Best 5 quotes in «sancho panza quotes» category

He got himself dressed at last, and then, slowly, for he was sorely bruised and could not go fast, he proceeded to the stable, followed by all who were present, and going up to Dapple embraced him and gave him a loving kiss on the forehead, and said to him, not without tears in his eyes, "Come along, comrade and friend and partner of my toils and sorrows; when I was with you and had no cares to trouble me except mending your harness and feeding your little carcass, happy were my hours, my days, and my years; but since I left you, and mounted the towers of ambition and pride, a thousand miseries, a thousand troubles, and four thousand anxieties have entered into my soul;

I'm a peaceful man, sir, meek and mild, and I can overlook any insult, because I've got a wife to support and children to bring up . . . In no way am I going to draw my sword against anyone, peasant or knight, and I hereby, before God my Maker, forgive all affronts that anybody ever has offered me or will offer me, whether the person who has offered them, offers them, or will offer them is of high or low birth, rich or poor, a gentleman or a commoner, not excepting any estate or condition whatsoever.

In this strain did Sancho bewail himself, and his ass listened to him, but answered him never a word, such was the distress and anguish the poor beast found himself in. At length, after a night spent in bitter moanings and lamentations, day came, and by its light Sancho perceived that it was wholly impossible to escape out of that pit without help, and he fell to bemoaning his fate and uttering loud shouts to find out if there was anyone within hearing; but all his shouting was only crying in the wilderness, for there was not a soul anywhere in the neighbourhood to hear him, and then at last he gave himself up for dead. Dapple was lying on his back, and Sancho helped him to his feet, which he was scarcely able to keep; and then taking a piece of bread out of his alforjas which had shared their fortunes in the fall, he gave it to the ass, to whom it was not unwelcome, saying to him as if he understood him, "With bread all sorrows are less.

All I know is that while I’m asleep, I’m never afraid, and I have no hopes, no struggles, no glories — and bless the man who invented sleep, a cloak over all human thought, food that drives away hunger, water that banishes thirst, fire that heats up cold, chill that moderates passion, and, finally, universal currency with which all things can be bought, weight and balance that brings the shepherd and the king, the fool and the wise, to the same level. There’s only one bad thing about sleep, as far as I’ve ever heard, and that is that it resembles death, since there’s very little difference between a sleeping man and a corpse.

A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")