Сирил Коннолли цитаты

„Страх одиночества сильнее, чем страх рабства, поэтому мы женимся.“

—  Сирил Коннолли

„Лучше писать для себя и лишиться читателя, чем писать для читателя и лишиться себя.“

—  Сирил Коннолли

„Тот, у кого люди вызывают любопытство, а не любовь, должен писать афоризм, а не романы.“

—  Сирил Коннолли

„О характере мужчины лучше всего свидетельствует здоровье его жены.“

—  Сирил Коннолли

„Нет боли сильнее, чем та, что причиняют друг другу влюбленные.“

—  Сирил Коннолли

„Наши воспоминания — это картотека, которой однажды воспользовались, а затем разбросали как попало…“

—  Сирил Коннолли

„В каждом толстом человеке сидит худой и требует, чтобы его выпустили.“

—  Сирил Коннолли

„Литература — это то, что читается дважды; журналистика — один раз.“

—  Сирил Коннолли

„Крупный писатель создает свой собственный мир, и его читатели гордятся, что живут в этом мире. Писатель посредственный тоже может залучить читателей в свой мирок, но очень скоро он увидит, как они, один за другим, потянутся к выходу.“

—  Сирил Коннолли

„Секрет журналистики: писать так, как говорят люди. Не обязательно то, что говорят, но ничего такого, чего бы не говорили.“

—  Сирил Коннолли

„Долголетие — это месть таланта гению.“

—  Сирил Коннолли

„Литературная репутация тонет в волне успеха. Реклама, спрос, ажиотаж — всё это оборачивается против книги, её автора.“

—  Сирил Коннолли

„Better to write for yourself and have no public, than to write for the public and have no self.“

—  Cyril Connolly

The New Statesman (1933-02-25)

„While thoughts exist, words are alive and literature becomes an escape, not from, but into living.“

—  Cyril Connolly

Источник: The Unquiet Grave: A Word Cycle by Palinurus

„Its cardinal assumption is that neither the writer nor the reader is in a hurry, that both are possessed of a classical education and a private income. It is Ciceronian English.“

—  Cyril Connolly, книга Enemies of Promise

Источник: Enemies of Promise (1938), Part 1: Predicament, Ch. 3: The Challenge to the Mandarins (p. 17-18)
Контексте: The Mandarin style at its best yields the richest and most complete expression of the English language. It is the diction of Donne, Browne, Addison, Johnson, Gibbon, de Quincey, Landor, Carlyle and Ruskin as opposed to that of Bunyan, Dryden, Locke, Defoe, Cowper, Cobbett, Hazlitt, Southey and Newman. It is characterized by long sentences with many dependent clauses, by the use of the subjunctive and conditional, by exclamations and interjections, quotations, allusions, metaphors, long images, Latin terminology, subtlety and conceits. Its cardinal assumption is that neither the writer nor the reader is in a hurry, that both are possessed of a classical education and a private income. It is Ciceronian English.

„The river of truth is always splitting up into arms that reunite. Islanded between them, the inhabitants argue for a lifetime as to which is the mainstream.“

—  Cyril Connolly, книга The Unquiet Grave

Part III: La Clé des Chants (p. 98)
Variant: Truth is a river that is always splitting up into arms that reunite. Islanded between the arms, the inhabitants argue for a lifetime as to which is the main river.
As quoted in The International Thesaurus of Quotations (1970) compiled by Rhoda Thomas Tripp. This version has also appeared in earlier published sources<!-- The American journal Imago of the Association for Applied Psychoanalysis published by Johns Hopkins University Press (c. 1958?)-->, but it may be a misquotation.
The Unquiet Grave (1944)
Контексте: Ridiculous as may seem the dualities of conflict at a given time, it does not follow that dualism is a worthless process. The river of truth is always splitting up into arms that reunite. Islanded between them, the inhabitants argue for a lifetime as to which is the mainstream.

„The birds depart, the flowers wither, the branches are dislodged and drift downward; no trace is left of the floating island but a stone submerged by the water; — such is our personality.“

—  Cyril Connolly, книга The Unquiet Grave

Part I: Ecce Gubernator (p. 20)
The Unquiet Grave (1944)
Контексте: A stone lies in a river; a piece of wood is jammed against it; dead leaves, drifting logs, and branches caked with mud collect; weeds settle there, and soon birds have made a nest and are feeding their young among the blossoming water plants. Then the river rises and the earth is washed away. The birds depart, the flowers wither, the branches are dislodged and drift downward; no trace is left of the floating island but a stone submerged by the water; — such is our personality.

„A mistake which is commonly made about neurotics is to suppose that they are interesting.“

—  Cyril Connolly, книга The Unquiet Grave

Part II: Te Palinure Petens (p.64)
The Unquiet Grave (1944)
Контексте: A mistake which is commonly made about neurotics is to suppose that they are interesting. It is not interesting to be always unhappy, engrossed with oneself, malignant or ungrateful, and never quite in touch with reality. Neurotics are heartless.

„There is no hate without fear. Hate is crystallized fear, fear's dividend, fear objectivized. We hate what we fear and so where hate is, fear will be lurking.“

—  Cyril Connolly, книга The Unquiet Grave

Part III: La Clé des Chants (p.103)
The Unquiet Grave (1944)
Контексте: There is no hate without fear. Hate is crystallized fear, fear's dividend, fear objectivized. We hate what we fear and so where hate is, fear will be lurking. Thus we hate what threatens our person, our liberty, our privacy, our income, our popularity, our vanity and our dreams and plans for ourselves. If we can isolate this element in what we hate we may be able to cease from hating. Analyse in this way the hatred of ideas or of the kind of people whom we have once loved and whose faces are preserved in Spirits of Anger. Hate is the consequence of fear; we fear something before we hate; a child who fears noises becomes the man who hates them.