking in what goes today by the name of philosophy. There would seem to be only one question for philosophy to resolve: What must I do? Despite being combined with an enormous amount of unnecessary confusion, answers to the question have at any rate been given within the philosophical tradition on the Christian nations. For example, in Kant´s Critique of Practical Reason, or in Spinoza, Schopenhauer and specially Rousseau.\nBut in more recent times, since Hegel´s assertion that all that exists is reasonable, the question of what one must do has been pushed to the background and philosophy has directed its whole attention to the investigation of things as they are, and to fitting them into a prearranged theory. This was the first step backwards.\nThe second step, degrading human thought yet further, was the acceptance of the struggle for existence as a basic law, simply because that struggle can be observed among animals and plants. According to this theory the destruction of the weakest is a law which should not be opposed. And finally, the third step was taken when the childish originality of Nietzsche´s half-crazed thought, presenting nothing complete or coherent, but only various drafts of immoral and completely unsubstantiated ideas, was accepted by the leading figures as the final word in philosophical science. In reply to the question: what must we do? the answer is now put straightforwardly as: live as you like, without paying attention to the lives of others.\nIf anyone doubted that the Christian world of today has reached a frightful state of torpor and brutalization (not forgetting the recent crimes committed in the Boers and in China, which were defended by the clergy and acclaimed as heroic feats by all the world powers), the extraordinary success of Nietzsche´s works is enough to provide irrefutable proof of this. Some disjointed writings, striving after effect in a most sordid manner, appear, written by a daring, but limited and abnormal German, suffering from power mania. Neither in talent nor in their basic argument to these writings justify public attention. In the days of Kant, Leibniz, or Hume, or even fifty years ago, such writings would not only have received no attention, but they would not even have appeared. But today all the so called educated people are praising the ravings of Mr. N, arguing about him, elucidating him, and countless copies of his works are printed in all languages.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'What is Religion, of What does its Essence Consist? (1902). Ch11',
  quote: 'The whole world knows that virtue consists in the subjugation of one\'s passions, or in self-renunciation. It is not just the Christian world, against whom Nietzsche howls, that knows this, but it is an eternal supreme law towards which all humanity has developed, including Brahmanism, Buddhism, Confucianism, and the ancient Persian religion. And suddenly a man appears who declares that he is convinced that self-renunciation, meekness, submissiveness and love are all vices that destroy humanity (he has in mind Christianity, ignoring all the other religions).One can understand why such a declaration baffled people at first. But after giving it a little thought and failing to find any proof of the strange propositions, any rational person ought to throw the books aside and wonder if there is any kind of rubbish that would not find a publisher today. But this has not happened with Nietzsche´s books. The majority of pseudo-enlightened people seriously look into the theory of the Übermensch, and acknowledge its author to be a great philosopher, a descendant of Descartes, Leibniz and Kant. And all this has come about because the majority of pseudo-enlightened  men of today object to any reminder of virtue, or to its chief premise: self-renunciation and love—virtues that restrain and condemn the animal side of their life. They gladly welcome a doctrine, however incoherently and disjointedly expressed, of egotism and cruelty, sanctioning the idea of personal happiness and superiority over the lives of others, by which they live.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Pedagogical Writings (1903). Pegagogicheskie Statli (Pedagogical Writings), pg. 143.',
  quote: 'The relation of word to thought, and the creation of new concepts is a complex, delicate and enigmatic process unfolding in our soul.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). I',
  quote: 'The oppression of a majority by a minority, and the demoralization inevitably resulting from it, is a phenomenon that has always occupied me and has done so most particularly of late.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). I',
  quote: 'The reason for the astonishing fact that a majority of working people submit to a handful of idlers who control their labour and their very lives is always and everywhere the same — whether the oppressors and oppressed are of one race or whether, as in India and elsewhere, the oppressors are of a different nation. This phenomenon seems particularly strange in India, for there more than two hundred million people, highly gifted both physically and mentally, find themselves in the power of a small group of people quite alien to them in thought, and immeasurably inferior to them in religious morality. … the reason lies in the lack of a reasonable religious teaching which, by explaining the meaning of life would supply a supreme law for the guidance of conduct, and would replace the more than dubious precepts of pseudo­religion and pseudo­science and the immoral conclusions deduced from them, commonly called "civilization."'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). II',
  quote: 'Amid this life based on coercion, one and the same thought constantly emerged among different nations, namely, that in every individual a spiritual element is manifested that gives life to all that exists, and that this spiritual element strives to unite with everything of a like nature to itself, and attains this aim through love.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). III',
  quote: 'The recognition that love represents the highest morality was nowhere denied or contradicted, but this truth was so interwoven everywhere with all kinds of falsehoods which distorted it, that finally nothing of it remained but words. It was taught that this highest morality was only applicable to private life — for home use, as it were — but that in public life all forms of violence — such as imprisonment, executions, and wars — might be used for the protection of the majority against a minority of evildoers, though such means were diametrically opposed to any vestige of love.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). III',
  quote: 'People continued — regardless of all that leads man forward — to try to unite the incompatibles : the virtue of love, and what is opposed to love, namely, the restraining of evil by violence. And such a teaching, despite its inner contradiction, was so firmly established that the very people who recognize love as a virtue accept as lawful at the same time an order of life based on violence and allowing men not merely to torture but even to kill one another.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). III',
  quote: 'In former times the chief method of justifying the use of violence and thereby infringing the law of love was by claiming a divine right for the rulers: the Tsars, Sultans, Rajahs, Shahs, and other heads of states. But the longer humanity lived the weaker grew the belief in this peculiar, God-given right of the ruler. That belief withered in the same way and almost simultaneously in the Christian and the Brahman world, as well as in Buddhist and Confucian spheres, and in recent times it has so faded away as to prevail no longer against man\'s reasonable understanding and the true religious feeling. People saw more and more clearly, and now the majority see quite clearly, the senselessness and immorality of subordinating their wills to those of other people just like themselves, when they are bidden to do what is contrary not only to their interests but also to their moral sense.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). III',
  quote: 'Unfortunately not only were the rulers, who were considered supernatural beings, benefited by having the peoples in subjection, but as a result of the belief in, and during the rule of, these pseudodivine beings, ever larger and larger circles of people grouped and established themselves around them, and under an appearance of governing took advantage of the people. And when the old deception of a supernatural and God-appointed authority had dwindled away these men were only concerned to devise a new one which like its predecessor should make it possible to hold the people in bondage to a limited number of rulers.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). IV',
  quote: 'These new justifications are termed "scientific". But by the term "scientific" is understood just what was formerly understood by the term "religious": just as formerly everything called "religious" was held to be unquestionable simply because it was called religious, so now all that is called "scientific" is held to be unquestionable. In the present case the obsolete religious justification of violence which consisted in the recognition of the supernatural personality of the God-ordained ruler ("there is no power but of God") has been superseded by the "scientific" justification which puts forward, first, the assertion that because the coercion of man by man has existed in all ages, it follows that such coercion must continue to exist. This assertion that people should continue to live as they have done throughout past ages rather than as their reason and conscience indicate, is what "science" calls "the historic law". A further "scientific" justification lies in the statement that as among plants and wild beasts there is a constant struggle for existence which always results in the survival of the fittest, a similar struggle should be carried on among human­beings, that is, who are gifted with intelligence and love; faculties lacking in the creatures subject to the struggle for existence and survival of the fittest. Such is the second "scientific" justification. The third, most important, and unfortunately most widespread justification is, at bottom, the age-old religious one just a little altered: that in public life the suppression of some for the protection of the majority cannot be avoided — so that coercion is unavoidable however desirable reliance on love alone might be in human intercourse. The only difference in this justification by pseudo-science consists in the fact that, to the question why such and such people and not others have the right to decide against whom violence may and must be used, pseudo-science now gives a different reply to that given by religion — which declared that the right to decide was valid because it was pronounced by persons possessed of divine power. "Science" says that these decisions represent the will of the people, which under a constitutional form of government is supposed to find expression in all the decisions and actions of those who are at the helm at the moment. Such are the scientific justifications of the principle of coercion. They are not merely weak but absolutely invalid, yet they are so much needed by those who occupy privileged positions that they believe in them as blindly as they formerly believed in the immaculate conception, and propagate them just as confidently. And the unfortunate majority of men bound to toil is so dazzled by the pomp with which these "scientific truths" are presented, that under this new influence it accepts these scientific stupidities for holy truth, just as it formerly accepted the pseudo-religious justifications; and it continues to submit to the present holders of power who are just as hard-hearted but rather more numerous than before.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). V',
  quote: 'A commercial company enslaved a nation comprising two hundred millions. Tell this to a man free from superstition and he will fail to grasp what these words mean. What does it mean that thirty thousand men, not athletes but rather weak and ordinary people, have subdued two hundred million vigorous, clever, capable, and freedom-loving people? Do not the figures make it clear that it is not the English who have enslaved the Indians, but the Indians who have enslaved themselves?'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). V',
  quote: 'When the Indians complain that the English have enslaved them it is as if drunkards complained that the spirit-dealers who have settled among them have enslaved them. You tell them that they might give up drinking, but they reply that they are so accustomed to it that they cannot abstain, and that they must have alcohol to keep up their energy. Is it not the same thing with the millions of people who submit to thousands or even to hundreds, of others — of their own or other nations? If the people of India are enslaved by violence it is only because they themselves live and have lived by violence, and do not recognize the eternal law of love inherent in humanity.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). V',
  quote: 'As soon as men live entirely in accord with the law of love natural to their hearts and now revealed to them, which excludes all resistance by violence, and therefore hold aloof from all participation in violence — as soon as this happens, not only will hundreds be unable to enslave millions, but not even millions will be able to enslave a single individual.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). V. "Do not resist the evil-doer" is an allusion to the words of Jesus Christ in Matthew 5:\n39.',
  quote: 'Do not resist the evil-doer and take no part in doing so, either in the violent deeds of the administration, in the law courts, the collection of taxes, or above all in soldiering, and no one in the world will be able to enslave you.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). VI',
  quote: 'What is now happening to the people of the East as of the West is like what happens to every individual when he passes from childhood to adolescence and from youth to manhood. He loses what had hitherto guided his life and lives without direction, not having found a new standard suitable to his age, and so he invents all sorts of occupations, cares, distractions, and stupefactions to divert his attention from the misery and senselessness of his life. Such a condition may last a long time.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). VI',
  quote: 'When an individual passes from one period of life to another a time comes when he cannot go on in senseless activity and excitement as before, but has to understand that although he has out-grown what before used to direct him, this does not mean that he must live without any reasonable guidance, but rather that he must formulate for himself an understanding of life corresponding to his age, and having elucidated it must be guided by it. And in the same way a similar time must come in the growth and development of humanity.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). VI',
  quote: 'The inherent contradiction of human life has now reached an extreme degree of tension: on the one side there is the consciousness of the beneficence of the law of love, and on the other the existing order of life which has for centuries occasioned an empty, anxious, restless, and troubled mode of life, conflicting as it does with the law of love and built on the use of violence. This contradiction must be faced, and the solution will evidently not be favourable to the outlived law of violence, but to the truth which has dwelt in the hearts of men from remote antiquity: the truth that the law of love is in accord with the nature of man. But men can only recognize this truth to its full extent when they have completely freed themselves from all religious and scientific superstitions and from all the consequent misrepresentations and sophistical distortions by which its recognition has been hindered for centuries.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). VI',
  quote: 'In order that men should embrace the truth — not in the vague way they did in childhood, nor in the one-sided and perverted way presented to them by their religious and scientific teachers, but embrace it as their highest law the complete liberation of this truth from all and every superstition (both pseudo-religious and pseudo-scientific) by which it is still obscured is essential: not a partial, timid attempt, reckoning with traditions sanctified by age and with the habits of the people — not such as was effected in the religious sphere by Guru Nanak, the founder of the sect of the Sikhs, and in the Christian world by Luther, and by similar reformers in other religions — but a fundamental cleansing of religious consciousness from all ancient religious and modern scientific superstitions.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). VI',
  quote: 'If only people freed themselves from their beliefs in all kinds of Ormuzds, Brahmas, Sabbaoths, and their incarnation as Krishnas and Christs, from beliefs in Paradises and Hells, in reincarnations and resurrections, from belief in the interference of the Gods in the external affairs of the universe, and above all, if they freed themselves from belief in the infallibility of all the various Vedas, Bibles, Gospels, Tripitakas, Korans, and the like, and also freed themselves from blind belief in a variety of scientific teachings about infinitely small atoms and molecules and in all the infinitely great and infinitely remote worlds, their movements and origin, as well as from faith in the infallibility of the scientific law to which humanity is at present subjected: the historic law, the economic laws, the law of struggle and survival, and so on, — if people only freed themselves from this terrible accumulation of futile exercises of our lower capacities of mind and memory called the "Sciences", and from the innumerable divisions of all sorts of histories, anthropologies, homiletics, bacteriologics, jurisprudences, cosmographies, strategies — their name is legion — and freed themselves from all this harmful, stupefying ballast — the simple law of love, natural to man, accessible to all and solving all questions and perplexities, would of itself become clear and obligatory.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908). VII',
  quote: 'In the spiritual realm nothing is indifferent: what is not useful is harmful.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'A Letter to a Hindu (1908)',
  quote: 'What are wanted for the Indian as for the Englishman, the Frenchman, the German, and the Russian, are not Constitutions and Revolutions, nor all sorts of Conferences and Congresses, nor the many ingenious devices for submarine navigation and aerial navigation, nor powerful explosives, nor all sorts of conveniences to add to the enjoyment of the rich, ruling classes; nor new schools and universities with innumerable faculties of science, nor an augmentation of papers and books, nor gramophones and cinematographs, nor those childish and for the most part corrupt stupidities termed art — but one thing only is needful: the knowledge of the simple and clear truth which finds place in every soul that is not stupefied by religious and scientific superstitions — the truth that for our life one law is valid — the law of love, which brings the highest happiness to every individual as well as to all mankind. Free your minds from those overgrown, mountainous imbecilities which hinder your recognition of it, and at once the truth will emerge from amid the pseudo-religious nonsense that has been smothering it: the indubitable, eternal truth inherent in man, which is one and the same in all the great religions of the world. It will in due time emerge and make its way to general recognition, and the nonsense that has obscured it will disappear of itself, and with it will go the evil from which humanity now suffers.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p3',
  quote: 'Genuine religion is not about speculating about God or the soul or about what happened in the past or will happen in the future; it cares only about one thing—finding out exactly what should or should not be done in this lifetime.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p5',
  quote: 'It is terrible when people do not know God, but it is worse when people identify as God what is not God.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p10',
  quote: 'We measure the earth, sun, stars, and ocean depths. We burrow into the depths of the earth for gold. We search for rivers and mountains on the moon. We discover new stars and know their magnitudes. We sound the depths of gorges and build clever machines. Each day brings a new invention. What don’t we think of! What can’t we do! But there is something else, the most important thing of all, that we are missing. We do not know exactly what it is. We are like a small child who knows he does not feel well but cannot explain why. We are uneasy, because we know a lot of superfluous facts; but we do not know what is really important—ourselves.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p12',
  quote: 'Saying that what we call our “selves” consist only of our bodies and that reason, soul, and love arise only from the body, is like saying that what we call our body is equivalent to the food that feeds the body. It is true that my body is only made up of digested food and that my body would not exist without food, but my body is not the same as food. Food is what the body needs for life, but it is not the body itself. The same thing is true of my soul. It is true that without my body there would not be that which I call my soul, but my soul is not my body. The soul may need the body, but the body is not the soul.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p17',
  quote: 'All our problems are caused by forgetting what lives within us, and we sell our souls for the “bowl of stew” of bodily satisfactions.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p37',
  quote: 'You worldly-minded people are most unfortunate! You are surrounded with sorrows and troubles overhead and underfoot and to the right and to the left, and you are enigmas even to yourselves.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p79',
  quote: 'Division of labor is a justification for sloth.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p81',
  quote: 'No one has yet added up all the heavy, stress-filled workdays as well as the hundreds, perhaps thousands, of lives that are wasted to produce the world’s amusements. It is for this reason that “amusements” are not so amusing.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p82',
  quote: 'Honest work is much better than a mansion.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p83',
  quote: 'Giving alms is only a virtuous deed when you give money that you yourself worked to get.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p86',
  quote: 'Wealth is a great sin in the eyes of God. Poverty is a great sin in the eyes of man.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p88',
  quote: 'Wealth brings a heavy purse; poverty, a light spirit.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p89',
  quote: 'The compassionate are not rich; therefore, the rich are not compassionate.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p89',
  quote: 'If a poor person envies a rich person, he is no better than the rich person.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p108',
  quote: 'When a person inflates his own importance, he does not see his own sins; and his sins get bigger right along with him.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p108',
  quote: 'It is often better for a person to recognize a sin than to do a good deed. Recognizing a sin makes a person humble. Doing a good deed often can feed a person’s pride.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p108',
  quote: 'When a person is haughty, he distances himself from other people and thereby deprives himself of one of life’s biggest pleasures—open, joyful communication with everyone.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p110',
  quote: 'An arrogant person considers himself perfect. This is the chief harm of arrogance. It interferes with a person’s main task in life—becoming a better person.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p110',
  quote: '“He who exalts himself shall be humbled; and he who humbles himself shall be exalted.” (Matthew 23:\n12) The person who exalts himself … will be humbled, because a person who considers himself to be good, intelligent, and kind will not even try to become better, smarter, kinder. The humble person will be exalted, because he considers himself bad and will try to become better, kinder, and more reasonable.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p206',
  quote: 'The most important person is the one you are with in this moment.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p209',
  quote: 'In life, in true life, there can be nothing better than what is. Wanting something different than what is, is blasphemy.'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p209',
  quote: 'Memento mori—remember death! These are important words. If we kept in mind that we will soon inevitably die, our lives would be completely different. If a person knows that he will die in a half hour, he certainly will not bother doing trivial, stupid, or, especially, bad things during this half hour. Perhaps you have half a century before you die—what makes this any different from a half hour?'
}, {
  figure: 'Leo Tolstoy',
  mark: 'Path of Life (1909). p210',
  quote: 'People try to do all sorts of clever and difficult things to improve life instead of doing the simplest, easiest thing—refusing to participate in activities that make life bad.'
}];

var Lin_Yutang = [{
  figure: 'Lin Yutang',
  mark: '"The Function of Criticism at the Present Time", in The China Critic, Vol3. no. 4 (19300123), p81',
  quote: 'I like to think of criticism as the highest intellectual effort that mankind is capable of, and above all, I like to think of self-criticism as the most difficult attainment of an educated man.'
}, {
  figure: 'Lin Yutang',
  mark: '"Of Freedom of Speech", lecture given in China (19330304)',
  quote: 'I am here to speak on freedom of speech. It is a great topic, and I am going to make my speech as free as possible. But you know that this cannot be done, for when anyone announces that he is going to speak his mind freely, everyone is frightened. This shows that there is no such thing as true freedom of speech. No one can afford to let his neighbors know what he is thinking about them. Society can exist only on the basis that there is some amount of polished lying and that no one says exactly what he thinks.'
}, {
  figure: 'Lin Yutang',
  mark: 'In Vogue, as quoted by The Reader\'s Digest, Vols. 30–31 (1937), p69',
  quote: 'All women\'s dresses, in every age and country, are merely variations on the eternal struggle between the admitted desire to dress and the unadmitted desire to undress.'
}, {
  figure: 'Lin Yutang',
  mark: 'Confucius Saw Nancy and Essays about Nothing (1936), p95',
  quote: 'Human history is not the product of the wise direction of human reason, but is shaped by the forces of emotion—our dreams, our pride, our greed, our fears, and our desire for revenge.'
}, {
  figure: 'Lin Yutang',
  mark: '"A Trip to Anhwei", in With Love And Irony (1940), p145',
  quote: 'No one realizes how beautiful it is to travel until he comes home and rests his head on his old, familiar pillow.'
}, {
  figure: 'Lin Yutang',
  mark: 'Between Tears And Laughter (1943), p71. Variant: "When there are too many policemen, there can be no liberty. When there are too many soldiers, there can be no peace. When there are too many lawyers, there can be no justice.", as quoted in The World\'s Funniest Laws (2005) by James Alexander, ISBN 1905102100, p6.',
  quote: 'The Chinese believe that when there are too many policemen, there can be no individual liberty, when there are too many lawyers, there can be no justice, and when there are too many soldiers, there can be no peace.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Wisdom of Laotse (1948), Intro, p15',
  quote: 'If compelled to indicate my religion on an immigration blank, I might be tempted to put down the word "Taoist," to the amazement of the customs officer who probably never heard of it.'
}, {
  figure: 'Lin Yutang',
  mark: 'On the Wisdom of America (1950), p. xiv',
  quote: 'Our task is not so much discovery as re-discovery. What one needs is not so much thinking as remembering. Sometimes it suffices to sit quietly and listen well, when venerable men have thought before us. Constant forgettings of truths once perceived are the very charm of the human mind; the history of human thought is nothing more than the story of these forgettings and rememberings and forgettings again.'
}, {
  figure: 'Lin Yutang',
  mark: 'On the Wisdom of America (1950), p155',
  quote: 'If life is all subjective, why not be subjectively happy rather than subjectively sad?'
}, {
  figure: 'Lin Yutang',
  mark: 'As quoted by Tai-yi Lin (Lin Yutang\'s daughter) in her Foreword (19500326) to The Importance of Living, p. x',
  quote: 'There are two kinds of animals on earth. One kind minds his own business, the other minds other people\'s business. The former are vegetarians, like cows, sheep and thinking men. The latter are carnivorous, like hawks, tigers and men of action.'
}, {
  figure: 'Lin Yutang',
  mark: 'As quoted in Remarks of Famous People (1965) by Jacob Morton Braude, p23',
  quote: 'The secret of contentment is knowing how to enjoy what you have, and to be able to lose all desire for things beyond your reach.'
}, {
  figure: 'Lin Yutang',
  mark: 'Memoirs of an Octogenarian (1975), p8–9',
  quote: 'These influences of my young childhood were greatest: 1, the mountain landscape, 2, my father the impossible idealist, and 3, the upringing of a closely-knit Christian home.'
}, {
  figure: 'Lin Yutang',
  mark: 'As quoted in Pearls of Wisdom: A Harvest of Quotations From All Ages (1987) by Jerome Agel and Walter D. Glanze, p46. From The Importance of Living: "besides the noble art of getting things done, there is a nobler art of leaving things undone" (p162), "the wisdom of life consists in the elimination of non-essentials" (p10).',
  quote: 'Besides the noble art of getting things done, there is the noble art of leaving things undone. The wisdom of life consists in the elimination of non-essentials.'
}, {
  figure: 'Lin Yutang',
  mark: 'As quoted in Hard-to-Solve Cryptograms (2001) by Derrick Niederman, p96',
  quote: 'When small men begin to cast big shadows, it means that the sun is about to set.'
}, {
  figure: 'Lin Yutang',
  mark: 'My Country and My People (1935). p43',
  quote: 'A mellow understanding of life and of human nature is, and always has been, the Chinese ideal of character, and from that understanding other qualities are derived, such as pacifism, contentment, calm and strength of endurance which distinguish the Chinese character.'
}, {
  figure: 'Lin Yutang',
  mark: 'My Country and My People (1935). p106',
  quote: 'To the West, it seems hardly imaginable that the relationship between man and man (which is morality) could be maintained without reference to a Supreme Being, while to the Chinese it is equally amazing that men should not, or could not, behave toward one another as decent beings without thinking of their indirect relationship through a third party.'
}, {
  figure: 'Lin Yutang',
  mark: 'My Country and My People (1935). Epilogue, p328',
  quote: 'I like spring, but it is too young. I like summer, but it is too proud. So I like best of all autumn, because its leaves are a little yellow, its tone mellower, its colours richer, and it is tinged a little with sorrow and a premonition of death. Its golden richness speaks not of the innocence of spring, nor of the power of summer, but of the mellowness and kindly wisdom of approaching age. It knows the limitations of life and is content. From a knowledge of those limitations and its richness of experience emerges a symphony of colours, richer than all, its green speaking of life and strength, its orange speaking of golden content and its purple of resignation and death.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Preface',
  quote: 'This is a personal testimony, a testimony of my own experience of thought and life. It is not intended to be objective and makes no claim to establish eternal truths. In fact I rather despise claims to objectivity in philosophy; the point of view is the thing. I should have liked to call it "A Lyrical Philosophy," using the word "lyrical" in the sense of being a highly personal and individual outlook...'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p2',
  quote: 'It is not when he is working in the office but when he is lying idly on the sand that his soul utters, "Life is beautiful."'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p3',
  quote: 'While in the West, the insane are so many that they are put in an asylum, in China the insane are so unusual that we worship them, as anybody who has a knowledge of Chinese literature will testify.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p4',
  quote: 'A vague uncritical idealism always lends itself to ridicule and too much of it might be a danger to mankind, leading it round in a futile wild-goose chase for imaginary ideals.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p4–5',
  quote: 'It is important that man dreams, but it is perhaps equally important that he can laugh at his own dreams.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p5',
  quote: 'I distrust all dead and mechanical formulas for expressing anything connected with human affairs and human personalities. Putting human affairs in exact formulas shows in itself a lack of the sense of humor and therefore a lack of wisdom.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p8',
  quote: 'It is not so much what you believe in that matters, as the way in which you believe it and proceed to translate that belief into action.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p12',
  quote: 'My faith in human dignity consists in the belief that man is the greatest scamp on earth. Human dignity must be associated with the idea of a scamp and not with that of an obedient, disciplined and regimented soldier.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p12',
  quote: 'I am doing my best to glorify the scamp or vagabond. I hope I shall succeed. For things are not so simple as they sometimes seem. In this present age of threats to democracy and individual liberty, probably only the scamp and the spirit of the scamp alone will save us from being lost in serially numbered units in the masses of disciplined, obedient, regimented and uniformed coolies. The scamp will be the last and most formidable enemy of dictatorships. He will be the champion of human dignity and individual freedom, and will be the last to be conquered. All modern civilization depends entirely upon him.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p13',
  quote: 'I do not think that any civilization can be called complete until it has progressed from sophistication to unsophistication, and made a conscious return to simplicity of thinking and living, and I call no man wise until he has made the progress from the wisdom of knowledge to the wisdom of foolishness, and become a laughing philosopher, feeling first life\'s tragedy and then life\'s comedy. For we must weep before we can laugh. Out of sadness comes the awakening, and out of the awakening comes the laughter of the philosopher, with kindliness and tolerance to boot.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p13',
  quote: 'The world I believe is far too serious, and being far too serious, is it has need of a wise and merry philosophy.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch1. The Awakening, p13',
  quote: 'To me personally, the only function of philosophy is to teach us to take life more lightly and gayly than the average businessman does, for no businessman who does not retire at fifty, if he can, is in my eyes a philosopher.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p20',
  quote: 'All men and women have passions, natural desires and noble ambitions, and also a conscience; they have sex, hunger, fear, anger, and are subject to sickness, pain, suffering and death. Culture consists in bringing about the expression of these passions and desires in harmony.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p23',
  quote: 'A reasonable naturalist then settles down to this life with a sort of animal satisfaction. As Chinese illiterate women put it, "Others gave birth to us and we give birth to others. What else are we to do?".... Life becomes a biological procession and the very question of immortality is sidetracked. For that is the exact feeling of a Chinese grandfather holding his grandchild by the hand and going to the shops to buy some candy, with the thought that in five or ten years he will be returning to his grave or to his ancestors. The best that we can hope for in this life is that we shall not have sons and grandsons of whom we need to be ashamed.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p23-24',
  quote: 'One can learn such a lot and enjoy such a lot in seventy years, and three generations is a long, long time to see human follies and acquire human wisdom. Anyone who is wise and has lived long enough to witness the changes of fashion and morals and politics through the rise and fall of three generations should be perfectly satisfied to rise from his seat and go away saying, "It was a good show," when the curtain falls.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p32',
  quote: 'Human life can be lived like a poem.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p36',
  quote: 'Instead of holding on to the Biblical view that we are made in the image of God, we come to realize that we are made in the image of the monkey.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p38 (Chinese saying)',
  quote: 'A man may own a thousand acres of land, and yet he still sleeps upon a bed of five feet.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p39–40',
  quote: 'He who perceives death perceives a sense of the human comedy, and quickly becomes a poet.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch4. On Having A Stomach, p46',
  quote: 'What is patriotism but love of the good things we ate in our childhood? I have said elsewhere that the loyalty to Uncle Sam is the loyalty to doughnuts and ham and sweet potatoes and the loyalty to the German Vaterland is the loyalty to Pfannkuchen and Christmas Stollen. As for international understanding, I feel that macaroni has done more for our appreciation of Italy than Mussolini... in food, as in death, we feel the essential brotherhood of mankind.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p129',
  quote: 'How many of us are able to distinguish between the odors of noon and midnight, or of winter and summer, or of a windy spell and a still one? If man is so generally less happy in the cities than in the country, it is because all these variations and nuances of sight and smell and sound are less clearly marked and lost in the general monotony of gray walls and cement pavements.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p150',
  quote: 'Those who are wise won\'t be busy, and those who are too busy can\'t be wise.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p153. Often quoted as: "If you can spend a perfectly useless afternoon in a perfectly useless manner, you have learned how to live."',
  quote: 'On the whole, the enjoyment of leisure is something which decidedly costs less than the enjoyment of luxury. All it requires is an artistic temperament which is bent on seeking a perfectly useless afternoon spent in a perfectly useless manner.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p155',
  quote: 'No, the enjoyment of an idle life doesn\'t cost any money. The capacity for true enjoyment of idleness is lost in the moneyed class and can be found only among people who have a supreme contempt for wealth. It must come from an inner richness of the soul in a man who loves the simple ways of life and who is somewhat impatient with the business of making money.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p158',
  quote: 'True peace of mind comes from accepting the worst.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p162',
  quote: 'The three great American vices seem to be efficiency, punctuality, and the desire for achievement and success. They are the things that make the Americans so unhappy and so nervous.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p163',
  quote: 'A man who has to be punctually at a certain place at five o\'clock has the whole afternoon from one to five ruined for him already.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p193',
  quote: 'If the early Chinese people had any chivalry, it was manifested not toward women and children, but toward old people. That feeling of chivalry found clear expression in Mencius in some such saying as, "The people with gray hair should not be seen carrying burdens on the street," which was expressed as the final goal of good government.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p202',
  quote: 'Life after all is made up of eating and sleeping, of meeting and saying good-by to friends, of reunions and farewell parties, of tears and laughter, of having a haircut once in two weeks, of watering a potted flower and watching one’s neighbor fall off his roof.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p224',
  quote: 'There is something in the nature of tea that leads us into a world of quiet contemplation of life.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p242',
  quote: 'The greatest ideal that man can aspire to is not to be a show-case of virtue, but just to be a genial, likable and reasonable human being.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). Ch9. The Enjoyment of Living, p249, as quoted in Fred R Shapiro (2006). The Yale Book of Quotations. Yale University Press. p467. ISBN 0-300-10798-6.',
  quote: 'The Chinese do not draw any distinction between food and medicine.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p282',
  quote: 'By association with nature\'s enormities, a man\'s heart may truly grow big also. There is a way of looking upon a landscape as a moving picture and being satisfied with nothing less big as a moving picture, a way of looking upon tropic clouds over the horizon as the backdrop of a stage and being satisfied with nothing less big as a backdrop, a way of looking upon the mountain forests as a private garden and being satisfied with nothing less as a private garden, a way of listening to the roaring waves as a concert and being satisfied with nothing less as a concert, and a way of looking upon the mountain breeze as an air-cooling system and being satisfied with nothing less as an air-cooling system. So do we become big, even as the earth and firmaments are big. Like the "Big Man" described by Yuan Tsi (A.\nD. 210-263), one of China\'s first romanticists, we "live in heaven and earth as our house."'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p317',
  quote: 'When the mirror meets with an ugly woman, when a rare ink-stone finds a vulgar owner, and when a good sword is in the hands of a common general, there is utterly nothing to be done about it.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p332',
  quote: 'A good traveler is one who does not know where he is going to, and a perfect traveler does not know where he came from.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p388',
  quote: 'The wise man reads both books and life itself.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p397',
  quote: 'Such religion as there can be in modern life, every individual will have to salvage from the churches for himself.'
}, {
  figure: 'Lin Yutang',
  mark: 'The Importance of Living (1937). p407',
  quote: 'I feel, like all modern Americans, no consciousness of sin and simply do not believe in it. All I know is that if God loves me only half as much as my mother does, he will not send me to Hell. That is a final fact of my inner consciousness, and for no religion could I deny its truth.'
}];

var Nicholas_Sparks = [{
  figure: 'Nicholas Sparks',
  mark: '1990s. The Notebook (1996). Duke, Miracles, p2',
  quote: 'I am nothing special; of this I am sure. I am a common man with common thoughts, and I\'ve led a common life. There are no monuments dedicated to me and my name will soon be forgotten, but I\'ve loved another with all my heart and soul, and to me, this has always been enough.'
}, {
  figure: 'Nicholas Sparks',
  mark: '1990s. The Notebook (1996). Anne Nelson and Allie Nelson, An Unexpected Visitor, p137',
  quote: '"I know we\'ve had our differences, Allie, and that we haven\'t seen eye to eye on everything. I\'m not perfect, but I did the best I could with raising you. I\'m your mother and I always will be. That means I\'ll always love you." Allie was silent for a moment, then: "What should I do?"  "I don\'t know, Allie. That\'s up to you. But I would think about it. Think about what you really want."'
}, {
  figure: 'Nicholas Sparks',
  mark: '1990s. The Notebook (1996). Anne Nelson, An Unexpected Visitor, p138',
  quote: '"I can\'t make this decision for you, Allie, this one\'s all yours. I want you to know, though, that I love you. And I always will. I know that doesn\'t help, but it\'s all I can do."'
}, {
  figure: 'Nicholas Sparks',
  mark: '1990s. The Notebook (1996). Anne Nelson, An Unexpected Visitor, p139',
  quote: '"Follow your heart,"'
}, {
  figure: 'Nicholas Sparks',
  mark: '1990s. The Notebook (1996). Duke, Winter for Two, p212',
  quote: 'I lead a simple life now, I am foolish, an old man in love, a dreamer who dreams of nothing but reading to Allie and holding her whenever I can. I am a sinner with many faults and a man who believes in magic, but I am too old to change and too old to care.'
}, {
  figure: 'Nicholas Sparks',
  mark: '1990s. Message in a Bottle (1998). Garrett Blake, Ch1. p20',
  quote: 'My Dearest Catherine, I miss you, my darling, as I always do, but today is especially hard because the ocean has been singing to me, and the song is that of our life together.'
}, {
  figure: 'Nicholas Sparks',
  mark: '1990s. Message in a Bottle (1998). Deanna and Theresa Osbourne, Ch10. p196',
  quote: 'Deanna\'s voice softened. "Theresa, I know there\'s a part of you that believes you can change someone, but the reality is that you can\'t. You can change yourself, and Garrett can change himself, but you can\'t do it for him." "I know that--" "But you don\'t," Deanna said, gently cutting her off. "Or if you do, you don\'t want to see it that way. Your vision, as they say, has become clouded."'
}, {
  figure: 'Nicholas Sparks',
  mark: '1990s. Message in a Bottle (1998). Catherine Blake, Ch13. p316',
  quote: '"Oh, Garrett, who do you think it was that brought the bottle to her?"'
}, {
  figure: 'Nicholas Sparks',
  mark: '1990s. A Walk to Remember (1999). Landon Carter, Ch13. p237',
  quote: '"It was...the most difficult walk anyone ever had to make. In every way, a walk to remember."'
}, {
  figure: 'Nicholas Sparks',
  mark: '1990s. A Walk to Remember (1999). Hegbert Sullivan, Ch13. p239',
  quote: '"I can no more give Jamie away than I can give away my heart. But what I can do is let another share in the joy that she has always given me."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Rescue (2000). Ch1. p9',
  quote: 'Youth offers the promise of happiness, but life offers the realities of grief.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Rescue (2000). Denise Holton, Ch15. p166',
  quote: '"Even now, not a day goes by when I don\'t wish I could turn back the clock and change what happened."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Rescue (2000). Taylor McAden, Ch18. p200',
  quote: 'So many people these days, it seemed, believed that these things (personal fulfillment and self-esteem) could come only from work, not from parenting, and many people believed that having children had nothing to do with raising them.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Rescue (2000). Denise Holton, Ch21. p231',
  quote: 'Her mother had once told her that there were men who kept secrets bottled up inside and that it spelled trouble for the women who loved them.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Rescue (2000). Taylor McAden, Ch25. p300',
  quote: '"Mitch...was the kind of man who added something to everything he touched and everyone he came in contact with. I was envious of his view on life. He saw it all as a big game, where the only way to win was to be good to other people, to be able to look at yourself in the mirror and like what you see."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Rescue (2000). Melissa Johnson, Ch26. p308-309',
  quote: '"Why? Do you want to rescue me, too, Taylor? … That\'s what you\'re trying to do, isn\'t it? … I appreciate what you\'re trying to do, but it\'s not what I need right now. I need to handle this my own way."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Rescue (2000). Judy McAden, Ch26. p314',
  quote: '"Loving someone and having them love you back is the most precious thing in the world. It\'s what made it possible for me to go on..."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. A Bend in the Road (2001). Narrator, Prologue, p1',
  quote: 'Where does a story truly start? In life, there are seldom clear-cut beginnings, those moments when we can, in looking back, say that everything started. Yet these are moments when fate intersects with our daily lives, setting in motion a sequence of events whose outcome we could never have foreseen'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. A Bend in the Road (2001). Miss Harkins, Ch13. p139',
  quote: 'There are ghosts and there is love, And both are present here,\nTo those who listen, this tale will tellThe truth of love and if it\'s near.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. A Bend in the Road (2001). Jonah Ryan, Ch37. p336',
  quote: '"I don\'t want to be a grown-up. … Because grown-ups always say that things are complicated."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. A Bend in the Road (2001). Charlie Curtis, Ch37. p339',
  quote: '"If it\'s over--if it\'s really over--then don\'t let it screw up the rest of your life."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Nights in Rodanthe (2002). Paul Flanner\'s father, Ch3. p24',
  quote: '"No," his father replied, "you ran for you. I just hope you\'re running toward something, not away from something."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Nights in Rodanthe (2002). Adrienne Willis, Ch14. p152',
  quote: '"...The greater the love, the greater the tragedy when it\'s over.  Those two elements always go together. … The best we can hope for in life is that it doesn\'t happen for a long, long time."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Nights in Rodanthe (2002). Paul Flanner, Ch16. p188',
  quote: '"When I sleep, I dream of you, and when I wake, I long to hold you in my arms.  If anything, our time apart has only made me more certain that I want to spend my nights by your side, and my days with your heart."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Guardian (2003). Jim Barenson, Prologue, p. xv-xvi',
  quote: '"And don\'t worry. From wherever I am, I\'ll watch out for you. I\'ll be your guardian angel, sweetheart. You can count on me to keep you safe."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Guardian (2003). Julie Barenson, Ch1. p11',
  quote: 'Nowadays, she thought, it was the little things in life that mattered. If the highlights in her past set the tone, it was the day-by-day events that now defined who she was.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Guardian (2003). Julie Barenson, Ch15. p163',
  quote: '"You know me better than anyone, and you\'re my best friend. I don\'t think there\'s anything you could say to me that would lead me to believe that you\'re doing it just to hurt me. If there\'s one thing I\'ve come to know about you, it\'s that you\'re not even capable of something like that. Why do you think I like spending time with you so much? Because you\'re a good guy. A nice guy."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Guardian (2003). Emma Harris, Ch19. p202',
  quote: '"My mom used to tell me that whatever you do, marry someone who loves you more than you love him."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Guardian (2003). Julie Barenson, Ch26. p270',
  quote: 'She\'d always believed that people come in two varieties: those who look out the windshield and those who stare in the rearview mirror. She\'d always been the windshield type: Gotta focus on the future, not the past, because that\'s the only part that\'s still up for grabs.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Guardian (2003). Jennifer Romanello, Ch30. p323',
  quote: '...feeling her helplessness. There was nothing worse. Most people lived under the illusion that they were in control of their lives, but that wasn\'t completely true. Yeah, you could decide what to have for breakfast and what to wear and all those little things, but as soon as you stepped out into the world, you were pretty much at the mercy of everyone else around you, and all you could do was hope that if they were having a bad day, they wouldn\'t decide to take it out on you.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Wedding (2003). Wilson Lewis, Prologue, p3',
  quote: '...when two people live together, the stress flows both ways.  This, I come to believe, is both the blessing and the curse of marriage. It\'s a blessing because there\'s an outlet for the everyday strains of life; it\'s a curse because the outlet is someone you care deeply about.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Wedding (2003). Noah Calhoun, Ch1. p25',
  quote: '"...she would fall in love with me again, just like she had a long time ago.  And that\'s the most wonderful feeling in the world.  How many people are ever given that chance? To have someone you love fall in love with you over and over?"'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Wedding (2003). Wilson Lewis, Ch1. p25',
  quote: 'He had not only known that I would be coming to see him, I realized, but had anticipated the reason for my visit. And in typical southern fashion, he\'d given me the answer to my problem, without my ever having to ask him directly.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Wedding (2003). Wilson Lewis, Ch2. p34',
  quote: 'I\'ve come to believe that children live for the satisfaction of surprising their parents...'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Wedding (2003). Wilson Lewis, Ch2. p35-36',
  quote: '...there is the fact that having a child transforms the basic marriage relationship.  No longer are you simply husband and wife, you are mother and father as well, and all spontaneity vanishes immediately.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Wedding (2003). Wilson Lewis, Ch2. p36',
  quote: 'No, there\'s no experience quite like having children, and despite the challenges we once faced, I\'ve considered myself blessed because of the family we created.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Wedding (2003). Wilson Lewis, Ch4. p63',
  quote: 'But love, I\'ve come to understand, is more than three words mumbled before bedtime. Love is sustained by action, a pattern of devotion in the things we do for each other every day.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Wedding (2003). Jane Lewis, Ch8. p130',
  quote: '"Marriage is about compromise, it\'s about doing something for the other person, even when you don\'t want to."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Wedding (2003). Wilson Lewis, Epilogue, p262-263',
  quote: 'The events of the past year have taught me much about myself, and a few universal truths. I learned, for instance, that while wounds can be inflicted easily upon those we love, it\'s often much more difficult to heal them. Yet the process of healing those wounds provided the richest experience of my life, leading me to believe that while I\'ve often overestimated what I could accomplish in a day, I had underestimated what I could do in a year. But most of all, I learned that it\'s possible for two people to fall in love all over again, even when there\'s been a lifetime of disappointment between them.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Prologue, p1',
  quote: 'It isn\'t easy living with an author. I know this because my wife has informed me of this fact.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Prologue, p1',
  quote: 'I\'ve come to understand that arguing with her about it has never solved anything. So instead of denying it, I\'ve learned to take her hands, look her in the eyes, and respond with those three magic words that every woman wants to hear: "You\'re right, sweetheart."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Miles Sparks, Prologue, p3',
  quote: '"Writing is easy. It\'s just the typing that\'s hard."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Prologue, p4',
  quote: 'My wife, I might add, is a saint. Either that, or maybe she is insane.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Micah and Nicholas Sparks, Ch5. p60',
  quote: '"Denial is an ugly thing, Nicky." "I\'m not in denial.""See what I mean? That\'s denial."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Micah and Nicholas Sparks, Ch8. p113-114',
  quote: '"...the secret of a long lasting marriage is... ...communication. When we talk about issues and really open up to each other, things are great between us. When we keep things to ourselves, grudges and resentments build up and we end up arguing." ..."What good is talking if neither of you are really committed?...marriage comes down to actions. I think people talk too much about the things that bother them, instead of actually doing the little things that keep a marriage strong. You have to know what your spouse needs from you, and then you do it. And you avoid doing the things that harm the relationship. If your spouse acts the same way, your marriage can make it through anything."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks about his mother Jill Sparks, Ch8. p127',
  quote: '...it was in her refusal to allow any of us to indulge in self-pity of any kind...through a maddening style of argument, in which the following three statements were repeated in various sequences: A. It\'s your life + social commentary. B. What you want and what you get are usually two entirely different things. C. No one ever said that life was fair.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Micah Sparks, Ch9. p132',
  quote: '"Relationships are the most important thing in life, and friends are part of that."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Ch9. p138',
  quote: 'Standing next to Micah, I realized that there were times when we talked not because we needed to communicate anything important, but simply because we each drew comfort from the other\'s voice.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Ch11. p187',
  quote: 'When you chase a dream, you learn about yourself. You learn your capabilities and limitations, and the value of hard work and persistence.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Ch12. p206',
  quote: '"Dreams are funny like that. You want something so desperately, you somehow get it, then just as suddenly it\'s over. Like running races--all that training for a couple of minutes on the track. The secret, I\'ve learned, is to appreciate the process."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Dana Sparks, Ch14. p247',
  quote: '"...you have to give them both credit for being good parents simply because of the way their kids turned out. We\'re happily married, successful, ethical, and we remained close as siblings. If your kids can say the same thing later in life, won\'t you think you did a good job as a parent?"'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Ch15. p268',
  quote: '"Work, spirituality, family, friendships, health--you can\'t ignore any of them or it\'ll get you in the end."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Ch15. p287',
  quote: 'My dad was a good man. A kind man... I...loved him for what he did. He\'d foster independence, showed us the value of education, and taught us to be curious about the world. Even more important, he\'d helped the three of us become close as siblings, which I consider to be the greatest gift of all. I could have asked for nothing more in a father. And really, who could?'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Ch16. p303',
  quote: 'Our stories are funny because we lived them, and we survived them. The worse the incident was when it was happening, the funnier the story had become to us over the years.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Ch17. p333',
  quote: '"I tell Ryan that God gave him a brother like Miles so that Ryan could learn that anything is possible and that he can be good at anything. And I tell Miles that God gave him Ryan so that Miles could learn patience and persistence and how to overcome challeges."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Micah Sparks, Ch17. p339',
  quote: 'Life, he decided, was for living, not for having, and he wanted to experience every moment that he could. At the deepest level, he\'d come to understand that life could end at any moment, and it was better to be happy than busy.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Three Weeks with My Brother (2004). Nicholas Sparks, Epilogue, p355',
  quote: 'We\'d been raised to survive, to meet challenges, and to chase our dreams. … And we don\'t only love each other, but like each other as well.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. True Believer (2005). Doris McClellan, Ch3. p54',
  quote: '"One day, you\'re going to learn something that can\'t be explained with science. And when that happens, your life\'s going to change in ways you can\'t imagine."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. True Believer (2005). Jeremy Marsh, Ch7. p108',
  quote: '"My point is simply that kids turn out okay as long as the parents are involved, no matter where they live. It\'s not like small towns have a monopoly on values. I mean, I\'m sure if I did some digging, I\'d find lots of kids that were in trouble here, too. Kids are kids, no matter where they live."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. True Believer (2005). Jeremy Marsh, Ch7. p113',
  quote: '"I think it happens to everyone as they grow up. You find out who you are and what you want, and then you realize that people you\'ve known forever don\'t see things the way you do. And so you keep the wonderful memories, but find yourself moving on. It\'s perfectly normal."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. True Believer (2005). Jeremy Marsh, Ch9. p159',
  quote: 'She didn\'t hide what she was thinking, she didn\'t try to impress him, nor was she swayed by anything he\'d accomplished in the past. Instead she seemed to evaluate him as he was today, right now, without holding either the past or the future against him.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. True Believer (2005). Jeremy Marsh, Ch12. p192',
  quote: 'Love could be set in motion quickly, but true love needed time to grow into something strong and enduring. Love was, above all, about commitment and dedication and a belief that spending years with a certain person would create something greater than the sum of what the two could accomplish separately.  Only time, however, could show whether you\'d been accurate in your judgment.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. True Believer (2005). Lexie Darnell, Ch13. p205',
  quote: 'In her new, more mature incarnation, she embraced the idea that maturity meant thinking about risk long before you pondered the reward, and that success and happiness in life were as much about avoiding mistakes as making your mark in the world.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. True Believer (2005). Jeremy Marsh, Ch14. p218',
  quote: '"I\'m of the opinion that anyone--even strangers--can sense the urgency of a request, and most people will usually do the right thing. … But when that didn\'t work, I offered to pay them."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. True Believer (2005). Lexie Darnell, Ch17. p269',
  quote: 'Life was about spending time together, about having the time to walk together holding hands, talking quietly as they watched the sun go down. It wasn\'t glamorous, but it was, in many ways, the best that life had to offer. Wasn\'t that how the old saying went? Who, on their deathbed, ever said they wished they had worked harder? Or spent less time enjoying a quiet afternoon? Or spent less time with their family?'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Front jacket flap',
  quote: 'Sometimes the same emotion that breaks your heart is the very one that will heal it...'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Jeremy Marsh, Prologue, p1',
  quote: 'Is love at first sight truly possible?'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Jeremy Marsh, Ch4. p52',
  quote: 'It was like a vacation, one he hadn\'t planned for, but one that left him feeling more rested than he had in years. For the first time in what seemed like forever, he was choosing the pace of his life rather than his life choosing the pace. Being bored, he decided, was an underrated art form.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Jeremy Marsh, Ch7. p105',
  quote: 'Does trust have to be earned? Or is it simply a matter of faith?'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Mayor Gherkin, Ch8. p120',
  quote: '"...but what I eventually came to understand was that if a woman truly loves you, you can\'t always expect her to tell the truth. You see, women are more attuned to feelings than men are, and if they\'re not being truthful, more often than not it\'s because they think the truth might hurt your feelings. But it doesn\'t mean they don\'t love you."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Jeremy\'s father, Ch11. p147',
  quote: '"...The one thing you\'ve got to remember is to see the big picture. When things get tough, remind yourself why you fell in love with her in the first place. She\'s a special woman, and you were lucky to find her, just as she was lucky to find you. She\'s got a heart of gold, and you can\'t fake something like that."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Jeremy\'s father, Ch11. p148',
  quote: '"Well, then I\'d say it takes two to tango. My guess is that both of you are right and both of you are wrong. That\'s the way most arguments go, anyway. People are who they are and no one is perfect, but marriage is about becoming a team. You\'re going to spend the rest of your life learning about each other, and every now and then, things blow up. But the beauty of marriage is that if you picked the right person and you both love each other, you\'ll alway figure out a way to get through it."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Doris, Ch12. p162',
  quote: '"...What\'s going on with you two, all this stress you\'re both under...that\'s called life. And life has a tendency to throw curveballs when you least expect them. Every couple has ups and downs, every couple argues, and that\'s the thing--you\'re a couple, and couples can\'t function without trust. You have to trust him, and he\'s got to trust you."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Doris, Ch12. p164',
  quote: '"Like I said, you\'re in this together. Men have certain needs, women have different needs; that\'s the way it was hundreds of years ago, and that\'s the way it\'s going to be hundreds of years from now. If you both realize that, and you both work on meeting each other\'s needs, you\'ll have a good marriage. And part of that, for both of you, is trust. In the end, it\'s that simple."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Lexie Darnell, Ch16. p196',
  quote: '"Kids are people, too, and once they start getting older, they make their own decisions. There\'s only so much you can do."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Lexie Darnell, Ch16. p196-197',
  quote: '"...once she becomes a teenager...well, sometimes there\'s nothing you can do. With or without you, in the end, children grow up to become the people they were meant to be."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Doris, Ch19. p247',
  quote: '"...having children changes your life like nothing else. It\'ll be the hardest and best thing you\'ve ever done."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. At First Sight (2005). Jeremy Marsh, Ch20. p263',
  quote: '...suddenly certain that what he was doing now was the sole reason he\'d been placed on this earth. To love another. To care for someone else, to help another person, to carry her worries until she was strong enough to carry them on her own. To care for someone unconditionally, for in the end that was what gave life meaning.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Dear John (2006). John Tyree, Prologue, p4',
  quote: 'I fell in love with her when we were together, then fell deeper in love with her in the years we were apart. Our story has three parts: a beginning, a middle, and an end. And although this is the way all stories unfold, I still can\'t believe that ours didn\'t go on forever.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Dear John (2006). John Tyree, Ch1. p18-19',
  quote: '...(in the army) you\'re forced to learn the most important lesson in life, and that\'s the fact that you have to live up to your responsibilities, and you better do it right. When given an order, you can\'t say no. It\'s no exaggeration to say that lives are on the line. One wrong decision, and your buddy might die. It\'s this fact that makes the army work. That\'s the big mistake a lot of people make when they wonder how soldiers can put their lives on the line day after day or how they can fight for something they may not believe in. Not everyone does. ...but when all is said and done, we do what we do for one another. For friendship. Not for country, not for patriotism, not because we\'re programmed killing machines, but because of the guy next to you. You fight for your friend, to keep him alive, and he fights for you, and everything about the army is built on this simple premise.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Dear John (2006). Savannah Lynn Curtis and John Tyree, Ch4. p69-70',
  quote: '"...good teachers are priceless. They inspire you, they entertain you, and you end up learning a ton even when you don\'t know it."  "Because they\'re passionate about their subjects."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Dear John (2006). Savannah Lynn Curtis, Ch4. p71',
  quote: '"...when you\'re struggling with something, look at all the people around you and realize that every single person you see is struggling with something, and to them, it\'s just as hard as what you\'re going through."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Dear John (2006). John Tyree, Ch7. p93',
  quote: '...She had the rare ability to be exactly what people needed when she was with them and yet still remain true to herself.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Dear John (2006). John Tyree, Ch16. p198',
  quote: 'I knew my dad was a good man, a kind man, and though he\'d led a wounded life, he\'d done the best he could in raising me.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Dear John (2006). Tim Wheddon, Ch20. p265',
  quote: '"...I learned that it\'s possible to go on, no matter how impossible it seems, and that in time, the grief...lessens. It may not ever go away completely, but after a while it\'s not overwhelming."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. Dear John (2006). John Tyree, Epilogue, p275',
  quote: '...I finally understood what true love really meant. ...that love meant that you care for another person\'s happiness more than your own, no matter how painful the choices you face might be.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Proloque, p1',
  quote: 'Stories are as unique as the people who tell them, and the best stories are those in which the ending is a surprise.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Proloque, p2',
  quote: 'It went without saying that he felt guilty about what had happened, but married friends had assured him that guilt was the cornerstone of any good marriage. It meant that a conscience was at work, values were held in high esteem, and reasons to feel guilty were best avoided whenever possible.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Proloque, p3',
  quote: '...he remembered being very happy. But things change. People change. Change was one of the inevitable laws of nature, exacting its toll on people\'s lives. Mistakes were made, regrets form, and all the was left were repercussions that made something as simple as rising from the bed seem almost laborious.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch1. p12',
  quote: 'No pretenses, no attempts to impress, no one trying to show anyone up.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch1. p16',
  quote: 'Parents might believe themselves to be the bosses, but in the end it was the kids who made the rules.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch4. p51',
  quote: 'He often felt that too many people lived their lives acting and pretending, wearing masks and losing themselves in the process.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch4. p54',
  quote: 'That was one of the great things about being single: A person could pretty much do what he wanted, whenever he wanted, and introspection was only an option.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Gabby Holland, Ch5. p58',
  quote: 'Was living together a step toward the future or just a way to continue the present?'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch8. p101',
  quote: '"Traveling has less to do with seeing things than experiencing them...."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch8. p102-103',
  quote: '"But I\'m different now than i was then. Just like I was different at the end of the trip than I\'d been at the beginning. And I\'ll be different tomorrow than I am today. And what that means is that I can never replicate that trip. Even if I went to the same places and met the same people, it wouldn\'t be the same. My experience wouldn\'t be the same. To me, that\'s what traveling should be about. Meeting people, learning to not only appreciate a different culture, but really enjoy it like a local, following whatever impulse strikes you."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Stephanie Parker, Ch9. p107',
  quote: 'He who does nothing is the one who does nothing.\'...\'Blessed are the lazy who lie in boats, for they shall inherit a suntan.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Stephanie Parker, Ch9. p111',
  quote: '"...people are pretty much the same. Especially through adolescence and early adulthood. For the most part, people go through the same experiences and think the same thing, but somehow on one ever escapes the belief that his experience is unique in every conceivable way."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Gaby Holland, Ch10. p115',
  quote: '"In other words, when the going get tough, the tough get going."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker and Gaby Holland, Ch11. p132',
  quote: '"Love is a wonderful thing. It makes life worthwhile. I love being in love." "Spoken like a man with plenty of experience. But keep in mind that true love lasts forever." "Poets would say that true love always ends in tragedy."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch12. p144-145',
  quote: '...he realized that the same thing that made women initially attractive to him--their need to be taken care of--was the very thing that eventually signaled he end of the relationship. How did that old saying go? If you\'ve been divorced once, you might be right in thinking your ex was the problem. If you\'ve been divorced three times?  Well, folks, the problem is most definitely you. Granted, he hadn\'t been divorced, but the point was well taken.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch13. p166',
  quote: 'Finding a woman with a sense of humor had been the one piece of advice his father had given him when he\'d first begun to get serious about dating, and he finally understood why his dad had considered it important. If conversation was the lyrics, laughter was the music, making time spent together a melody that could be replayed over and over without getting stale.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Gabby Holland, Ch13. p168',
  quote: 'But would she do it differently if she could? She doubted it. Her experiences growing up ad formed her into the woman that she\'d become, just as his experiences had formed him, and she didn\'t regret them. And yet...she knew that wasn\'t the question that mattered. ...she realized the choice before her was this: Where do I go from here? It is never too late to change things.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch15. p191',
  quote: 'How far should a person go in the name of true love?'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch15. p192',
  quote: 'Thinking back, he recalled events he wished he could change, tears he wished had never been shed, time that could have been better spent, and frustrations he should have shrugged off. Life, it seemed, was full of regret, and he yearned to turn back the clock so he could live parts of his live over again. One thing was certain: He should have been a better husband.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch15. p193',
  quote: '...people always said that parenting and worrying were synonymous...'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch15. p193-194',
  quote: '...he often wondered when exactly her feeling for him finally overwhelmed those she\'d had for Kevin... He wasn\'t sure; capturing a specific instant like that was no more possible than locating a specific drop of water in the ocean.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch15. p199',
  quote: 'These days, it seemed that the only thing he was certain about was the knowledge that he wouldn\'t trade his years with Gabby for anything. Without her, his life had little meaning. He was a small-town husband with a small-town occupation and his cares were no different from anyone else\'s. He\'d been neither a leader nor a follower, nor had he been someone who would be remembered long after he passed away. He was the most ordinary of men with only one exception: He\'d fallen in love with a woman named Gabby, his love deepening in the years they\'d been married. But fate had conspired to ruin all that, and now he spent long periods of his days wondering whether it was humanly possible to fix things between them.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch16. p203',
  quote: 'Marriage, each of them realized intuitively, was about compromise and forgiveness. It was about balance, where one person complemented the other.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Gabby Parker, Ch19. p227',
  quote: 'You\'re doing the best you can, right? Isn\'t that what we always tell each other?'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch16. p228',
  quote: 'He loved his wife but hated what life with her had become, cursing himself for even thinking this way.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Ch22. p258-259',
  quote: 'The past was gone and the future had yet to unfold, and he knew he should focus his life on the present...yet his day-to-day existence suddenly struck him as endless and unbearable.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Choice (2007). Travis Parker, Epilogue, p272',
  quote: '...He was with the woman and daughters he loved, and who could ever need or want anything more than that?...It was just a normal day, a day like any other. But most of all, it was a day in which everything was exactly the way it should be.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Lucky One (2008). Victor, Ch13. Thibault,  p146',
  quote: '"...There is a greater purpose to all this. It is your destiny."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Lucky One (2008). Elizabeth Green, Ch15. Beth, p274',
  quote: '...she was struck by the simple truth that sometimes the most ordinary things could be made extraordinary, simply by doing them with the right people.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2000s. The Last Song (2009). Steve Miller, Ch36. Steve, p376',
  quote: 'Life, he realized, was much like a song. In the beginning there is mystery, in the end there is confirmation, but it\'s in the middle where all the emotion resides to make the whole thing worthwhile.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. Safe Haven (2010). Jo, Ch7. p66-67',
  quote: '"That\'s what courage is.  If she weren\'t scared, she wouldn\'t need courage in the first place."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. Safe Haven (2010). Jo, Ch23. p190',
  quote: '"...people who are grieving have to want to move on--that first step, that motivating spark, has to come from within them. And when it does, it opens the door to the unexpected."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. Safe Haven (2010). Jo, Ch23. p192',
  quote: '"Love doesn\'t mean anything if you\'re not willing to make a commitment, and you have to think not only about what you want, but about what he wants. Not just now, but in the future."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. Safe Haven (2010). Jo, Ch25. p203',
  quote: '"I just tell people what they already know but are afraid to admit to themselves."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. Safe Haven (2010). Alex Wheatley, Ch25. p208',
  quote: '"I\'m not sure anyone\'s life turns out exactly the way they imagine. All we can do is to try to make the best of it. Even when it seems impossible."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. Safe Haven (2010). Katie, Ch29. p236',
  quote: '"Maybe I don\'t want to be defined by what I do. Maybe I\'d like to be defined by what I am."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. Safe Haven (2010). Jo, Ch33. p259',
  quote: '"Long-term relationships--the ones that matter--are all about weathering the peaks and valleys."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. Safe Haven (2010). Carly, Ch43. p336',
  quote: '"Dying is a strange business, and I\'m not going to bore you with the details. I might have weeks or I might have months and though it\'s a cliche, it\'s true that so many of the things I once believed to be important no longer are. ...I find myself reflecting on the essential moments of my life."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. Safe Haven (2010). Back jacket flap',
  quote: 'Katie eventually realizes that she must choose between a life of transient safety and one of riskier rewards...and that in the darkest hour, love is the only true safe haven.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Dawson Cole, Ch1. p23',
  quote: 'He knew that Amanda would always be the very best part of him, the self he would always long to know.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Amanda Collier Ridley, Ch2. p35',
  quote: 'It was a life, she eventually concluded, that had been lived in the middle ground, where contentment and love were found in the smallest details of people\'s lives. It was a life of dignity and honor, not without sorrows yet fulfilling in a way that few experiences ever were. She knew Tuck understood that more than anyone.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Dawson Cole, Ch5. p78',
  quote: '...he had the sense that they were both lonely, albeit in different ways. He was a solitary figure in a vast landscape while she was a face in a nameless crowd.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Marilyn Bonner, Ch6. p94',
  quote: 'In the end, everything came down to money. It came down to what a person actually did, as opposed to who they thought they were,...'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Evelyn Collier, Ch6. p103',
  quote: '...the grass isn\'t always greener on the other side. What the younger generation didn\'t understand was that the grass was greener where it\'s watered, which meant that both Frank and Amanda had to get out their hoses if they wanted to make things better.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Amanda Collier Ridley, Ch7. p137',
  quote: '"...even then I knew that I was fortunate. Because you were the first guy who wasn\'t constantly trying to impress me. You accepted who you were, but more than that, you accepted me for me."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Amanda Collier Ridley, Ch11. p171',
  quote: '"You have to understand that I\'m not the girl I used to be. I\'m a wife and a mother now, and like everyone else I\'m not perfect. I struggle with the choices I\'ve made and I make mistakes, and half the time I wonder who I really am or what I\'m doing or whether my life means anything at all. I\'m not special at all, Dawson, and you need to know that. You have to understand that I\'m just...ordinary."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Dawson Cole, Ch11. p174',
  quote: 'Love, after all, always said more about those who felt it than it did about the ones they loved.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Amanda Collier Ridley, Ch12. p180',
  quote: 'The past was gone, after all, and the future was the only thing they had left.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Amanda Collier Ridley, Ch12. p183',
  quote: '...there\'d also been an unvarnished honestly in what they\'d said. There were no hidden meanings, no secret attempts to pass judgment; as quickly as their disagreements had flared up, they\'d pass.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Tuck Hostetler, Ch15. p218-219',
  quote: 'But trust me when I say that memories are funny things. Sometimes they\'re real, but other times they change into what we want them to be... But like I said, she\'s hurting, and if there\'s one thing I\'ve learned, it\'s that people in pain don\'t always see things as clearly as they should... And if it somehow doesn\'t work out between you, then you\'ve got to understand that you can\'t look back anymore. It\'ll destroy you in the end, and destroy her as well. Neither one of you can keep living with regret, because it drains the life right out of you, and the very idea is enough to break my heart.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Best of Me (2011). Evelyn Collier, Ch15. p223',
  quote: '"...I said everything that matters... Don\'t take my advice. Or anyone\'s advice. Trust yourself. For good or for bad, happy or unhappy, it\'s your life, and what you do with it has always been entirely up to you."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch1. Ira, p1',
  quote: 'I sometimes think to myself that I’m the last of my kind.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson speaking about his father, Ch1. Ira, p2',
  quote: 'His voice, even now, follows me everywhere on this longest of rides, this thing called life.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Sophia and Luke, Ch4. Sophia, p64',
  quote: '"What\'s your horse\'s name?""Horse.""Sophia waited for the joke, but it didn\'t come. "You call your horse \'Horse\'?""He doesn\'t mind.""You should give him a noble name. Like Prince or Chief or something.""It might confuse him now.""Trust me. Anything is better than Horse. It\'s like naming a dog Dog.""I have a dog named Dog. Australian Cattle Dog." He turned, his expression utterly matter-of-fact. "Great herder.""And your mom didn\'t complain?""My mom named him."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch5. Ira, p74',
  quote: 'I had never dreamed of being a soldier; I had never fired a gun. I was not, nor ever had been, a fighter of any sort, but even so, I loved my country, and I spent much of that year trying to imagine a future distorted by war.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ruth Levinson, Ch5. Ira, p78',
  quote: '"As your father used to say, we shared the longest ride together, this thing called life, and mine has been filled with joy because of you."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch5. Ira, p80',
  quote: 'The words nearly break my heart, and I feel something crumble inside me. The truth is often a terrible thing, and I wish again that I were someone else. But it is too late now, too late to change anything. I am old and alone and I\'m dying a little more with each passing hour. I\'m tired, more tired than I\'ve ever been.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch14. Ira, p187',
  quote: 'While she was exceptional, I was average, a man whose major accomplishment in life was to love her without reservation, and that would never change.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ruth Levinson, Ch14. Ira, p199',
  quote: '"It was the way you looked at me while I looked at the art that changed me. It is you, in other words, who changed."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch17. Ira, p222-223',
  quote: 'As much as I love her, I admit that she has always remained somewhat of an enigma to me...I liked this about her. I liked the mystery she added to my life. I liked the occasional silence between us, for ours was a comfortable silence. It was a passionate silence, one that had its roots in comfort and desire.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch17. p234',
  quote: 'In this world, after all, I\'ve become more or less invisible...I\'ve become what the young are afraid of becoming, just another member of the nameless elderly, an old and broken man with nothing left to offer to this world.\nMy days are inconsequential, comprising simple moments and even simpler pleasures. I eat and sleep and think of Ruth; I wander the house and stare the the paintings, and in the mornings, I feed the pigeons that gather in my backyard.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch17. p237',
  quote: 'My marriage brought great happiness into my life, but lately there\'s been nothing but sadness. I understand that love and tragedy go hand in hand, for there can\'t be one without the other, but nonetheless I find myself wondering whether the tradeoff is fair. A man should die as he had lived, I think; in his final moments, he should be surrounded and comforted by those he\'s always loved.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ruth Levinson, Ch20. Ira, p267',
  quote: '"You are a smart man, Ira, but sometimes I think you do not understand women very well."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch28. p320-321',
  quote: 'I was not meant to be alone. I am not good at it. The years since Ruth\'s passing have ticked by with the kind of desparate silence known only to the elderly. It is a silence underscored by loneliness and the knowledge that the good years are already in the past, coupled with the complications of old age itself.\nThe body is not meant to survive nearly a century. I speak from experience when I say this...'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch28. p325',
  quote: 'A truth emerges in any long marriage, and the truth is this: Our spouses sometimes know us better than we even know ourselves.'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch28. p326-327',
  quote: '"I wish I had the talent to paint the way I feel about you, for my words always feel inadequate. I imagine using red for your passion and pale blue for your kindness; forest green to reflect the depth of your empathy and bright yellow for your unflagging optimism. And still I wonder: can even an artist\'s palette capture the full range of what you mean to me?"'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ruth Levinson, Ch28. Ira, p328-329',
  quote: '"My plea to you is this: despite your sadness, do not forget how happy you have made me; do not forget that I loved a man who loved me in return, and this was the greatest gift I could ever hope to receive."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Daniel McCallum, Ch28. Ira, p335',
  quote: '[Written on back of photograph of Ruth and Daniel]"Ruth LevinsonThird grade teacher.\nShe believes in me and I can be anything I want when I grow up.\nI can even change the world."'
}, {
  figure: 'Nicholas Sparks',
  mark: '2009. The Longest Ride (2013). Ira Levinson, Ch28. Ira, p341',
  quote: '"\'If there is a heaven, we will find each other again, for there is no heaven without you.\'"'
}];

var Rod_Serling = [{
  figure: 'Rod Serling',
  mark: 'The Twilight Zone. First introduction to The Twilight Zone television series; first episode (19591002).',
  quote: 'There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man\'s fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call the Twilight Zone.'
}, {
  figure: 'Rod Serling',
  mark: 'The Twilight Zone. From The Twilight Zone episode The Monsters Are Due On Maple Street (19600306).',
  quote: 'The tools of conquest do not necessarily come with bombs, and explosions, and fallout. There are weapons that are simply thoughts, attitudes, prejudices, to be found only in the minds of men. For the record, prejudices can kill and suspicion can destroy; and a thoughtless, frightened search for a scapegoat has a fallout all of its own for the children, and the children yet unborn. And the pity of it is, that these things cannot be confined to the Twilight Zone.'
}, {
  figure: 'Rod Serling',
  mark: 'The Twilight Zone. The Twilight Zone, "Death\'s-Head Revisited" (1961).',
  quote: 'There is an answer to the doctor\'s question. All the Dachaus must remain standing. The Dachaus, the Belsens, the Buchenwald, the Auschwitzes – all of them. They must remain standing because they are a monument to a moment in time when some men decided to turn the Earth into a graveyard. Into it they shoveled all of their reason, their logic, their knowledge, but worst of all, their conscience. And the moment we forget this, the moment we cease to be haunted by its remembrance, then we become the gravediggers. Something to dwell on and to remember, not only in the Twilight Zone but wherever men walk God\'s Earth.'
}, {
  figure: 'Rod Serling',
  mark: 'The Twilight Zone. The Twilight Zone, "The Fugitive" (1962).',
  quote: 'It is said that science fiction and fantasy are two different things. Science fiction is the improbable made possible, and fantasy is the impossible made probable.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Ellen Cameron May, "Serling in Creative Mainstream" (profile/interview), Los Angeles Times (19670625), p100. 22-23.',
  quote: 'I happen to think that the singular evil of our time is prejudice. It is from this evil that all other evils grow and multiply. In almost everything I\'ve written there is a thread of this: man\'s seemingly palpable need to dislike someone other than himself.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. As qtd. in Rosenbaum, Bob. "Life With Rod: A Conversation with Carol Serling". Twilight Zone magazine, 198704.',
  quote: '[T]he ultimate obscenity is not caring, not doing something about what you feel, not feeling! Just drawing back and drawing in, becoming narcissistic.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Speech at Binghamton Community High School (1968).[specific citation needed]',
  quote: 'If survival calls for the bearing of arms, bear them you must. But the most important part of the challenge is for you to find another means that does not come with the killing of your fellow man.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Speech at Moorpark College, Moorpark, California (19681203).[specific citation needed]',
  quote: 'I ask for your indulgence when I march out quotations. This is the double syndrome of men who write for a living and men who are over forty. The young smoke pot — we inhale from our Bartlett\'s.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Speech at Moorpark College, Moorpark, California (19681203).[specific citation needed]',
  quote: 'I think the destiny of all men is not to sit in the rubble of their own making but to reach out for an ultimate perfection which is to be had. At the moment, it is a dream. But as of the moment we clasp hands with our neighbor, we build the first span to bridge the gap between the young and the old. At this hour, it’s a wish. But we have it within our power to make it a reality. If you want to prove that God is not dead, first prove that man is alive.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. "Document H1000089528" Contemporary Authors Online, Gale. 2010.',
  quote: 'I was bitter about everything and at loose ends when I got out of the service. I think I turned to writing to get it off my chest.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. On the \'The Doomsday Flight; as qtd. in John Douglas; Mark Olshakerm (2000). The Anatomy of Motive: The FBI\'s Legendary Mindhunter Explores the Key to Understanding and Catching Violent Criminals. Pocket Books. p101.',
  quote: 'I wish to Christ that I had written a Stagecoach drama starring John Wayne instead.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. "About Writing for Television", his foreword to a collection of teleplays ("Patterns").',
  quote: '...a medium best suited to illumine and dramatize the issues of the times has its product pressed into a mold, painted lily-white, and has its dramatic teeth yanked out one by one.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. As qtd. in Martin Grams Jr. "The Radio Career of Rod Serling". Audio Classics Archive. Archived from the original on 20090108.',
  quote: 'From a writing point of view, radio ate up ideas that might have put food on the table for weeks at a future freelancing date. The minute you tie yourself down to a radio or TV station, you write around the clock. You rip out ideas, many of them irreplaceable. They go on and consequently can never go on again. And you\'ve sold them for $50 a week. You can\'t afford to give away ideas—they\'re too damn hard to come by. If I had it to do over, I wouldn\'t staff-write at all. I\'d find some other way to support myself while getting a start as a writer.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Gordon F. Sander, Serling: The Rise and Twilight of Television\'s Last Angry Man. Dutton. (1992). ISBN 978-0-525-93550-6.',
  quote: 'Radio, in terms of ... drama, dug its own grave. It had aimed downward, had become cheap and unbelievable, and had willingly settled for second best.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Rod Serling: Submitted for Your Approval (199710), American Masters (PBS: Thirteen/WNET).',
  quote: 'How can you put out a meaningful drama when every fifteen minutes proceedings are interrupted by twelve dancing rabbits with toilet paper? No dramatic art form should be dictated and controlled by men whose training and instincts are cut of an entirely different cloth. The fact remains that these gentlemen sell consumer goods, not an art form.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. From a letter to his wife, as quoted in Rod Serling: Submitted for Your Approval (199710), American Masters (PBS: Thirteen/WNET).',
  quote: 'Hollywood\'s a great place to live... if you\'re a grapefruit.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. The Rod Serling bio page on the Internet Movie DataBase.[specific citation needed]',
  quote: 'If you need drugs to be a good writer, you\'re not a good writer.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. On being born Christmas day, in The Rod Serling bio page on the Internet Movie DataBase.[specific citation needed]',
  quote: 'I was a Christmas present that was delivered unwrapped.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Rod Serling:\nAmerican Masters.',
  quote: 'I got the idea for the pilot while walking through an empty lot of a movie studio. There were all the evidences of a community but with no people. I felt at the time a kind of encroaching loneliness, and desolation; a feeling of how nightmarish it would be to wind up in a city with no inhabitants.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Rod Serling on Arena, American Masters.',
  quote: 'I was dealing with a political story where much of the action took place on the floor of the U.\nS. Senate, and one of the edicts that came down from the Mt. Sinai of advertisers row was that at no time in a political drama must a speech or a character be equated with an existing political party or current political problems. So several million viewers were treated to an incredible display of senators shouting, gesticulating and talking in hieroglyphics, saying not a single thing germaine to the current political scene.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Rod Serling: American Masters.',
  quote: 'Someplace between apathy and anarchy is the stance of the thinking human being; he does embrace a cause, he does take a position, and can’t allow it to become business as usual. Humanity is our business.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Rod Serling: American Masters.',
  quote: 'Once again there appears to be a considerable difference of opinion. I wanted a series with distinction, I have no interest in a series which is purely and uniquely suspenseful but makes no comment about anything. But all they seem to want is maniacs in a cemetery. When I complain they pat me on the head, condescend, and hope I go away. When I was on the Twilight Zone I took the bows, but I also took the brickbats, because when it was bad it was usually my fault, but when it\'s bad on the Night Gallery, I had nothing to do with it, yet my face is on it all the time.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Rod Serling: American Masters.',
  quote: 'For the first time in television a writer will have the opportunity to let his imagination take him where ever he wants to. The sky is no longer the limit.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Rod Serling: American Masters.',
  quote: 'The first sale, that\'s the one that comes with magic.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Rod Serling: American Masters.',
  quote: 'As I get older the urge to write gets less and less; I\'ve pretty much spewed out everything I have to say, none of which has been particularly monumental; nothing that will stand the test of time. Good writing like wine has to age well, and my stuff has been momentarily adequate.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Rod Serling Vogue [1].',
  quote: 'Every writer is a frustrated actor who recites his lines in the hidden auditorium of his skull.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Letter to The Los Angeles Times in response to the assassination of Martin Luther King, Jr.; 19680408.',
  quote: 'In his grave, we praise him for his decency - but when he walked amongst us, we responded with no decency of our own. When he suggested that all men should have a place in the sun - we put a special sanctity on the right of ownership and the privilege of prejudice by maintaining that to deny homes to Negroes was a democratic right. Now we acknowledge his compassion - but we exercised no compassion of our own. When he asked us to understand that men take to the streets out of anguish and hopelessness and a vision of that dream dying, we bought guns and speculated about roving agitators and subversive conspiracies and demanded law and order. We felt anger at the effects, but did little to acknowledge the causes. We extol all the virtues of the man - but we chose not to call them virtues before his death. And now, belatedly, we talk of this man\'s worth - but the judgement comes late in the day as part of a eulogy when it should have been made a matter of record while he existed as a living force. If we are to lend credence to our mourning, there are acknowledgements that must be made now, albeit belatedly. We must act on the altogether proper assumption that Martin Luther King asked for nothing but that which was his due... He asked only for equality, and it is that which we denied him.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Excerpt from a dedication to an unpublished short story, "First Squad, First Platoon"; from Serling to his as yet unborn children.',
  quote: 'I\'m dedicating my little story to you; doubtless you will be among the very few who will ever read it. It seems war stories aren\'t very well received at this point. I\'m told they\'re out-dated, untimely and as might be expected - make some unpleasant reading. And, as you have no doubt already perceived, human beings don\'t like to remember unpleasant things. They gird themselves with the armor of wishful thinking, protect themselves with a shield of impenetrable optimism, and, with a few exceptions, seem to accomplish their "forgetting" quite admirably. But you, my children, I don\'t want you to be among those who choose to forget. I want you to read my stories and a lot of others like them. I want you to fill your heads with Remarque and Tolstoy and Ernie Pyle. I want you to know what shrapnel, and "88\'s" and mortar shells and mustard gas mean. I want you to feel, no matter how vicariously, a semblance of the feeling of a torn limb, a burnt patch of flesh, the crippling, numbing sensation of fear, the hopeless emptiness of fatigue. All these things are complimentary to the province of war and they should be taught and demonstrated in classrooms along with the more heroic aspects of uniforms, and flags, and honor and patriotism. I have no idea what your generation will be like. In mine we were to enjoy "Peace in our time". A very well meaning gentleman waved his umbrella and shouted those very words...less than a year before the whole world went to war. But this gentleman was suffering the worldly disease of insufferable optimism. He and his fellow humans kept polishing the rose colored glasses when actually they should have taken them off. They were sacrificing reason and reality for a brief and temporal peace of mind, the same peace of mind that many of my contemporaries derive by steadfastly refraining from remembering the war that came before.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. Commencement Address at the University of Southern California (19700317).',
  quote: 'It\'s simply a national acknowledgement that in any kind of priority, the needs of human beings must come first. Poverty is here and now. Hunger is here and now. Racial tension is here and now. Pollution is here and now. These are the things that scream for a response. And if we don\'t listen to that scream - and if we don\'t respond to it - we may well wind up sitting amidst our own rubble, looking for the truck that hit us - or the bomb that pulverized us. Get the license number of whatever it was that destroyed the dream. And I think we will find that the vehicle was registered in our own name.'
}, {
  figure: 'Rod Serling',
  mark: 'Other. "Rod Serling Recalls Planet of the Apes" [2].',
  quote: 'I really can’t claim to being a science-fiction man either. Fantasy was really more my bag. And I’m very much a Johnny-Come-Lately into that. The guys – the really key men – like Asimov, Clarke, Bradbury – they all preceded me by years and years and have a body of literature to show for it. I have nothing but a television show. My only claim is that I put science-fiction and fantasy into a mass media more than any other person.'
}];

var Victor_Hugo = [{
  figure: 'Victor Hugo',
  mark: 'Written at the age of 15 in one of his notebooks (c. 1817), as quoted in The Literary Movement in France During the Nineteenth Century (1897) by Georges Pellissier',
  quote: 'I will be Chateaubriand or nothing.'
}, {
  figure: 'Victor Hugo',
  mark: 'Preface to Cromwell (1827)',
  quote: 'Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously   following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.  Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.'
}, {
  figure: 'Victor Hugo',
  mark: 'These two halves of God, the Pope and the emperor.\nHernani (1830), A4S2',
  quote: 'Ces deux moitiés de Dieu, le pape et l\'empereur!'
}, {
  figure: 'Victor Hugo',
  mark: 'God became a man, granted. The devil became a woman.\nRuy Blas (1838), A2S5',
  quote: 'Dieu s\'est fait homme; soit. Le diable s\'est fait femme!'
}, {
  figure: 'Victor Hugo',
  mark: 'At what hour, please? retort to Victor Cousin, after he claimed he could pinpoint the start of the (perceived) decay of the French language: 1978.\nChoses vues 1830-1846, Séance du 23 Novembre 1843',
  quote: 'À quelle heure, s\'il vous plaît?'
}, {
  figure: 'Victor Hugo',
  mark: 'Reason is intelligence taking exercise; imagination is intelligence with an erection.\nUnpublished notebook from 1845-50.  Published in Seebacher (ed.), Oeuvres Complètes, vol10. p158 (Laffont, 1989).  English translation from Robb, Victor Hugo p249 (Norton, 1997).',
  quote: 'La raison, c\'est l\'intelligence en exercice; l\'imagination c\'est l\'intelligence en érection'
}, {
  figure: 'Victor Hugo',
  mark: 'You have enemies? Why, it is the story of every man who has done a great deed or created a new idea. It is the cloud which thunders around everything that shines. Fame must have enemies, as light must have gnats. Do not bother yourself about it; disdain. Keep your mind serene as you keep your life clear.\nVillemain (1845)',
  quote: 'Vous avez des ennemis? Mais c\'est l\'histoire de tout homme qui a fait une action grande ou crée une idée neuve. C\'est la nuée qui bruit autour de tout ce qui brille. Il faut que la renommé ait des ennemis comme il faut que la lumière ait des moucherons. Ne vous en inquiétez pas, dédaignez! Ayez la sérénité dans votre esprit comme vous avez la limpidité dans votre vie.'
}, {
  figure: 'Victor Hugo',
  mark: 'Statement of 184805, as quoted in Paris Under the Commune : Or, Seventy-Three Days of the Second Siege (1871) by John Leighton',
  quote: 'Socialism, or the Red Republic, is all one; for it would tear down the tricolour and set up the red flag. It would make penny pieces out of the Column Vendome. It would knock down the statue of Napoleon and raise up that of Marat in its stead. It would suppress the Académie, the Ecole Polytechnique, and the Legion of Honour. To the grand device Liberty, Equality, and Fraternity, it would add “Ou la mort. It would bring about a general bankruptcy. It would ruin the rich without enriching the poor. It would destroy labour, which gives to each one his bread. It would abolish property and family. It would march about with the heads of the proscribed on pikes, fill the prisons with the suspected, and empty them by massacres. It would convert France into the country of gloom. It would strangle liberty, stifle the arts, silence thought, and deny God. It would bring into action these two fatal machines, one of which never works without the other—the assignat press and the guillotine. In a word, it would do in cold blood what the men of 1793 did in fever, and after the grand horrors which our fathers saw, we should have the horrible in all that was low and small.'
}, {
  figure: 'Victor Hugo',
  mark: 'You insist on the example [of the death penalty]. Why? For what it teaches. What do you want to teach with your example? That thou shalt not kill. And how do you teach thou shalt not kill? By killing.\n"Plaidoyer contre la peine de mort" [An argument against the death penalty], Assemblée Constituante, Paris (18480915)',
  quote: 'Vous tenez à l’exemple [de la peine de mort]. Pourquoi? Pour ce qu’il enseigne. Que voulez-vous enseigner avec votre exemple? Qu’il ne faut pas tuer. Et comment enseignez-vous qu’il ne faut pas tuer? En tuant.'
}, {
  figure: 'Victor Hugo',
  mark: 'A day will come when there will be no battlefields, but markets opening to commerce and minds opening to ideas. A day will come when the bullets and bombs are replaced by votes, by universal suffrage, by the venerable arbitration of a great supreme senate which will be to Europe what Parliament is to England, the Diet to Germany, and the Legislative Assembly to France.  A day will come when a cannon will be a museum-piece, as instruments of torture are today. And we will be amazed to think that these things once existed!  A day will come when we shall see those two immense groups, the United States of America and the United States of Europe, facing one another, stretching out their hands across the sea, exchanging their products, their arts, their works of genius, clearing up the globe, making deserts fruitful, ameliorating creation under the eyes of the Creator, and joining together, to reap the well-being of all, these two infinite forces, the fraternity of men and the power of God.\nDiscours d\'ouverture, congrès de la paix, [Opening address, Peace Congress], Paris (18490821); published in Actes et paroles - Avant l\'exil (1875)',
  quote: 'Un jour viendra où il n\'y aura plus d\'autres champs de bataille que les marchés s\'ouvrant au commerce et les esprits s\'ouvrant aux idées. Un jour viendra où les boulets et les bombes seront remplacés par les votes, par le suffrage universel des peuples, par le vénérable arbitrage d\'un grand sénat souverain qui sera à l\'Europe ce que le parlement est à l\'Angleterre, ce que la diète est à l\'Allemagne, ce que l\'assemblée législative est à la France! Un jour viendra où l\'on montrera un canon dans les musées comme on y montre aujourd\'hui un instrument de torture, en s\'étonnant que cela ait pu être! Un jour viendra où l\'on verra ces deux groupes immenses, les États-Unis d\'Amérique, les États-Unis d\'Europe, placés en face l\'un de l\'autre, se tendant la main par-dessus les mers, échangeant leurs produits, leur commerce, leur industrie, leurs arts, leurs génies, défrichant le globe, colonisant les déserts, améliorant la création sous le regard du créateur, et combinant ensemble, pour en tirer le bien-être de tous, ces deux forces infinies, la fraternité des hommes et la puissance de Dieu!'
}, {
  figure: 'Victor Hugo',
  mark: 'Histoire d\'un crime. Déposition d\'un témoin (1877), Deuxième Journée. La lutte, ch3. La barricade Saint-Antoine',
  quote: 'Il y a maintenant en France dans chaque village un flambeau allumé, le maître d\'école, et une bouche qui souffle dessus, le curé.'
}, {
  figure: 'Victor Hugo',
  mark: 'I only take a half share in the civil war; I am willing to die, I am not willing to kill.\nHistoire d\'un crime (The History of a Crime) [written 1852, published 1877], Quatrième journée. La victoire, ch2. Les Faits de la nuit. Quartier des Halles. Trans. T.\nH. Joyce and Arthur Locker',
  quote: 'Je n\'entre qu\'à moitié dans la guerre civile. Je veux bien y mourir, je ne veux pas y tuer.'
}, {
  figure: 'Victor Hugo',
  mark: 'Literal translations:',
  quote: 'On résiste à l\'invasion des armées; on ne résiste pas à l\'invasion des idées.'
}, {
  figure: 'Victor Hugo',
  mark: 'Waterloo! Waterloo! Waterloo! Dismal plain!\nL\'Expiation, from Les Châtiments (1853), Book V',
  quote: 'Waterloo! Waterloo! Waterloo! Morne plaine!'
}, {
  figure: 'Victor Hugo',
  mark: 'The eye was in the tomb and stared at Cain.\nLa Conscience, from La Légende des siècles (1859), First Series, P1',
  quote: 'L\'œil était dans la tombe et regardait Caïn.'
}, {
  figure: 'Victor Hugo',
  mark: 'You have created a new thrill.\nLetter to Charles Baudelaire (18591006)',
  quote: 'Vous créez un frisson nouveau.'
}, {
  figure: 'Victor Hugo',
  mark: 'Jesus wept; Voltaire smiled. Of that divine tear and that human smile is composed the sweetness of the present civilization.\nSpeech, "Le centenaire de Voltaire", on the 100th anniversary of the death of Voltaire, Théâtre de la Gaîté, Paris (18780530); published in Actes et paroles - Depuis l\'exil (1878)',
  quote: 'Jésus a pleuré, Voltaire a souri; c’est de cette larme divine et de ce sourire humain qu’est faite la douceur de la civilisation actuelle.'
}, {
  figure: 'Victor Hugo',
  mark: 'Address to the Workman\'s Congress at Marseille (1879)',
  quote: 'For four hundred years the human race has not made a step but what has left its plain vestige behind. We enter now upon great centuries. The sixteenth century will be known as the age of painters, the seventeenth will be termed the age of writers, the eighteenth the age of philosophers, the nineteenth the age of apostles and prophets. To satisfy the nineteenth century, it is necessary to be the painter of the sixteenth, the writer of the seventeenth, the philosopher of the eighteenth; and it is also necessary, like Louis Blane, to have the innate and holy love of humanity which constitutes an apostolate, and opens up a prophetic vista into the future. In the twentieth century war will be dead, the scaffold will be dead, animosity will be dead, royalty will be dead, and dogmas will be dead; but Man will live. For all there will be but one country—that country the whole earth; for all there will be but one hope—that hope the whole heaven.'
}, {
  figure: 'Victor Hugo',
  mark: '"The Battle of Waterloo", reported in Oliver Ernesto Branch, ed., The Hamilton Speaker (1878), p53',
  quote: 'Was it possible that Napoleon should win the battle of Waterloo? We answer, No! Why? Because of Wellington? Because of Blücher? No! Because of God! For Bonaparte to conquer at Waterloo was not the law of the nineteenth century. It was time that this vast man should fall. He had been impeached before the Infinite! He had vexed God! Waterloo was not a battle. It was the change of front of the Universe!'
}, {
  figure: 'Victor Hugo',
  mark: '"Thoughts," Postscriptum de ma vie, in Victor Hugo\'s Intellectual Autobiography, Funk and Wagnalls (1907) as translated by Lorenzo O\'Rourke',
  quote: 'Change your opinions, keep to your principles; change your leaves, keep intact your roots.'
}, {
  figure: 'Victor Hugo',
  mark: 'This is the battle between day and night... I see black light.\nLast words (1885-05-22); quoted in Olympio, ou la vie de Victor Hugo by André Maurois (1954)',
  quote: 'C\'est ici le combat du jour et de la nuit... Je vois de la lumière noire.'
}, {
  figure: 'Victor Hugo',
  mark: 'Quoted by Courtlandt Palmer, president of the Nineteenth Century Club of New York, while introducing Robert G. Ingersoll as a speaker in a debate, "The Limitations of Toleration," at the Metropolitan Opera House, New York City (1888-05-08); from The Works of Robert G. Ingersoll (Dresden Publishing Company, 1902), vol7. p217',
  quote: 'There shall be no slavery of the mind.'
}, {
  figure: 'Victor Hugo',
  mark: 'To rise at six, to sleep at ten,\nTo sup at ten, to dine at six,\nMake a man live for ten times ten.\nInscription in Hugo\'s dining room, quoted in Gustave Larroumet, La maison de Victor Hugo: Impressions de Guernesey (1895), Ch3',
  quote: 'Lever à six, coucher à dix,\nDîner à dix, souper à six,\nFont vivre l\'homme dix fois dix.'
}, {
  figure: 'Victor Hugo',
  mark: 'The need of the immaterial is the most deeply rooted of all needs. One must have bread; but before bread, one must have the ideal.\n"Les fleurs," (ca. 1860 - 1865), from Oeuvres complètes (1909); published in English as The Memoirs of Victor Hugo, trans. John W. Harding (1899), Ch6. Love in Prison, p2',
  quote: 'Ce besoin de l’immatériel est le plus vivace de tous. Il faut du pain; mais avant le pain, il faut l’idéal.'
}, {
  figure: 'Victor Hugo',
  mark: 'I represent a party which does not yet exist: the party Revolution-Civilization. This party will make the twentieth century. There will issue from it first the United States of Europe, then the United States of the World.\nOcéan - Tas de pierres (1942)',
  quote: 'Je représente un parti qui n\'existe pas encore, le parti Révolution-Civilisation. Ce parti fera le vingtième siècle. Il en sortira d\'abord les États-Unis d\'Europe, puis les États-Unis du Monde.'
}, {
  figure: 'Victor Hugo',
  mark: 'Telegram to his publisher regarding the sales of Les Misérables. The publisher\'s reply was an encouraging "!"; as quoted in "No invention more clearly showed the benefits of brevity than the telegram" by Ben Macintyre in The Times (20060304)',
  quote: '?'
}, {
  figure: 'Victor Hugo',
  mark: 'Les feuilles d\'automne (1831)',
  quote: 'To divinise is human, to humanise is divine.'
}, {
  figure: 'Victor Hugo',
  mark: '',
  quote: 'Philosophy is the microscope of thought. Everything desires to flee from it, but nothing escapes it.'
}, {
  figure: 'Victor Hugo',
  mark: 'To love is to act\nLast words of his diary, written two weeks before his death, published in Victor Hugo : Complete Writings (1970), edited by Jean-Jacques Pauvert',
  quote: 'Aimer, c\'est agir'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'It is time, we repeat, that this monstrous slumber of men\'s consciences should end. It must not be, after that fearful scandal, the triumph of crime, that a scandal still more fearful should be presented to mankind: the indifference of the civilized world. Book I,  III'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'At certain epochs of history, there are pleiades of great men; at other epochs, there are pleiades of vagabonds.  But do not confound the epoch, the moment of Louis Bonaparte, with the 19th century: the toadstool sprouts at the foot of the oak, but it is not the oak. Book I, VI'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'At certain epochs in history, the whole human race, from all points of the earth, fix their eyes upon some mysterious spot whence it seems that universal destiny is about to issue.  Book I, VI'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Alas! of what is France thinking? Of a surety, we must awake this slumbering nation, we must take it by the arm, we must shake it, we must speak to it; we must scour the fields, enter the villages, go into the barracks, speak to the soldier who no longer knows what he is doing, speak to the labourer who has in his cabin an engraving of the Emperor, and who, for that reason, votes for everything they ask; we must remove the radiant phantom that dazzles their eyes; this whole situation is nothing but a huge and deadly joke.   Book I, VI'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Let us sum up this government! Who is at the Élysée and the Tuileries? Crime. Who is established at the Luxembourg? Baseness. Who at the Palais Bourbon? Imbecility. Who at the Palais d\'Orsay?...And who are in the prisons... in the dungeons...in exile? Law, honour, intelligence, liberty, and the right.  Book I, VI'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'The present government is a hand stained with blood, which dips a finger in the holy water. Book II, X'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'We who combat them are "the eternal enemies of order."  We are—for they can as yet find nothing but this worn-out word—we are demagogues.  In the language of the Duke of Alva, to believe in the sacredness of the human conscience, to resist the Inquisition, to brave the state for one\'s faith, to draw the sword for one\'s country, to defend one\'s worship, one\'s city, one\'s home, one\'s house, one\'s family, and one\'s God, was called vagabondism...  The man is a demagogue in the nineteenth century, who in the sixteenth would have been a vagabond.   Book II, XI'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'This tribune was the terror of every tyranny and fanaticism, it was the hope of every one who was oppressed under Heaven. Whoever placed his foot upon that height, felt distinctly the pulsations of the great heart of mankind. There, providing he was a man of earnest purpose, his soul swelled within him, and shone without. A breath of universal philanthropy seized him, and filled his mind as the breeze fills the sail; so long as his feet rested upon those four planks, he was a stronger and a better man; he felt at that consecrated minute as if he were living the life of all the nations; words of charity for all men came to his lips; beyond the Assembly, grouped at his feet, and frequently in a tumult, he beheld the people, attentive, serious, with ears strained, and fingers on lips; and beyond the people, the human race, plunged in thought, seated in circles, and listening.  Book V, V'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'From this tribune, incessantly vibrating, gushed forth perpetually a sort of sonorous flood, a mighty oscillation of sentiments and ideas, which, from billow to billow, and from people to people, flowed to the utmost confines of the earth, to set in motion those intelligent waves which are called souls.  Book V, V'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Two great problems hang over the world. War must disappear, and conquest must continue. These two necessities of a growing civilization seemed to exclude each other. How satisfy the one without failing the other?   Book V, VII'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Now it is all over. The great work is accomplished. And the results of the work!...Get all you can, gorge yourselves, grow a fat paunch; it is no longer a question of being a great people, of being a powerful people, of being a free nation, of casting a bright light; France no longer sees its way to that.  Book V, IX'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Now there is no more noise, no more confusion, no more talking, no more parliament, or parliamentarism. The Corps Législatif, the Senate, the Council of State, have all had their mouths sewn up.  Book V, IX'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Be proud, Frenchmen! Lift high your heads, Frenchmen! You are no longer anything, and this man is everything! He holds in his hand your intelligence, as a child holds a bird. Any day he pleases, he can strangle the genius of France.  Book V, IX'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'The orator resumes: "And if it should happen some day that a man, having in his hand the five hundred thousand officeholders who constitute the government, and the four hundred thousand soldiers composing the army, if it should happen that this man should tear up the Constitution, should violate every law, break every oath, trample upon every right, commit every crime, do you know what your irremovable magistrates, instructors in the right, and guardians of the law, would do? They would hold their tongues."   Book  VIII, IV'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'From every agglomeration of men, from every city, from every nation, there inevitably arises a collective force.  Place this collective force at the service of liberty, let it rule by universal suffrage, the city becomes a commune, the nation becomes a republic.  This collective force is not, of its nature, intelligent. Belonging to all, it belongs to no one; it floats about, so to speak, outside of the people.  Conclusion, Part First, II'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'There is... always, in a large population like that of France, a class which is ignorant, which suffers, covets, and struggles, placed between the brutish instinct which impels it to take, and the moral law which invites it to labour.  In the grievous and oppressed condition in which it still is, this class, in order to maintain itself in probity and well-doing, requires all the pure and holy light that emanates from the Gospel; it requires that, on the one hand, the spirit of Jesus Christ, and, on the other, the spirit of the French Revolution, should address to it the same manly words, and should never cease to point out to it, as the only lights worthy of the eyes of man, the exalted and mysterious laws of human destiny,—self-denial, devotion, sacrifice, the labour which leads to material well-being, the probity which leads to inward well-being; even with this perennial instruction, at once divine and human, this class, so worthy of sympathy and fraternity, often succumbs.  Conclusion, Part First, III'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'On the day when the human conscience shall lose its bearings, on the day when success shall carry the day before that forum, all will be at an end. The last moral gleam will reascend to heaven. Darkness will be in the mind of man. You will have nothing to do but to devour one another, wild beasts that you are!   Conclusion, Part First, III'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'With moral degradation goes political degradation.  Conclusion, Part First, III'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'They determined, once for all, to make an end of the spirit of freedom and emancipation, and to drive back and repress for ever the upward tendency of mankind. To undo the labour of twenty generations; to kill in the nineteenth century, by strangulation... Luther, Descartes, and Voltaire, religious scrutiny, philosophical scrutiny, universal scrutiny; to crush throughout all Europe this immense vegetation of free thought, here a tender blade, there a sturdy oak; ...to resuscitate all they could of the Inquisition, and to stifle all they could of intelligence; to stultify youth, in other words to brutalize the future;... to say to nations: "Eat and think no more;"....   Conclusion, Part Second, I'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'There was a nation among the nations, which was a sort of elder brother in this family of the oppressed, a prophet in the human tribe. This nation took the initiative of the whole human movement. It went on, saying, "Come!" and the rest followed. As a complement to the fraternity of men, in the Gospel, it taught the fraternity of nations. It spoke by the voice of its writers, of its poets, of its philosophers, of its orators, as by a single mouth, and its words flew to the extremities of the earth, to rest, like tongues of fire, upon the brow of all nations. It presided over the communion of intellects.  Conclusion, Part Second, I'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Now it is all over. The French nation is dead. Conclusion, Part Second, I'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Let us have faith. No, let us not be cast down.\nTo despair is to desert.  Let us look to the future.\nThe future,—no one knows what tempests still separate us from port, but the port, the distant and radiant port, is in sight; the future, we repeat, is the republic for all men; let us add, the future is peace with all men.  Conclusion, Part Second, II'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Let us not fall into the vulgar error, which is to curse and to dishonour the age in which we live.  However deep the shame of the present, whatever blows we receive from the fluctuation of events, whatever the apparent desertion or the momentary lethargy of mental vigour, none of us... will repudiate the magnificent epoch in which we live, the virile age of mankind. Conclusion, Part Second, II'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'Let us proclaim it aloud, let us proclaim it in our fall and in our defeat, this is the greatest of all ages! and do you know the reason why? because it is the mildest. This age, the immediate issue, the firstborn offspring, of the French Revolution, frees the slave in America, raises from his degradation the pariah in Asia, abolishes the suttee in India, and extinguishes in Europe the last brands of the stake, civilizes Turkey, carries the Gospel into the domain of the Koran, dignifies woman, subordinates the right of the strongest to that of the most just, suppresses pirates, mitigates sentences, makes the galleys healthy, throws the red-hot iron into the sewer, condemns the penalty of death, removes the ball and chain from the leg of the convict, abolishes torture, degrades and brands war, stifles Dukes of Alva and Charles the Ninths, and extracts the claws of tyrants. Conclusion, Part Second, II'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'This age proclaims the sovereignty of the citizen, and the inviolability of life; it crowns the people, and consecrates man.  In art, it possesses all varieties of genius,—writers, orators, poets, historians, publicists, philosophers, painters, sculptors, musicians; majesty, grace, power, force, splendour, colour, form, style; it renews its strength in the real and in the ideal, and bears in its hand the two thunderbolts, the true and the beautiful. In science it accomplishes unheard-of miracles; it makes of cotton salt petre, of steam a horse, of the voltaic battery a workman, of the electric fluid a messenger, of the sun a painter; it waters itself with subterranean streams, pending the time when it shall warm itself with the central fire; it opens upon the two infinites those two windows, the telescope upon the infinitely great, the microscope upon the infinitely little, and it finds stars in the first abyss, and insects in the second, which prove to it the existence of God... It annihilates time, it annihilates space, it annihilates suffering; it writes a letter from Paris to London, and has an answer in ten minutes; it cuts off a man\'s leg, the man sings and smiles.   Conclusion, Part Second, II'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'This was the work that the nineteenth century had done among men, and was continuing in glorious, fashion to do,—that century of sterility, that century of domination, that century of decadence, that century of degradation, as it is called by the pedants, the rhetoricians, the imbeciles, and all that filthy brood of bigots, of knaves, and of sharpers, who sanctimoniously slaver gall upon glory, who assert that Pascal was a madman, Voltaire a coxcomb, and Rousseau a brute, and whose triumph it would be to put a fool\'s-cap upon the human race.  Conclusion, Part Second, II'
}, {
  figure: 'Victor Hugo',
  mark: 'Napoleon the Little (1852)',
  quote: 'O my country! it is at this moment, when I see you bleeding, inanimate, your head hanging, your eyes closed, your mouth open, and no words issuing therefrom, the marks of the whip upon your shoulders, the nails of the executioner\'s shoes imprinted upon your body, naked and ashamed, and like a thing deprived of life, an object of hatred, of derision, alas! it is at this moment, my country, that the heart of the exile overflows with love and respect for you!  Conclusion, Part Second, II'
}, {
  figure: 'Victor Hugo',
  mark: 'Letter To M. Daelli on Les Misérables (1862). You are right, sir, when you tell me that Les Misérables is written for all nations. I do not know whether it will be read by all, but I wrote it for all. It is addressed to England as well as to Spain, to Italy as well as to France, to Germany as well as to Ireland, to Republics which have slaves as well as to Empires which have serfs. Social problems surpass frontiers. The sores of the human race, those great sores which cover the globe, do not halt at the red or blue lines traced upon the map. In every place where man is ignorant and despairing, in every place where woman is sold for bread, wherever the child suffers for lack of the book which should instruct him and of the hearth which should warm him, the book of Les Misérables knocks at the door and says: "Open to me, I come for you."',
  quote: 'Vous avez raison, monsieur, quand vous me dites que le livre les Misérables est écrit pour tous les peuples. Je ne sais s\'il sera lu par tous, mais je l\'ai écrit pour tous. Il s\'adresse à l\'Angleterre autant qu\'à l\'Espagne, à l\'Italie autant qu\'à la France, à l\'Allemagne autant qu\'à l\'Irlande, aux républiques qui ont des esclaves aussi bien qu\'aux empires qui ont des serfs. Les problèmes sociaux dépassent les frontières. Les plaies du genre humain, ces larges plaies qui couvrent le globe, ne s\'arrêtent point aux lignes bleues ou rouges tracées sur la mappemonde. Partout où l\'homme ignore et désespère, partout où la femme se vend pour du pain, partout où l\'enfant souffre faute d\'un livre qui l\'enseigne et d\'un foyer qui le réchauffe, le livre les Misérables frappe à la porte et dit: Ouvrez-moi, je viens pour vous.'
}, {
  figure: 'Victor Hugo',
  mark: 'Letter To M. Daelli on Les Misérables (1862). At the hour of civilization through which we are now passing, and which is still so sombre, the miserable\'s name is Man; he is agonizing in all climes, and he is groaning in all languages.',
  quote: 'À l\'heure, si sombre encore, de la civilisation où nous sommes, le misérable s\'appelle L\'HOMME; il agonise sous tous les climats, et il gémit dans toutes les langues.'
}, {
  figure: 'Victor Hugo',
  mark: 'Letter To M. Daelli on Les Misérables (1862). From the depths of the gloom wherein you dwell, you do not see much more distinctly than we the radiant and distant portals of Eden. Only, the priests are mistaken. These holy portals are before and not behind us.',
  quote: 'Du fond de l\'ombre où nous sommes et où vous êtes, vous ne voyez pas beaucoup plus distinctement que nous les radieuses et lointaines portes de l\'éden. Seulement les prêtres se trompent. Ces portes saintes ne sont pas derrière nous, mais devant nous.'
}, {
  figure: 'Victor Hugo',
  mark: 'Letter To M. Daelli on Les Misérables (1862). This book, Les Misérables, is no less your mirror than ours. Certain men, certain castes, rise in revolt against this book, — I understand that. Mirrors, those revealers of the truth, are hated; that does not prevent them from being of use. As for myself, I have written for all, with a profound love for my own country, but without being engrossed by France more than by any other nation. In proportion as I advance in life, I grow more simple, and I become more and more patriotic for humanity.',
  quote: 'Ce livre, les Misérables, n\'est pas moins que votre miroir que le nôtre. Certains hommes, certaines castes, se révoltent contre ce livre, je le comprends. Les miroirs, ces diseurs de vérité, sont haïs; cela ne les empêche pas d\'être utiles.  Quant à moi, j\'ai écrit pour tous, avec un profond amour pour mon pays, mais sans me préoccuper de la France plus que d\'un autre peuple. A mesure que j\'avance dans la vie je me simplifie, et je deviens de plus en plus patriote de l\'humanité.'
}, {
  figure: 'Victor Hugo',
  mark: 'Letter To M. Daelli on Les Misérables (1862). In short, I am doing what I can, I suffer with the same universal suffering, and I try to assuage it, I possess only the puny forces of a man, and I cry to all: "Help me!"',
  quote: 'En somme, je fais ce que je peux, je souffre de la souffrance universelle, et je tâche de la soulager, je n\'ai que les chétives forces d\'un homme, et je crie à tous: aidez-moi.'
}, {
  figure: 'Victor Hugo',
  mark: 'Letter To M. Daelli on Les Misérables (1862). Whether we be Italians or Frenchmen, misery concerns us all. Ever since history has been written, ever since philosophy has meditated, misery has been the garment of the human race; the moment has at length arrived for tearing off that rag, and for replacing, upon the naked limbs of the Man-People, the sinister fragment of the past with the grand purple robe of the dawn.',
  quote: 'Italiens ou français, la misère nous regarde tous. Depuis que l\'histoire écrit et que la philosophie médite, la misère est le vêtement du genre humain; le moment serait enfin venu d\'arracher cette guenille, et de remplacer, sur les membres nus de l\'Homme-Peuple, la loque sinistre du passé par la grande robe pourpre de l\'aurore.'
}, {
  figure: 'Victor Hugo',
  mark: 'William Shakespeare (1864). God manifests himself to us in the first degree through the life of the universe, and in the second degree through the thought of man. The second manifestation is not less holy than the first. The first is named Nature, the second is named Art.\nPart I, Book II, Ch1',
  quote: 'Dieu se manifeste à nous au premier degré à travers la vie de l’univers, et au deuxième degré à travers la pensée de l’homme. La deuxième manifestation n’est pas moins sacrée que la première. La première s’appelle la Nature, la deuxième s’appelle l’Art.'
}, {
  figure: 'Victor Hugo',
  mark: 'William Shakespeare (1864). Homer is one of the men of genius who solve that fine problem of art — the finest of all, perhaps — truly to depict humanity by the enlargement of man: that is, to generate the real in the ideal.\nPart I, Book II, Ch2. Section I',
  quote: 'Homère est un des génies qui résolvent ce beau problème de l’art, le plus beau de tous peut-être, la peinture vraie de l’humanité obtenue par le grandissement de l’homme, c’est-à-dire la génération du réel dans l’idéal.'
}, {
  figure: 'Victor Hugo',
  mark: 'William Shakespeare (1864). It is man\'s consolation that the future is to be a sunrise instead of a sunset.\nPart I, Book II, Ch2. Section V',
  quote: 'Que l\'avenir soit un orient au lieu d\'être un couchant, c\'est la consolation de l\'homme.'
}, {
  figure: 'Victor Hugo',
  mark: 'William Shakespeare (1864). Music...is the vapour of art. It is to poetry what revery is to thought, what the fluid is to the liquid, what the ocean of clouds is to the ocean of waves.\nPart I, Book II, Ch4',
  quote: 'La musique...est la vapeur de l’art. Elle est à la poésie ce que la rêverie est à la pensée, ce que le fluide est au liquide, ce que l’océan des nuées est à l’océan des ondes.'
}, {
  figure: 'Victor Hugo',
  mark: 'William Shakespeare (1864). Music expresses that which cannot be said and on which it is impossible to be silent.\nPart I, Book II, Ch4',
  quote: 'Ce qu’on ne peut dire et ce qu’on ne peut taire, la musique l’exprime.'
}, {
  figure: 'Victor Hugo',
  mark: 'The Man Who Laughs (1869)',
  quote: 'They had done him the honor to take him for a madman, but had set him free on discovering that he was only a poet.'
}, {
  figure: 'Victor Hugo',
  mark: 'The Man Who Laughs (1869)',
  quote: 'It is very fortunate that kings cannot err. Hence their contradictions never perplex us.'
}, {
  figure: 'Victor Hugo',
  mark: 'Ninety-Three (1874). To put everything in balance is good, to put everything in harmony is better.\nQuatre-vingt-treize (Ninety-Three) (1874), Book VII, Ch5',
  quote: 'Mettre tout en équilibre, c\'est bien; mettre tout en harmonie, c\'est mieux.'
}, {
  figure: 'Victor Hugo',
  mark: 'Ninety-Three (1874). P2. Book 1, Ch2',
  quote: 'Cimourdain was a pure-minded but gloomy man. He had "the absolute" within him. He had been a priest, which is a solemn thing. Man may have, like the sky, a dark and impenetrable serenity; that something should have caused night to fall in his soul is all that is required. Priesthood had been the cause of night within Cimourdain. Once a priest, always a priest.  Whatever causes night in our souls may leave stars. Cimourdain was full of virtues and truth, but they shine out of a dark background.'
}, {
  figure: 'Victor Hugo',
  mark: 'Ninety-Three (1874). P2. Book 1, Ch2',
  quote: 'Cimourdain was one of those men who have a voice within them, and who listen to it. Such men seem absent-minded; they are not; they are all attention.  Cimourdain knew everything and nothing. He knew everything about science, and nothing at all about life. Hence his inflexibility. His eyes were bandaged like Homer\'s Themis. He had the blind certainty of the arrow, which sees only the mark and flies to it. In a revolution, nothing is more terrible than a straight line. Cimourdain went straight ahead, as sure as fate.  Cimourdain believed that, in social geneses, the extreme point is the solid earth; an error peculiar to minds which replace reason with logic.'
}];

var William_Shakespeare = [{
  figure: 'William Shakespeare',
  mark: 'The Rape of Lucrece (1594).',
  quote: 'Beauty itself doth of itself persuadeThe eyes of men without an orator.'
}, {
  figure: 'William Shakespeare',
  mark: 'The Rape of Lucrece.',
  quote: 'Time\'s glory is to calm contending kings,\nTo unmask falsehood, and bring truth to light.'
}, {
  figure: 'William Shakespeare',
  mark: 'The Rape of Lucrece.',
  quote: 'That deep torture may be called a hell,\nWhen more is felt than one hath power to tell.'
}, {
  figure: 'William Shakespeare',
  mark: 'Sonnets to Sundry Notes of Music, II. Not to be confused with The Sonnets; this poem is not a sonnet',
  quote: 'On a day — alack the day! —Love, whose month is ever May,\nSpied a blossom passing fairPlaying in the wanton air'
}, {
  figure: 'William Shakespeare',
  mark: 'The Passionate Pilgrim: A Madrigal; there is some doubt about the authorship of this.',
  quote: 'Crabbed age and youth cannot live together:\nYouth is full of pleasure, age is full of care'
}, {
  figure: 'William Shakespeare',
  mark: 'Shakespeare\'s will',
  quote: 'I gyve unto my wief my second best bed with the furniture'
}, {
  figure: 'William Shakespeare',
  mark: 'Shakespeare\'s epitaph',
  quote: 'Good frend for Jesus sake forbeareTo digg the dust encloased heareBlese be the man that spares these stonesAnd curst be he that moves my bones'
}, {
  figure: 'William Shakespeare',
  mark: 'Richard III (1592–3). Richard, A1s1.',
  quote: 'Now is the winter of our discontentMade glorious summer by this sun of York.'
}, {
  figure: 'William Shakespeare',
  mark: 'Richard III (1592–3). Richard, A3s4.',
  quote: 'Off with his head!'
}, {
  figure: 'William Shakespeare',
  mark: 'Richard III (1592–3). Richard, A5s4.',
  quote: 'A horse! A horse! My kingdom for a horse!'
}, {
  figure: 'William Shakespeare',
  mark: 'Romeo and Juliet (1595). Romeo, A2s2.',
  quote: 'What light through yonder window breaks?'
}, {
  figure: 'William Shakespeare',
  mark: 'Romeo and Juliet (1595). Juliet, A2s2.',
  quote: 'What\'s in a name? That which we call a rose,\nBy any other name would smell as sweet.'
}, {
  figure: 'William Shakespeare',
  mark: 'Romeo and Juliet (1595). Juliet, A2s2.',
  quote: 'O Romeo, Romeo! wherefore art thou Romeo?'
}, {
  figure: 'William Shakespeare',
  mark: 'A Midsummer Night\'s Dream (1595). Lysander, A1s1.',
  quote: 'The course of true love never did run smooth.'
}, {
  figure: 'William Shakespeare',
  mark: 'A Midsummer Night\'s Dream (1595). Puck, A3s2.',
  quote: 'Lord, what fools these mortals be!'
}, {
  figure: 'William Shakespeare',
  mark: 'A Midsummer Night\'s Dream (1595). Helena, A1s1.',
  quote: 'Love looks not with the eyes, but with the mind,\nAnd therefore is wing\'d Cupid painted blind.'
}, {
  figure: 'William Shakespeare',
  mark: 'The Merchant of Venice (1596–7). Portia, A1s2.',
  quote: 'If to do were as easy as to know what were good to do, chapels had been churches, and poor men’s cottages princes’ palaces.'
}, {
  figure: 'William Shakespeare',
  mark: 'The Merchant of Venice (1596–7). Prince of Morocco, reading Portia\'s note, A2s7. ; this is the source of the popular paraphrase "All that glitters is not gold."',
  quote: 'All that glisters is not gold.'
}, {
  figure: 'William Shakespeare',
  mark: 'The Merchant of Venice (1596–7). Shylock, A3s1.',
  quote: 'I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, heal\'d by the same means, warm\'d and cool\'d by the same winter and summer, as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?'
}, {
  figure: 'William Shakespeare',
  mark: 'Henry IV, P1. (1597-8). Falstaff, A5s4.',
  quote: 'The better part of valour is discretion; in the which better part I have saved my life.'
}, {
  figure: 'William Shakespeare',
  mark: 'Henry IV, P2. (1597-8). Feeble, A3s2.',
  quote: 'A man can die but once.'
}, {
  figure: 'William Shakespeare',
  mark: 'Henry IV, P2. (1597-8). King Henry, A3s1.',
  quote: 'Uneasy lies the head that wears a crown.'
}, {
  figure: 'William Shakespeare',
  mark: 'Much Ado About Nothing (1598). Beatrice, A2s1.',
  quote: 'As merry as the day is long.'
}, {
  figure: 'William Shakespeare',
  mark: 'Much Ado About Nothing (1598). Balthazar, A2s3.',
  quote: 'Sigh no more, ladies, sigh no more,\nMen were deceivers ever;\nOne foot in sea, and one on shore,\nTo one thing constant never.'
}, {
  figure: 'William Shakespeare',
  mark: 'Much Ado About Nothing (1598). Hero, A3s1.',
  quote: 'Some Cupid kills with arrows, some with traps.'
}, {
  figure: 'William Shakespeare',
  mark: 'Julius Caesar (1599). Soothsayer, A1s2.',
  quote: 'Beware the ides of March.'
}, {
  figure: 'William Shakespeare',
  mark: 'Julius Caesar (1599). Cassius, A1s2.',
  quote: 'Men at some time are masters of their fates:\nThe fault, dear Brutus, is not in our stars,\nBut in ourselves, that we are underlings.'
}, {
  figure: 'William Shakespeare',
  mark: 'Julius Caesar (1599). Caesar, A2s2.',
  quote: 'Cowards die many times before their deaths;\nThe valiant never taste of death but once.'
}, {
  figure: 'William Shakespeare',
  mark: 'Julius Caesar (1599). Antony, A3s1.',
  quote: 'Cry \'Havoc!,\' and let slip the dogs of war.'
}, {
  figure: 'William Shakespeare',
  mark: 'Julius Caesar (1599). Antony, A3s2.',
  quote: 'Friends, Romans, countrymen, lend me your ears;\nI come to bury Caesar, not to praise him.\nThe evil that men do lives after them;\nThe good is oft interred with their bones.'
}, {
  figure: 'William Shakespeare',
  mark: 'As You Like It (1599–1600). Jaques, A2s7.',
  quote: 'All the world\'s a stage,\nAnd all the men and women merely players:\nThey have their exits and their entrances;\nAnd one man in his time plays many parts.'
}, {
  figure: 'William Shakespeare',
  mark: 'Hamlet (1600–1). Polonius, A1s3.',
  quote: 'Neither a borrower nor a lender be;\nFor loan oft loses both itself and friend,\nAnd borrowing dulls the edge of husbandry.\nThis above all: to thine ownself be true.\nAnd it must follow, as the night the day,\nThou canst not then be false to any man.'
}, {
  figure: 'William Shakespeare',
  mark: 'Hamlet (1600–1). Polonius, A1s3.',
  quote: 'Give every man thy ear, but few thy voice.'
}, {
  figure: 'William Shakespeare',
  mark: 'Hamlet (1600–1). Hamlet, A1s5.',
  quote: 'The time is out of joint: O cursed spite,\nThat ever I was born to set it right!'
}, {
  figure: 'William Shakespeare',
  mark: 'Hamlet (1600–1). Hamlet, A2s2.',
  quote: 'There is nothing either good or bad, but thinking makes it so.'
}, {
  figure: 'William Shakespeare',
  mark: 'Hamlet (1600–1). Hamlet, A2s2.',
  quote: 'What a piece of work is a man!How noble in reason, how infinite in faculty!In form and moving how express and admirable!In action how like an angel,\nin apprehension how like a god!'
}, {
  figure: 'William Shakespeare',
  mark: 'Hamlet (1600–1). Hamlet, A3s1.',
  quote: 'To be or not to be, that is the question.'
}, {
  figure: 'William Shakespeare',
  mark: 'Twelfth Night (1601). Orsino, A1s1.',
  quote: 'If music be the food of love, play on.'
}, {
  figure: 'William Shakespeare',
  mark: 'Twelfth Night (1601). Malvolio, A2s5.',
  quote: 'Some are born great, some achieve greatness, and some have greatness thrust upon \'em.'
}, {
  figure: 'William Shakespeare',
  mark: 'Othello (1603–4). Iago, A2s3.',
  quote: 'Reputation is an idle and most false imposition; oft got without merit and lost without deserving.'
}, {
  figure: 'William Shakespeare',
  mark: 'Othello (1603–4). Othello, A5s2.',
  quote: 'Of one that lov\'d not wisely but too well.'
}, {
  figure: 'William Shakespeare',
  mark: 'Timon of Athens (1605). Flavius, A4s2.',
  quote: 'We have seen better days.'
}, {
  figure: 'William Shakespeare',
  mark: 'King Lear (1605–6). Lear, A1s1.',
  quote: 'Nothing can come of nothing.'
}, {
  figure: 'William Shakespeare',
  mark: 'King Lear (1605–6). Lear, A1s4.',
  quote: 'How sharper than a serpent\'s tooth it isTo have a thankless child!'
}, {
  figure: 'William Shakespeare',
  mark: 'King Lear (1605–6). Lear, A3s2.',
  quote: 'I am a man,\nMore sinn\'d against than sinning.'
}, {
  figure: 'William Shakespeare',
  mark: 'Antony and Cleopatra (1606). Enobarbus, A2s2.',
  quote: 'The barge she sat in, like a burnish\'d throne,\nBurnt on the water.'
}, {
  figure: 'William Shakespeare',
  mark: 'Macbeth (1606). Macbeth, A1s3.',
  quote: 'Come what come may,\nTime and the hour runs through the roughest day.'
}, {
  figure: 'William Shakespeare',
  mark: 'Macbeth (1606). Macbeth, A2s1.',
  quote: 'Is this a dagger which I see before me,\nThe handle toward my hand?'
}, {
  figure: 'William Shakespeare',
  mark: 'Macbeth (1606). Macbeth, A5s5.',
  quote: 'Tomorrow, and tomorrow, and tomorrow,\nCreeps in this petty pace from day to day,\nTo the last syllable of recorded time;\nAnd all our yesterdays have lighted foolsThe way to dusty death. Out, out, brief candle!Life\'s but a walking shadow, a poor playerThat struts and frets his hour upon the stage,\nAnd then is heard no more. It is a taleTold by an idiot, full of sound and fury,\nSignifying nothing.'
}, {
  figure: 'William Shakespeare',
  mark: 'Sonnets (1609). XVIII',
  quote: 'Shall I compare thee to a summer\'s day?\nThou art more lovely and more temperate:\nRough winds do shake the darling buds of May, And summer\'s lease hath all too short a date'
}, {
  figure: 'William Shakespeare',
  mark: 'Sonnets (1609). XVIII',
  quote: 'So long as men can breathe or eyes can see,\nSo long lives this, and this gives life to thee.'
}, {
  figure: 'William Shakespeare',
  mark: 'Sonnets (1609). CXVI',
  quote: 'Let me not to the marriage of true mindsAdmit impediments.'
}, {
  figure: 'William Shakespeare',
  mark: 'Cymbeline (1610). Guiderius, A4s2.',
  quote: 'Golden lads and girls all must,\nAs chimney-sweepers, come to dust.'
}, {
  figure: 'William Shakespeare',
  mark: 'The Tempest (1611). Ariel, A1s2.',
  quote: 'Full fathom five thy father lies;\nOf his bones are coral made;\nThose are pearls that were his eyes;\nNothing of him that doth fade,\nBut doth suffer a sea-changeInto something rich and strange.'
}, {
  figure: 'William Shakespeare',
  mark: 'The Tempest (1611). Trinculo, A2s2.',
  quote: 'Misery acquaints a man with strange bedfellows.'
}, {
  figure: 'William Shakespeare',
  mark: 'The Tempest (1611). Prospero, A4s1.',
  quote: 'We are such stuffAs dreams are made on; and our little lifeIs rounded with a sleep.'
}];

const Quotes = {
  Aaron_Sorkin,
  Ernest_Hemingway,
  Guy_de_Maupassant,
  Honor_de_Balzac,
  Leo_Tolstoy,
  Lin_Yutang,
  Nicholas_Sparks,
  Rod_Serling,
  Victor_Hugo,
  William_Shakespeare
};

utilQuotes.FlopShuffleMaker.defineFlopShuffle(Quotes);
utilQuotes.FlopShuffleMaker.defineFlop(Quotes);

exports.Quotes = Quotes;