Best 223 quotes in «french quotes» category

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 depachika is like nothing else. It is the endless bounty of a hawker's bazaar, but with Japanese civility. It is Japanese food and foreign food, sweet and savory. The best depachika have more than a hundred specialized stands and cannot be understood on a single visit. I felt as though I had a handle on Life Supermarket the first time I shopped there, but I never felt entirely comfortable in a depachika. They are the food equivalent of Borges's "The Library of Babel": if it's edible, someone is probably selling it, but how do you find it? How do you resist the cakes and spices and Chinese delis and bento boxes you'll pass on the way? At the Isetan depachika, in Shinjuku, French pastry god Pierre Hermé sells his signature cakes and macarons. Not to be outdone, Franco-Japanese pastry god Sadaharu Aoki sells his own nearby. Tokyo is the best place in the world to eat French pastry. The quality and selection are as good as or better than in Paris, and the snootiness factor is zero. I wandered by a collection of things on sticks: yakitori at one stand, kushiage at another. Kushiage are panko-breaded and fried foods on sticks. At any depachika, you can buy kushiage either golden and cooked, or pale and raw to fry at home. Neither option is terribly appetizing: the fried stuff is losing crispness by the second, and who wants to deep-fry in a poorly ventilated Tokyo apartment in the summer? But the overall effect of the display is mesmerizing: look at all the different foods they've put on sticks! Pork, peppers, mushrooms, squash, taro, and two dozen other little cubes.

Adieu, Camille, retourne à ton couvent, et lorsqu’on te fera de ces récits hideux qui t’ont empoisonnée, réponds ce que je vais te dire : Tous les hommes sont menteurs, inconstants, faux, bavards, hypocrites, orgueilleux et lâches, méprisables et sensuels ; toutes les femmes sont perfides, artificieuses, vaniteuses, curieuses et dépravées ; le monde n’est qu’un égout sans fond où les phoques les plus informes rampent et se tordent sur des montagnes de fange ; mais il y a au monde une chose sainte et sublime, c’est l’union de deux de ces êtres si imparfaits et si affreux. On est souvent trompé en amour, souvent blessé et souvent malheureux ; mais on aime, et quand on est sur le bord de sa tombe, on se retourne pour regarder en arrière, et on se dit : J’ai souffert souvent, je me suis trompé quelques fois, mais j’ai aimé. C’est moi qui ai vécu, et non pas un être factice créé par mon orgueil et mon ennui.

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

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.

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.

Anouk reads a book of nursery rhymes behind the counter and keeps an eye on the door as I prepare a batch of mendiants- thus named because they were sold by beggars and gypsies years ago- in the kitchen. These are my own favorites- biscuit-sized discs of dark, milk, or white chocolate upon which have been scattered lemon-rind, almonds, and plump Malaga raisins. Anouk likes the white ones, though I prefer the dark, made with the finest seventy-percent couverture.... Bitter-smooth on the tongue with the taste of the secret tropics.

A rich man's soup - and all from a few stones. It seemed like magic!

...As the evening wore on (the supper did not end until seven in the morning), the public were admitted to watch the festivities from the balustrade, and were offered biscuits and refreshments to keep them going through the night. ...One of the lawyers was so upset by the evening that he got up to leave, proclaiming: 'They will send you to the madhouse and strike you from the list of members of the Bar.' Grimod responded by locking the doors to the apartment and preventing any further guests from leaving. Coffee and liquers were taken in an adjoining room lit by 130 candles while the guests were entertained by a magic-lantern show and some experiments with electricity performed by the Italian physicist Castanio. M Rival tells us that many of the guests fell asleep.

Belle laide, Athénaïs calls me,' I replied with a little shrug. The expression was usually used to describe a woman who was arresting despite the plainness of her looks.

Birds are sensitive to mispronunciation, even more sensitive than the French.

But then it came time for me to make my journey—into America. [... N]o coincidence that my first novel is called Americana. That became my subject, the subject that shaped my work. When I get a French translation of one of my books that says 'translated from the American', I think, 'Yes, that's exactly right.

Caro's eyes slid longingly over the display, the pralines, truffles, amandines, and nougats, the éclairs, florentines, liqueur cherries, frosted almonds.

Ce fut le temps sous de clairs ciels, (Vous en souvenez-vous, Madame?) De baisers superficiels Et des sentiments à fleur d'âme. It was a time of cloudless skies, (My lady, do you recall?) Of kisses that brushed the surface And feelings that shook the soul.

Ce n'est pas parce qu'une fille est vieille et moche qu'elle est moins chiante et exigeante qu'une bombasse de vingt ans. Ce qui caractérise les femmes, c'est qu'elles peuvent faire profil bas pendant des mois avant d'annoncer la couleur.

C'est pas assez que tous tu dis c'est de la merde, François? Tu veux coucher dans la merde, aussi?

Celui qui veut gravir la montagne ne doit pas se laisser impressionner par sa hauteur.

Certaines choses que Napoléon dit des femmes, plusieurs discussiions sur le mérite des romans à la mode sous son règne lui donnèrent alors, pour la première fois, quelques idées que tout autre jeune home de son age aurait eues depuis longtemps.

C'est cela l'amour, tout donner, tout sacrifier sans espoir de retour.

Ce n'était qu'un renard semblable à cent mille autres. Mais j'en ai fait mon ami, et il est maintenant unique au monde.

Cherchez la femme, Bucky. Remember that.

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.

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.

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.

Avis named her business Paradise Pastry because she imagined cathedrals. She thought about the stonemasons, glassblowers, sculptors- who gave lifetimes to the creation of beauty. Every sugar crust she rolled, every simple 'tarte Tatin' was a bit of a church. She consecrated herself to it: later, it became her tribute to her daughter and the unknown into which she'd disappeared. She had her cathedral to enter, to console her. Her friend Jean-Francoise, chef at La Petit Choux, said that her pastries would be transcendent, if only she wasn't American.

Beaumont's intention was to promote the virtue and nutritional value of fruit-bearing trees. Fifteen different genera of fruit and a number of their different species are described in the work: almonds, apricots, a barberry, cherries, quinces, figs, strawberries, gooseberries, apples, a mulberry, pears, peaches, plums, grapes, and raspberries. Each colored plate illustrates the plant's seed, foliage, blossom, fruit, and sometimes cross sections of the species.

C’est un plaisir que de supputer, subodorer, côtoyer le mystère qui se tramait dans les quartiers, villages et ruelles de Montréal, et de se demander comment tout ça allait finir. J’avais confiance. J’avais confiance en l’humanité entière qui arrivait à Montréal, en l’humanité qui unissait Montréal aux autres villes du monde, celles qui fascinent par leur site, comme Istanbul, celles qui fascinent par leur prestige, comme Paris, par leur taille, comme New York, par leur élan, comme Shanghai, par leur lourdeur, comme Moscou. Montréal fascine par son mystère, rien de plus, mais rien de moins, me disais-je.

(...) chaque individu étant un receveur présumé potentiel, était-il si illogique, si infondé, après tout, que chacun soit envisagé comme un donneur présumé après sa mort ?

Concepts crées par les humains afin de mesurer leur degré d’attirance envers l’être et les choses cachées ou révélées, Beauté & Laideur ne sont pas naturelles et n’existent pas dans la Nature même de la Création.

Comme elle vous trouve immensément naïf, Tout en faisant trotter ses petites bottines, Elle se tourne, alerte et d'un mouvement vif.... Sur vos lèvres alors meurent les cavatines...

Comment, Mademoiselle? Vous appellés cela betrügen? Corriger la fortune, l'enchainer sous ses doits, etre sûr de son fait, das nenn die Deutsch betrügen? betrügen! O, was ist die deutsch Sprak für ein arm Sprak! für ein plump Sprak!

D'autant que nous avons cher, estre, et estre consiste en mouvement et action.

Deep, fluting emotions were a form of weakness. She'd seen the softening in her work over the years, she'd started making the lazy, homey treats like apple crumble, chocolate muffins, butterscotch pudding, and lemon bars. They were fast and cheap and they pleased her children. But she'd trained at one of the best pastry programs in the country. Her teachers were French. She'd learned the classical method of making fondant, of making real buttercream with its spun-candy base and beating the precise fraction off egg into the pate a choux. She knew how to blow sugar into glassine nests and birds and fountains, how to construct seven-tiered wedding cakes draped with sugar curtains copied from the tapestries at Versailles. When the other students interned at the Four Seasons, the French Laundry, and Dean & Deluca, Avis had apprenticed with a botanical illustrator in the department of horticulture at Cornell, learning to steady her hand and eye, to work with the tip of the brush, to dissect and replicate in tinted royal icing and multihued glazes the tiniest pieces of stamen, pistil, and rhizome. She studied Audubon and Redoute. At the end of her apprenticeship, her mentor, who pronounced the work "extraordinary and heartbreaking," arranged an exhibition of Avis's pastries at the school. "Remembering the Lost Country" was a series of cakes decorated in perfectly rendered sugar olive branches, cross sections of figs, and frosting replicas of lemon leaves. Her mother attended and pronounced the effect 'amusant.

Détaché de ses amarres, son cœur flottait à la dérive dans la ciel.

Delight is délice, délit is a misdemeanour' 'Well, it's bloody close...' 'Well, they often are....

Det er en kjedelig uvane som særlig går ut over damene, å måtte låne ut leppene til hvem som helst som har tre tjenere på slep, uansett hvor frastøtende han er.

[...] despertaba ese incompatible rencor que sólo causan la inteligencia, la gracia y la pedantería francesas [...]

Deux choses sont infinies : l’Univers et la bêtise humaine. Mais, en ce qui concerne l’Univers, je n’en ai pas encore acquis la certitude absolue.

En la forest de Longue Attente chevauchant par divers sentiers m'en voys, ceste année présente où voyage de Desiriers. Devant sont aller mes fourriers pour appareiller mon logis en la Cité de Destinée. Et pout mon cœur et moy ont pris l'ostellerie de Pensée. Dedans mon livre de pensée j'ay trouvé escripvant mon cœur la vraie histoire de douleur de larmes toute enluminée. In het Woud van Lang Verwachten te paard op pad, dolenderwijs, zie ik mijzelf dit jaar bij machte tot Verlangens' verre reis. Mijn knechtstoet is vooruitgegaan om 't nachtverblijf vast te bereiden, vond in Bestemming's Stad gereed voor dit mijn hart, en mij ons beiden, de herberg, die Gedachte heet. In 't boek van mijn gepeinzen al vond ik dan, schrijvende, mijn hart; het waar verhaal van bitt're smart verlucht met tranen zonder tal. Charles d'Orléans

D'une complexion farouche et bavarde, ayant le désir de ne voir personne et le besoin de parler à quelqu'un, il se tirait d'affaire en se parlant à lui-même. Quiconque a vécu solitaire sait à quel point le monologue est dans la nature. La parole intérieure démange. Haranguer l'espace est un exutoire. Parler tout haut et tout seul, cela fait l'effet d'un dialogue avec le dieu qu'on a en soit.

Être homosexuel n’est pas plus anormal que d’être gaucher.

For Sayonara, literally translated, 'Since it must be so,' of all the good-bys I have heard is the most beautiful. Unlike the Auf Wiedershens and Au revoirs, it does not try to cheat itself by any bravado 'Till we meet again,' any sedative to postpone the pain of separation. It does not evade the issue like the sturdy blinking Farewell. Farewell is a father's good-by. It is - 'Go out in the world and do well, my son.' It is encouragement and admonition. It is hope and faith. But it passes over the significance of the moment; of parting it says nothing. It hides its emotion. It says too little. While Good-by ('God be with you') and Adios say too much. They try to bridge the distance, almost to deny it. Good-by is a prayer, a ringing cry. 'You must not go - I cannot bear to have you go! But you shall not go alone, unwatched. God will be with you. God's hand will over you' and even - underneath, hidden, but it is there, incorrigible - 'I will be with you; I will watch you - always.' It is a mother's good-by. But Sayonara says neither too much nor too little. It is a simple acceptance of fact. All understanding of life lies in its limits. All emotion, smoldering, is banked up behind it. But it says nothing. It is really the unspoken good-by, the pressure of a hand, 'Sayonara.

From: [email protected] To: [email protected] Date: Jan 7 at 7:23 AM Subject: Re: Really? On the Tumblr-you mean creeksecrets? ..... But I really don't think I'm wrong. Jacques a dit. Right? -Blue So, Yeah, I've been careless. I guess I left a trail of clues. and I shouldn't be surprised that Blue put them together. Maybe I kind of wanted him to. Jacques a dit is "Simon Says" in French, by the way, And it's obviously not as clever as I thought it was.

Go to the theater, to museums, and to concerts as often as possible; it gives you a healthy glow.

Haleine contre haleine, échauffe-moi la vie, Mille et mille baisers donne-moi je te prie, Amour veut tout sans nombre, amour n’a point de loi Translated: Breath against breath warms my life. A thousand kisses give me I pray thee. Love says it all without number, love knows no law.

High heels? Painful pleasure.