Zitate von Théophile Gautier

Théophile Gautier Foto
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Théophile Gautier

Geburtstag: 30. August 1811
Todesdatum: 23. Oktober 1872

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Théophile Gautier war ein französischer Schriftsteller.

Zitate Théophile Gautier

„Chance is the pseudonym of God when he did not want to sign.“

— Théophile Gautier
One of Gautier's contributions to his collaboration with Jules Sandeau, Émile de Girardin, and Joseph Méry, La croix de Berny (Paris: Librairie Nouvelle, 1855) p. 28; Suzy Platt (ed.) Respectfully Quoted (Washington: Library of Congress, 1989) p. 38

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„Virginity, mysticism, melancholy, – three unknown words, – three new maladies brought in by Christ.“

— Théophile Gautier
Mademoiselle de Maupin (1835; Paris: Charpentier, 1866), ch. 9, p. 198; Mademoiselle de Maupin; and, One of Cleopatra's Nights (New York: Random House, 1948) p. 136.

„Eyes so transparent that through them one sees the lucent soul.“

— Théophile Gautier
"À Deux Beaux Yeux", line 12, in Poésies Complètes (Paris: Charpentier, 1845) p. 278; Maturin Murray Ballou (ed.) Notable Thoughts about Women (Boston: Houghton, Mifflin, 1882) p. 398.

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„Everything passes.–
Only robust art is eternal.
The bust outlives the city.
And the simple coin
Unearthed by a peasant
Reveals the image of an emperor.“

— Théophile Gautier
All passes, art alone<br/>Enduring stays to us;<br/>The bust outlasts the throne, —<br/>The coin, Tiberius. "L'Art", line 41, in Émaux et Camées (1852; Genève: Librairie Droz, 1947) pp. 131-2; Dean de la Motte and Jeannene M. Przyblyski (eds.) Making the News (Amherst: University of Massachusetts Press, 1999) p. 144; Henry Austin Dobson "Ars Victrix", line 29, in The Complete Poetical Works of Austin Dobson (Whitefish, Montana: Kessenger, 2005) p. 142.

„Yes, the work comes out more fair,
From a form that rebels against
Handling,
Verse, marble, onyx, enamel.“

— Théophile Gautier
"L'Art", line 1, in Émaux et Camées (1852; Genève: Librairie Droz, 1947) p. 130; Earl Jeffrey Richards (ed.) Christine de Pizan and Medieval French Lyric (Gainesville: University Press of Florida, 1998) p. 32.

„There is nothing truly beautiful but that which can never be of any use whatsoever; everything useful is ugly.“

— Théophile Gautier
Mademoiselle de Maupin (1835; Paris: Charpentier, 1866), Préface, p. 21; Burton Rascoe (trans.) Mademoiselle de Maupin, and One of Cleopatra's Nights (New York: A. A. Knopf, 1925) p. xxv.

„Fancy demanding feeling from poetry! That's not the main thing at all. Radiant words, words of light, full of rhythm and music, that's poetry.“

— Théophile Gautier
Remark, June 22, 1863, reported in the Journal des Goncourts (Paris: Bibliothèque-Charpentier, 1888) vol. 2, p. 123, (ellipses in the original); Arnold Hauser (trans. Stanley Godman and Arnold Hauser) The Social History of Art (London: Routledge & Kegan Paul, 1951) vol. 2, p. 684.

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„To be born is to have commenced to die.“

— Théophile Gautier
"L'Horloge", line 24, in Poésies Complètes (Paris: Charpentier, 1845) p. 324; Lewis Nkosi Mating Birds (Nairobi: East African Publishing House, 1983) p. 46.

„Such in the Landes of our world is the poet's stance;
When he receives no wound, his treasure he'll retain.
With such deep cut mankind his heart must also lance,
To make him spill his verse, his gold tears' gushing rain!“

— Théophile Gautier
"Le Pin des Landes", line 13, in Poésies Complètes (Paris: Charpentier, 1845) p. 323; Miroslav John Hanak (ed.) Romantic Poetry on the European Continent (Washington: University Press of America, 1983) vol. 1, p. 415.

„I am a man for whom the visible world exists.“

— Théophile Gautier
Remark, May 1, 1857, reported in the Journal des Goncourts (Paris: Bibliothèque-Charpentier, 1888) vol. 1, p. 182; translation from Joanna Richardson Théophile Gautier: His Life & Times (London: Max Reinhardt, 1958) p. 14.

„Art for Art's Sake means, for its adepts, the pursuit of pure beauty – without any other consideration.“

— Théophile Gautier
L'art moderne (Paris: Michel Lévy Frères, 1856) p. 151; F. W. Ruckstull Great Works of Art and What Makes Them Great (New York: Putnam, 1925) p. 299

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