Best 223 quotes in «french quotes» category

The French always make our sort happy because, like us, they know how to love, they're just as good at playing the accordion, and they've made a real art of their inability to bake proper bread.

The French doctor - the French, they are a very logical race and make good doctors - says: "M'sieu, they have all been on the wrong track - ("Jane Brown's Body")

The Jews are a peculiar people: Things permitted to other nations are forbidden to the Jews. Other nations drive out thousands, even millions of people, and there is no refugee problem. Russia did it. Poland and Czechoslovakia did it. Turkey threw out a million Greeks and Algeria a million Frenchmen. Indonesia threw out heaven knows how many Chinese--and no one says a word about refugees. But in the case of Israel, the displaced Arabs have become eternal refugees. Everyone insists that Israel must take back every single Arab. Arnold Toynbee calls the displacement of the Arabs an atrocity greater than any committed by the Nazis. Other nations when victorious on the battlefield dictate peace terms. But when Israel is victorious it must sue for peace. Everyone expects the Jews to be the only real Christians in this world.

The old lady continued, "We women, my child, are often very simple. But that any female would lack reason to such a degree that she would start reasoning with a man--that is beyond my comprehension! She has lost the battle, my dear child, she has lost the battle before it began! No, if a woman will have her way with a man she must look him square in the eye and say something of which it is impossible for him to make any sense whatsoever and to which he is at a loss to reply. He is defeated at once.

The towering stacks of profiteroles, the mille-feuille and champagne creams were banished in favor of the sweet and the simple; pans of clafoutis with preserved cherries, slices of tarte tatin and cups of hot chocolate.

There's a little war in progress here. There won't be anything left of the place if it goes on at this rate." (But it's hard to feign innocence if you've eaten the apple, he reflected.) "And it looks to me as if it is going to go on, because the French aren't going to give in, and certainly the Arabs aren't, because they can't. They're fighting with their backs the the wall." "I thought maybe you meant you expected a new world war," he lied. "That's the least of my worries. When that comes, we've had it. You can't sit around mooning about Judgement Day. That's just silly. Everybody who ever lived has always had his own private Judgment Day to face anyway, and he still has. As far as that goes, nothing's changed at all.

The true structure of the Welsh grammar will be revealed only when we look at sentences slightly more complicated than its basic VSO pattern. Welsh is no different from the rest of the world: it does involve an extra step, but even that isn't all that unusual. Welsh is like Shakespearean English on acid: the verb always - not just in questions - moves to the beginning. Alternatively, it can be viewed as taking the French grammar a step further. While the verb stops at tense in French, it moves further in Welsh to a position that traditional grammarians call the complementizer (don't ask).

The Parisian grocers insisted that I interact with them personally: if I wasn't willing to take the time to get to know them and their wares, then I would not go home with the freshest legumes or cuts of meat in my basket. They certainly made me work for my supper-- but, oh, what suppers!

The physical shape of Mollies paralyses and contortions fit the pattern of late-nineteenth-century hysteria as well — in particular the phases of "grand hysteria" described by Jean-Martin Charcot, a French physician who became world-famous in the 1870s and 1880s for his studies of hysterics..." "The hooplike spasm Mollie experienced sounds uncannily like what Charcot considered the ultimate grand movement, the arc de de cercle (also called arc-en-ciel), in which the patient arched her back, balancing on her heels and the top of her head..." "One of his star patients, known to her audiences only as Louise, was a specialist in the arc de cercle — and had a background and hysterical manifestations quite similar to Mollie's. A small-town girl who made her way to Paris in her teens, Louise had had a disrupted childhood, replete with abandonment and sexual abuse. She entered Salpetriere in 1875, where while under Charcot's care she experienced partial paralysis and complete loss of sensation over the right side of her body, as well as a decrease in hearing, smell, taste, and vision. She had frequent violent, dramatic hysterical fits, alternating with hallucinations and trancelike phases during which she would "see" her mother and other people she knew standing before her (this symptom would manifest itself in Mollie). Although critics, at the time and since, have decried the sometime circus atmosphere of Charcot's lectures, and claimed that he, inadvertently or not, trained his patients how to be hysterical, he remains a key figure in understanding nineteenth-century hysteria.

There exists a bastard cuisine that is too often assumed to be real French cooking.

There is only one cure for grey hair. It was invented by a Frenchman. It is called the guillotine.

The scent of him was subtle, beautifully fresh, and she couldn’t think clearly. No man had ever brought out these intense feelings in her. Chris Augustine was dangerous and she could get lost in his arms.

To pronounce French properly you must have within you a deep antipathy, not to say scorn, for some of the most sacred of the Anglo-Saxon prejudices.

This medical view of an ideal male who was insulated from pathogens was inextricably bound up with a parallel discourse about the maintenance of strong ego boundaries, a psychic investment in one’s bodily peripheries that effected a gradual closing (and, one might say, a closing off) of the male body, at once from the outer world of dangerous stimuli and from the inner world of threatening passions. Without a doubt, as Norbert Elias has shown, in the western world both men and women experienced a shift in their sense of personal boundaries during the early modern era where, amid changing social circumstances, rising thresholds of repugnance and shame were manifested among the upper-classes as a growing aversion to their own bodily functions and to the bodies of others. The changes wrought by new developments in table manners and etiquette were extended by the introduction of hygienic practices in the eighteenth and nineteenth centuries that endeavored to maximise the order and cleanliness of the social body while futher compartmentalising the bourgeois self as a discrete bodily unit.

Tu seras toujours mon ami. Tu auras envie de rire avec moi.

Tous mes anciens amours vont me revenir.' - All my old loves will be returned to me

Tu peux marcher sur mon cœur car mon cœur est à tes pieds.

Un Petit Phenix is born as Lillian's is resurrected, even more beautiful than before, with new wallpaper, new windows, and repaired chairs. It is a cinnamon macaron, pressed together with dark chili chocolate ganache. The result is surprisingly delicious- spicy, sweet, lingering long in your mouth, like a bowl of Aztec hot chocolate. It tastes best with a shot of the blackest coffee.

Une lutte qui semble perdue, est la plus excitante.

Un journal Incarnat de penser d'amour L'esprit rougeâtre d'un poison appelée sentiments. Mon encre diluée par deux moitiés encrées sur une île délabrée de penser pour se réconforter. Le coeur fauché comme le blé lacéré des deux côtés imprégné de stupidité par le mot aimé. Marchant devant sans jamais avoir, trouver une femme de confiance, as qui susurre le verbe aimé. Désert l'esprit sur terre, assis sur mon rocher je peux altérer ma pensée et continué as escaladé la montagne créée. Par un flaut d'eau retentissant, rugissants par cent beaucoup de personnes comme des dehiscent sur leur téléphone. Blessants d'être vue comme inconvénient, mais ce qui blesse le plus de l'intérieur est de ne pas s'effondrer et l'extérieur est la façade qui sert de pillier.et ce que tu as soudé, mes tout peut se fendre en une nuitée emplie d'obscurité et vil sournois ris marchent sans aucun dénié ne prend par aucun raccourci la vie n'a aucun repris suit un ami mais ne te laisse aveugler prend garde ton esprit est la clé ne sois jamais fourvoyé par une histoire falsifiée qui peut être mensonger pour t'utiliser. . Garde ton coeur vrai, reste vrai reste magique. Stay True, Stay Magic.

Un optimiste, c'est un homme qui plante deux glands et qui s'achète un hamac.

Un combat ne s’arrête que lorsqu’ on a atteint son objectif.

Vénérons le chien. Le chien (quel drôle de bête!), a sa sueur sur sa langue et son sourire dans sa queue.

Un soir qu'ils étaient couchés l'un près de l'autre, comme elle lui demandait d'inventer un poème qui commencerait par je connais un beau pays, il s'exécuta sur-le-champ. Je connais un beau pays Il est de l'or et d'églantine Tout le monde s'y sourit Ah quelle aventure fine Les tigres y sont poltrons Les agneaux ont fière mine À tous les vieux vagabonds Ariane donne des tartines. Alors, elle lui baisa le la main, et il eut honte de cette admiration.

Viens. Pour que je reveille ce monde en t’embrassant. Viens. Tout nu. Que ta peau sur la mienne reveille chaque cellule en moi. Café—

Vivre est une maladie, dont le sommeil nous soulage toutes les seize heures ; c’est un palliatif : la mort est le remède.

WARMING UP TO the crèche turned out to be easy. Warming up to the other mothers there isn’t. I’m aware that Anglo-American-style instant bonding between women doesn’t happen in France. I’ve heard that female friendships here start out slowly, and can take years to ramp up. (Though once you’re finally ‘in’ with a French woman, you’re supposedly stuck with her for life. Whereas your English-speaking insta-friends can drop you at any time.)

Vos 10 000 premières photographies seront les pires.

Vous rappelez-vous notre douce vie, Lorsque nous étions si jeunes tous deux, Et que nous n'avions au coeur d'autre envie Que d'être bien mis et d'être amoureux! Lorsqu'en ajoutant votre âge à mon âge, Nous ne comptions pas à deux quarante ans, Et que, dans notre humble et petit ménage, Tout, même l'hiver, nous était printemps!

What's the trick to remembering that a sandwich is masculine? What qualities does it share with anyone in possession of a penis? I'll tell myself that a sandwich is masculine because if left alone for a week or two, it will eventually grow a beard.

We'd speak French like a bunch of high school kids from Chicago, but we'd at least speak French.

We'll start with Un Petite Flamme. It's our espresso macaron. Go on, try it." She looks down at her plate. "This one? With the gold?" "Yup, go on." She puts it against her tongue like she's taking communion. "Good?" She nods quickly. Then I place a purple one on her plate. Rilla lifts it up. "This one has the jam inside, right?" "Yes; it's Remede de Deliverance. Black currant filling, in the middle of the cream." She closes her eyes while she eats it slowly. So slowly I worry she will need to come up for air. "What does that mean?" she asks when she has finally swallowed the last tiny mouthful. "Remede de Deliverance? 'Rescue remedy.' It's violet-flavored.

...What do you do with all your money?" "Me and the French hoard gold.

What would you expect to find when the muzzle that has silenced the voices of black men is removed? That they would chant your praises? Did you think that when those heads that our fathers had forcibly bowed down to the ground were raised again, you would find adoration in their eyes?

When you are old, at evening candle-lit beside the fire bending to your wool, read out my verse and murmur, "Ronsard writ this praise for me when I was beautiful." And not a maid but, at the sound of it, though nodding at the stitch on broidered stool, will start awake, and bless love's benefit whose long fidelities bring Time to school. I shall be thin and ghost beneath the earth by myrtle shade in quiet after pain, but you, a crone, will crouch beside the hearth mourning my love and all your proud disdain. And since what comes to-morrow who can say? Live, pluck the roses of the world to-day.

Whether he likes it or not, the black man has to wear the livery the white man has fabricated for him

You know what politique is? It is the French word for a lie. Kdoub! Politique! When you hear the French say: our politique, you know they mean: our lies. And when you hear the Moslems, the Friends of Independence, say: our politique, you know they mean: our lies. All lies are sins. And so, which displeases Allah more, a lie told by a Nazarene, who doesn’t know the true faith from the false, or a lie told by a Moslem, who does?

You will do well to take advantage of Madame's short residence to get up your French a little... You will be glad of this, my dear, when you have reached France, where you will find they speak nothing else.

You owe it to your loved ones as well as yourself to know and pursue your pleasures.

Adieu, mon cher vieux. Relis et rebûche ton conte. Laisse-le reposer et reprends-le, les livres ne se font pas comme les enfants, mais comme les pyramides, avec un dessin prémédité, et en apportant des grands blocs l´un par-dessus l´autre, à force de reins, de temps et de sueur, et ça ne sert à rien! et ça reste dans le désert! mais en le dominant prodigieusement. Les chacals pissent au bas et les bourgeois montent dessus, etc.; continue la comparaison.

A cheval sur une tombe et une naissance difficile. Du fond du trou, rêveusement, le fossoyeur applique ses fers. On a le temps de vieillir. L'air est plein de nos cris.

¡A la mierda! ¡El que quiera leer a Rimbaud que aprenda francés!

all cats have a Spanish tinge although Puss himself elegantly lubricates his virile, muscular, native Bergamasque with French, since that is the only language in which you can purr.

All changes, even the most longed for, must have their melancholy

Allez, philosophes, enseignez, éclairez, allumez, pensez haut, parlez haut, courez joyeux au grand soleil, fraternisez avec les places publiques, annoncez les bonnes nouvelles, prodiguez les alphabets, proclamez les droits, chantez les Marseillaises, semez les enthousiasmes, arrachez des branches vertes aux chênes. Faites de l'idée un tourbillon. Cette foule peut être sublimée. Sachons nous servir de ce vaste embrasement des principes et des vertus qui pétille, éclate et frissonne à de certaines heures. Ces pieds nus, ces bras nus, ces haillons, ces ignorances, ces abjections, ces ténèbres, peuvent être employés à la conquête de l'idéal. Regardez à travers le peuple et vous apercevrez la vérité. Ce vil sable que vous foulez aux pieds, qu'on le jette dans la fournaise, qu'il y fonde et qu'il y bouillonne, il deviendra cristal splendide, et c'est grâce à lui que Galilée et Newton découvriront les astres.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Although Swedish is one of the few languages on this Earth that I enjoy the sound of. That and Japanese. French is all right, Italian is tolerable depending on who’s speaking it. Everything else makes me cringe. Even English with some accents is bad. Australian? Spare me.

ANDROMAQUE [Mon fils] ne sera pas lâche. Mais je lui aurai coupé l’index de la main droite. HECTOR Si toutes les mères coupent l’index droit de leur fils, les armées de l’univers se feront la guerre sans index... Et si elles lui coupent la jambe droite, les armées seront unijambistes... Et si elles lui crèvent les yeux, les armées seront aveugles, mais il y aura des armées, et dans la mêlée elles se chercheront le défaut de l’aine, ou la gorge, à tâtons... ANDROMAQUE Je le tuerai plutôt. HECTOR Voilà la vraie solution maternelle des guerres.

Annoyance has made me bilingual.

An old walrus-faced waiter attended to me; he had the knack of pouring the coffee and the hot milk from two jugs, held high in the air, and I found this entrancing, as if he were a child's magician. One day he said to me - he had some English - "Why are you sad?" "I'm not sad," I said, and began to cry. Sympathy from strangers can be ruinous. "You should not be sad," he said, gazing at me with his melancholy, leathery walrus eyes. "It must be the love. But you are young and pretty, you will have time to be sad later." The French are connoisseurs of sadness, they know all the kinds. This is why they have bidets. "It is criminal, the love," he said, patting my shoulder. "But none is worse.