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The characteristics of our "romantics" are absolutely and directly opposed to the transcendental European type, and no European standard can be applied to them. (Allow me to make use of this word "romantic" — an old-fashioned and much respected word which has done good service and is familiar to all.) The characteristics of our romantics are to understand everything, to see everything and to see it often incomparably more clearly than our most realistic minds see it; to refuse to accept anyone or anything, but at the same time not to despise anything; to give way, to yield, from policy; never to lose sight of a useful practical object (such as rent-free quarters at the government expense, pensions, decorations), to keep their eye on that object through all the enthusiasms and volumes of lyrical poems, and at the same time to preserve "the sublime and the beautiful" inviolate within them to the hour of their death, and to preserve themselves also, incidentally, like some precious jewel wrapped in cotton wool if only for the benefit of "the sublime and the beautiful." Our "romantic" is a man of great breadth and the greatest rogue of all our rogues, I assure you .... I can assure you from experience, indeed. Of course, that is, if he is intelligent. But what am I saying! The romantic is always intelligent, and I only meant to observe that although we have had foolish romantics they don't count, and they were only so because in the flower of their youth they degenerated into Germans, and to preserve their precious jewel more comfortably, settled somewhere out there — by preference in Weimar or the Black Forest.

 

Fyodor Dostoevsky

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To tell you the truth, I am rather perplexed about the concept of "art”. What one person considers to be "art" is often not "art" to another. "Beautiful" and "ugly" are old-fashioned concepts that are seldom applied these days; perhaps justifiably, who knows? Something repulsive, which gives you a moral hangover, and hurts your ears or eyes, may well be art. Only "kitsch" is not art - we're all agreed about that. Indeed, but what is "kitsch"? If only I knew!

 

M. C. Escher

 

The romantic mode is primarily inspirational, imaginative, creative, intuitive. Feelings rather than facts predominate. "Art" when it is opposed to "Science" is often romantic. It does not proceed by reason or by laws. It proceeds by feeling, intuition and esthetic conscience. In the northern European cultures the romantic mode is usually associated with femininity, but this is certainly not a necessary association.
The classic mode, by contrast, proceeds by reason and by laws... which are themselves underlying forms of thought and behavior. In the European cultures it is primarily a masculine mode and the fields of science, law and medicine are unattractive to women largely for this reason. Although motorcycle riding is romantic, motorcycle maintenance is purely classic.

 

Robert M. Pirsig

 

After Olympia Press, in Paris, published the book, an American critic suggested that Lolita was the record of my love affair with the romantic novel. The substitution "English language" for "romantic novel" would make this elegant formula more correct.

 

Vladimir Nabokov

 

"Del Piero is a champion with extraordinary technical ability and wonderful characteristics. When he is selected he never disappoints. He is an example to us all." "He has great skills and intuitions that few other players have". "He is a captain in the real sense of the word".

 

Alessandro Del Piero

 

It is an incontestable fact that the word "Jew" did not come into existence until the year 1775. Prior to 1775 the word "Jew" did not exist in any language. The word "Jew" was introduced into the English for the first time in the 18th century when Sheridan used it in his play "The Rivals", II,i, "She shall have a skin like a mummy, and the beard of a Jew". Prior to this use of the word "Jew" in the English language by Sheridan in 1775 the word "Jew" had not become a word in the English language. Shakespeare never saw the word "Jew" as you will see. Shakespeare never used the word "Jew" in any of his works, the common general belief to the contrary notwithstanding. In his "Merchant of Venice", V.III.i.61, Shakespeare wrote as follows: "what is the reason? I am a Iewe; hath not a Iewe eyes?".

 

Benjamin H. Freedman