Quotes About Interpretation

It was one of those British phrases, along with 'May I help you?', that can be either exceedingly polite or hugely aggressive.

After all, color in itself has no color — it's simply a construction of the mind: a sensation, like the Humming Chorus from Madame Butterfly and the smell of honeysuckle.

Well, each interpretation of an event, setting or character is unique to each of those who read it because they clothe the author's description with the memory of their own experiences. Every character they read is actually a complex amalgam of people they've met, read or seen before - far more real than it can ever be just from the text on the page. Because every reader's experiences are different, each book is unique for each reader.

The verses of Byron, Keats or Poe are real whether they are in bootleg form or not. You can still read them for the same effect.

There's more to good or bad than what's written in the Rulebook.

Their father, Polonius, was in a 'have a go' mood and joined in. He also made changes, and together they renamed it: The Tragedy of the Very Witty and Not Remotely Boring Polonius, Father of the Noble Laertes, Who Avenges His Fair Sister, Ophelia, Driven Mad by the Callous, Murderous and Outrageously Disrespectful Hamlet, Prince of Denmark." "What was it like?" "With Polonius? Very . . . wordy.

The trouble was, he could read Three Men in a Boat without a single smirk and viewed P. G. Wodehouse as " infantile," so I had a suspicion the affliction was long-lasting and permanent.

Take the first had had and that that in the book by way of example, explained Lady Cavendish. You would have thought that that first had had had had good occasion to be seen as had , had you not? Had had had approval but had had had not; equally it is true to say that that that that had had approval but that that other that that had not.

That 'gleeful darting of the house martins' stuff sounds suspiciously like the work of Jade-under-Lime's resident verse mercenary, Gerald Henna-Rose.

Whoever controls the supply of metaphor controls fiction! . . . Metaphor should be controlled. A glut on the market would make fiction overtly highbrow, painfully ambiguous, and potentially unreadable.

Until you get into the swing of it, play her subtly different on alternate readings. Hamlet's been doing it for years. Of course, he has twenty-six different ways of playing himself, but then he's had a lot of practice. In fact, I don't think even he knows his motivation any more- unless you count confusing readers and giving useful employment to Shakespearean scholars.

Que la mitad de una novela la pone el que la escribe, y la otra mitad el que la lee.

porque los libros siempre acaban cobrando vida propia, y porque uno no escribe acerca de lo que quiere, sino de lo que puede...un escritor no escribe nunca acerca de lo que conoce, sino precisamente de lo que ignora.

los libros siempre acaban cobrando vida propia, y porque uno no escribe acerca de lo que quiere, sino de lo que puede;

I have a tendency to want to understand everything people say and everything I hear, both at work and outside, even at a distance, even if it's one of the innumerable languages I don't know, even if it's in an indistinguishable murmur or imperceptible whisper, even if it would be better that I didn't understand and what's said is not intended for my ears or is said precisely so I won't understand it.

What happened is the least of it. It's a novel, and once you've finished a novel, what happened in it is of little importance and soon forgotten. What matters are the possibilities and ideas that the novel's imaginary plot communicates to us and infuses us with, a plot that we recall far more vividly than real events and to which we pay far more attention.

The truth never shines forth, as the saying goes, because the only truth is that which is known to no one and which remains untransmitted, that which is not translated into words or images, that which remains concealed and unverified, which is perhaps why we do recount so much or even everything, to make sure that nothing has ever really happened, not once it's been told.

Everything can be ridiculous or tragic according to who is doing the telling or how they tell it.

4. The unconscious mind can understand and link multiple messages.

La persuasión efectiva requiere interpretar las creencias y las expectativas, los valores y las emociones de tu audiencia. Puedes hacerlo cínicamente. Puedes usar la retórica para expresar tu punto de vista e incluso para cambiar el mundo. Pero con frecuencia el objetivo «es la gente, no las ideas», como dice David.

Whereas representation attempts to absorb simulation by interpreting it as a false representation, simulation envelops the whole edifice of representation itself as a simulacrum. Such would be the successive phases of the image: it is the reflection of a profound reality; it masks and denatures a profound reality; it masks the absence of a profound reality; it has no relation to any reality whatsoever; it is its own pure simulacrum.

Art does not die because there is no more art; it dies because there is too much.

Mass(age) is the message.

We are fascinated by Ramses as Renaissance Christians were by the American Indians, those (human?) beings who had never known the word of Christ.