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Что побуждает человека терзать себя, взрезая мозг тупыми ножницами неприятных воспоминаний?
Добавила Sylvia 29.01.15- Скопировать
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Бывают в жизни редкие минуты, когда глубоко запрятанное чувство к другому человеку – подавляемая враждебность или безумная любовь – неожиданно со всей ясностью всплывает на поверхность сознания; иногда это обрушивается как катаклизм, который уже не забыть.
Добавила Sylvia 29.01.15- Скопировать
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Для мира крематориев ненависть — слишком буйное и спонтанное чувство, никак не сочетающееся с однообразием выполняемых изо дня в день обязанностей.
Добавила millka 27.10.11- Скопировать
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Я был еще слишком молод, чтобы чего-то действительно бояться, и, однако, уже не настолько молод, чтобы не поддаться опасениям.
Добавила Sylvia 29.01.15- Скопировать
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Как человеку определенной национальности, которая на протяжении столетий подвергалась несправедливым гонениям за то, что ее сыны якобы распяли Христа, вам — да, черт подери, вам! — следовало бы понимать, как непростительно осуждать за что бы то ни было любой народ!
Добавила millka 27.10.11- Скопировать
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Терпеть не могу такой тип пустопорожнего горя!
Добавила millka 27.10.11- Скопировать
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Но это только еретики-«либералы» отождествляют военных с подлинным зло, считая его безраздельной вотчиной лейтенантов или генералов, тогда как военные часто способны творить вторичное зло — агрессивное, романтическое, мелодраматичное, увлекательное, доводящее до оргазма. Подлинное же зло, зло Аушвица, от которого захватывает дух, — зло мрачное, однообразное, унылое, неприкрытое — осуществлялось почти исключительно гражданскими лицами.<. > В качестве примечания следует только добавить, что величайший в истории ликвидатор евреев, тупоголовый Генрих Миллер, был фермером, разводившим цыплят.
„It thus remains nearly incomprehensible to those who have not experienced it in its extreme mode, although the gloom, “the blues” which people go through occasionally and associate with the general hassle of everyday existence are of such prevalence that they do give many individuals a hint of the illness in its catastrophic form.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible (1990), I
Контексте: Depression is a disorder of mood, so mysteriously painful and elusive in the way it becomes known to the self — to the mediating intellect — as to verge close to being beyond description. It thus remains nearly incomprehensible to those who have not experienced it in its extreme mode, although the gloom, “the blues” which people go through occasionally and associate with the general hassle of everyday existence are of such prevalence that they do give many individuals a hint of the illness in its catastrophic form.
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„Writers ever since writing began have had problems, and the main problem narrows down to just one word — life. Certainly this might be an age of so-called faithlessness and despair we live in, but the new writers haven’t cornered any market on faithlessness and despair, any more than Dostoyevsky or Marlowe or Sophocles did.“
— William Styron, книга Darkness Visible
„I shivered in the knowledge of the futility of all ambition.“
— William Styron, книга The Confessions of Nat Turner
Part III : Study War
The Confessions of Nat Turner (1967)
Контексте: I shivered in the knowledge of the futility of all ambition. My mouth was sour with the yellow recollection of death and blood-smeared fields and walls. I watched the girl slip away, vanish without a hand laid upon her. Who knows but whether we were not doomed to lose. I know nothing any longer. Nothing. Did I really wish to vouchsafe a life for the one that I had taken?
„It is hopelessness even more than pain that crushes the soul.“
— William Styron, книга Darkness Visible
„It thus remains nearly incomprehensible to those who have not experienced it in its extreme mode, although the gloom, “the blues” which people go through occasionally and associate with the general hassle of everyday existence are of such prevalence that they do give many individuals a hint of the illness in its catastrophic form.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible (1990), I
Контексте: Depression is a disorder of mood, so mysteriously painful and elusive in the way it becomes known to the self — to the mediating intellect — as to verge close to being beyond description. It thus remains nearly incomprehensible to those who have not experienced it in its extreme mode, although the gloom, “the blues” which people go through occasionally and associate with the general hassle of everyday existence are of such prevalence that they do give many individuals a hint of the illness in its catastrophic form.
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Discover interesting quotes and translate them.
„The pain of severe depression is quite unimaginable to those who have not suffered it, and it kills in many instances because its anguish can no longer be borne.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible (1990), III
Контексте: This general unawareness of what depression is really like was apparent most recently in the matter of Primo Levi, the remarkable Italian writer and survivor of Auschwitz who, at the age of sixty-seven, hurled himself down a stairwell in Turin in 1987. Since my own involvement with the illness, I had been more than ordinarily interested in Levi’s death, and so, late in 1988, when I read an account in The New York Times about a symposium on the writer and his work held at New York University, I was fascinated but, finally, appalled. For, according to the article, many of the participants, worldly writers and scholars, seemed mystified by Levi’s suicide, mystified and disappointed. It was as if this man whom they had all so greatly admired, and who had endured so much at the hands of the Nazis — a man of exemplary resilience and courage — had by his suicide demonstrated a frailty, a crumbling of character they were loath to accept. In the face of a terrible absolute — self-destruction — their reaction was helplessness and (the reader could not avoid it) a touch of shame.
My annoyance over all this was so intense that I was prompted to write a short piece for the op-ed page of the Times. The argument I put forth was fairly straightforward: the pain of severe depression is quite unimaginable to those who have not suffered it, and it kills in many instances because its anguish can no longer be borne. The prevention of many suicides will continue to be hindered until there is a general awareness of the nature of this pain. Through the healing process of time — and through medical intervention or hospitalization in many cases — most people survive depression, which may be its only blessing; but to the tragic legion who are compelled to destroy themselves there should be no more reproof attached than to the victims of terminal cancer.
„my brain had begun to endure its familiar siege: panic and dislocation, and a sense that my thought processes were being engulfed by a toxic and unnameable tide that obliterated any enjoyable response to the living world.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible: A Memoir of Madness
„The pain of severe depression is quite unimaginable to those who have not suffered it, and it kills in many instances because its anguish can no longer be borne.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible (1990), III
Контексте: This general unawareness of what depression is really like was apparent most recently in the matter of Primo Levi, the remarkable Italian writer and survivor of Auschwitz who, at the age of sixty-seven, hurled himself down a stairwell in Turin in 1987. Since my own involvement with the illness, I had been more than ordinarily interested in Levi’s death, and so, late in 1988, when I read an account in The New York Times about a symposium on the writer and his work held at New York University, I was fascinated but, finally, appalled. For, according to the article, many of the participants, worldly writers and scholars, seemed mystified by Levi’s suicide, mystified and disappointed. It was as if this man whom they had all so greatly admired, and who had endured so much at the hands of the Nazis — a man of exemplary resilience and courage — had by his suicide demonstrated a frailty, a crumbling of character they were loath to accept. In the face of a terrible absolute — self-destruction — their reaction was helplessness and (the reader could not avoid it) a touch of shame.
My annoyance over all this was so intense that I was prompted to write a short piece for the op-ed page of the Times. The argument I put forth was fairly straightforward: the pain of severe depression is quite unimaginable to those who have not suffered it, and it kills in many instances because its anguish can no longer be borne. The prevention of many suicides will continue to be hindered until there is a general awareness of the nature of this pain. Through the healing process of time — and through medical intervention or hospitalization in many cases — most people survive depression, which may be its only blessing; but to the tragic legion who are compelled to destroy themselves there should be no more reproof attached than to the victims of terminal cancer.
„In depression this faith in deliverance, in ultimate restoration, is absent.“
— William Styron, книга Darkness Visible
„Someday I will understand Auschwitz. This was a brave statement but innocently absurd. No one will ever understand Auschwitz.“
Следующая цитата
вместо того, чтобы говорить: «Какие ужасы я творил с людьми», убийцы могли сказать: «Какие ужасы мне пришлось наблюдать при исполнении моих обязанностей, до чего же тяжкое бремя лежало у меня на плечах!»
„Someday I will understand Auschwitz. This was a brave statement but innocently absurd. No one will ever understand Auschwitz.“
„my brain had begun to endure its familiar siege: panic and dislocation, and a sense that my thought processes were being engulfed by a toxic and unnameable tide that obliterated any enjoyable response to the living world.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible: A Memoir of Madness
„When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible (1990), II
Контексте: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.
„Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible (1990), II
Контексте: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.
„A good book should leave you…. slightly exhausted at the end. You live several lives while reading it.“
Interview in Writers at Work, First Series (1958), edited by George Plimpton
Вариант: A great book should leave you with many experiences, and slightly exhausted at the end. You live several lives while reading it.
Источник: Conversations with William Styron
Writers at Work (1958)
„Surely mankind has yet to be born. Surely this is true!“
— William Styron, книга The Confessions of Nat Turner
Part II : Old Times Past : Voices, Dreams, Recollections
The Confessions of Nat Turner (1967)
Контексте: “Surely mankind has yet to be born. Surely this is true! For only something blind and uncomprehending could exist in such a mean conjunction with its own flesh, its own kind. How else account for such faltering, clumsy, hateful cruelty? Even the possums and the skunks know better! Even the weasels and the meadow mice have a natural regard for their own blood and kin. Only the insects are low enough to do the low things that people do — like those ants that swarm on poplars in the summertime, greedily husbanding little green aphids for the honeydew they secrete. Yes, it could be that mankind has yet to be born. Ah, what bitter tears God must weep at the sight of the things that men do to other men!” He broke off then and I saw him shake his head convulsively, his voice a sudden cry: “In the name of money! Money! ”
Следующая цитата
Источник: Darkness Visible (1990), II
Контексте: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.
„It is hopelessness even more than pain that crushes the soul.“
— William Styron, книга Darkness Visible
„I felt the exultancy of a man just released from slavery and ready to set the universe on fire.“
"Lie Down In Darkness", This Quiet Dust and Other Writings (1982)
Контексте: When, in the autumn of 1947, I was fired from the first and only job I have ever held, I wanted one thing out of life: to become a writer. I left my position as manuscript reader at the McGraw-Hill Book Company with no regrets; the job had been onerous and boring. It did not occur to me that there would be many difficulties to impede my ambition; in fact, the job itself had been an impediment. All I knew was that I burned to write a novel and I could not have cared less that my bank account was close to zero, with no replenishment in sight. At the age of twenty-two I had such pure hopes in my ability to write not just a respectable first novel, but a novel that would be completely out of the ordinary, that when I left the McGraw-Hill Building for the last time I felt the exultancy of a man just released from slavery and ready to set the universe on fire.
„I felt the exultancy of a man just released from slavery and ready to set the universe on fire.“
"Lie Down In Darkness", This Quiet Dust and Other Writings (1982)
Контексте: When, in the autumn of 1947, I was fired from the first and only job I have ever held, I wanted one thing out of life: to become a writer. I left my position as manuscript reader at the McGraw-Hill Book Company with no regrets; the job had been onerous and boring. It did not occur to me that there would be many difficulties to impede my ambition; in fact, the job itself had been an impediment. All I knew was that I burned to write a novel and I could not have cared less that my bank account was close to zero, with no replenishment in sight. At the age of twenty-two I had such pure hopes in my ability to write not just a respectable first novel, but a novel that would be completely out of the ordinary, that when I left the McGraw-Hill Building for the last time I felt the exultancy of a man just released from slavery and ready to set the universe on fire.
„In depression this faith in deliverance, in ultimate restoration, is absent.“
— William Styron, книга Darkness Visible
„I shivered in the knowledge of the futility of all ambition.“
— William Styron, книга The Confessions of Nat Turner
Part III : Study War
The Confessions of Nat Turner (1967)
Контексте: I shivered in the knowledge of the futility of all ambition. My mouth was sour with the yellow recollection of death and blood-smeared fields and walls. I watched the girl slip away, vanish without a hand laid upon her. Who knows but whether we were not doomed to lose. I know nothing any longer. Nothing. Did I really wish to vouchsafe a life for the one that I had taken?
Следующая цитата
Источник: Darkness Visible (1990), II
Контексте: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.
„When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible (1990), II
Контексте: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.
„Writers ever since writing began have had problems, and the main problem narrows down to just one word — life. Certainly this might be an age of so-called faithlessness and despair we live in, but the new writers haven’t cornered any market on faithlessness and despair, any more than Dostoyevsky or Marlowe or Sophocles did.“
— William Styron, книга Darkness Visible
„A good book should leave you…. slightly exhausted at the end. You live several lives while reading it.“
Interview in Writers at Work, First Series (1958), edited by George Plimpton
Вариант: A great book should leave you with many experiences, and slightly exhausted at the end. You live several lives while reading it.
Источник: Conversations with William Styron
Writers at Work (1958)
„Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.“
— William Styron, книга Darkness Visible
Источник: Darkness Visible (1990), II
Контексте: When I was a young writer there had been a stage where Camus, almost more than any other contemporary literary figure, radically set the tone for my own view of life and history. I read his novel The Stranger somewhat later than I should have — I was in my early thirties — but after finishing it I received the stab of recognition that proceeds from reading the work of a writer who has wedded moral passion to a style of great beauty and whose unblinking vision is capable of frightening the soul to its marrow. The cosmic loneliness of Meursault, the hero of that novel, so haunted me that when I set out to write The Confessions of Nat Turner I was impelled to use Camus’s device of having the story flow from the point of view of a narrator isolated in his jail cell during the hours before his execution. For me there was a spiritual connection between Meursault’s frigid solitude and the plight of Nat Turner — his rebel predecessor in history by a hundred years — likewise condemned and abandoned by man and God. Camus’s essay “Reflections on the Guillotine” is a virtually unique document, freighted with terrible and fiery logic; it is difficult to conceive of the most vengeful supporter of the death penalty retaining the same attitude after exposure to scathing truths expressed with such ardor and precision. I know my thinking was forever altered by that work, not only turning me around completely, convincing me of the essential barbarism of capital punishment, but establishing substantial claims on my conscience in regard to matters of responsibility at large. Camus was a great cleanser of my intellect, ridding me of countless sluggish ideas, and through some of the most unsettling pessimism I had ever encountered causing me to be aroused anew by life’s enigmatic promise.
„Surely mankind has yet to be born. Surely this is true!“
— William Styron, книга The Confessions of Nat Turner
Part II : Old Times Past : Voices, Dreams, Recollections
The Confessions of Nat Turner (1967)
Контексте: “Surely mankind has yet to be born. Surely this is true! For only something blind and uncomprehending could exist in such a mean conjunction with its own flesh, its own kind. How else account for such faltering, clumsy, hateful cruelty? Even the possums and the skunks know better! Even the weasels and the meadow mice have a natural regard for their own blood and kin. Only the insects are low enough to do the low things that people do — like those ants that swarm on poplars in the summertime, greedily husbanding little green aphids for the honeydew they secrete. Yes, it could be that mankind has yet to be born. Ah, what bitter tears God must weep at the sight of the things that men do to other men!” He broke off then and I saw him shake his head convulsively, his voice a sudden cry: “In the name of money! Money! ”
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