Category Archives: Quotes

As every second post on this site is a quote. You’ll find a deep and broad variety of quotes under this category, which overlap with several other tags and categories. Many of the quotes are larded with links for deeper reading on the subject of the quote, or connections between the subject of the quotes and other people, things, or ideas. See the Taxonomies page for more about this category.

Fabliaux

“Fabliaux: 12th-14th centuries) Short humorous tales, often ribald or scurrilous. Highly popular in the Middle Ages, they are situation comedies burlesquing the weaknesses of human nature; women, priests, and gullible fools are often the butts of the buffoonery, which sometimes becomes savagely bitter. The material derives from the oral folk tradition of bawdy anecdotes, practical jokes, and clever tricks of revenge, but the term fabliau was first specifically applied to a medieval French literary form, a narrative of three hundred to four hundred lines in octo-syllabic couplets. About 150 of these are still extant. Similar prose tales became popular all over Europe, as in Boccaccio’s Decameron. Apparently only a few narratives in the style of the fabliau were written in England; the most notable are the ones Chaucer included in his Canterbury Tales, such as the Miller’s, the Reeve’s, the Friar’s, the Summoner’s, and the Shipman’s tales.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

The Algonquin Wits: Franklin Pierce Adams on the Perils of Artificial Cheer

“Every time we tell anybody to cheer up, things might be worse, we run away for fear we might be asked to specify how.”

Franklin Pierce Adams

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.

Wiggins and McTighe on Learning Ideas

Dewey’s genius grasped the educational principles underlying such sequences. Coming to understand an established idea in school must be made more like discovering a new idea than like hearing adult knowledge explained point by point. We learn complex and abstract ideas through a zigzag sequence of trial, error, reflection, and adjustment. As the facets tell us, the student needs to interpret, apply, see from different points of view, and so forth, all of which imply different sequences than those found in a catalog of existing knowledge. We cannot fully understand an idea until we retrace, relive, or recapitulate some of its history—how it came to be understood in the first place. The young learner should be treated as a discoverer, even if the path seemed inefficient. That’s why Piaget argued ‘to understand is to invent.’”

Excerpted from: Wiggins, Grant, and Jay McTighe. Understanding by Design. Alexandria, VA: ASCD, 1998.

Term of Art: Project-Based Learning

[As school closures, and therefore homebound children, mount during this COVID19 crisis, I cannot think of a better time to post this squib on the way I was educated in high school and college, and a particularly sound method of education for children in our current circumstances.]

“project-based learning: A teaching technique in which students learn by doing, engaging in activities that lead to the creation of products based on their own experiences. The project method was first described in 1918 by William Heard Kilpatrick of Teachers College, Columbia University, who hoped to replace subject-matter teaching with real-life projects chosen by students.”

Excerpted from: Ravitch, Diane. EdSpeak: A Glossary of Education Terms, Phrases, Buzzwords, and Jargon. Alexandria, VA: ASCD, 2007.

Use a Dash to Set Off an Abrupt Break or Interruption and to Announce a Long Appositive or Summary

[If you would prefer this document as a learning support in Microsoft Word, it’s under that hyperlink.]

8. Use a dash to set off an abrupt break or interruption and to announce a long appositive or summary.

A dash is a mark of separation stronger than a comma, less formal than a colon, and more relaxed than parentheses.

His first thought on getting out of bed—if he had any thought at all—was to get back in again.

The rear axle began to make a noise—a grinding, chattering, teeth-gritting rasp.

The increasing reluctance of the sun to rise, the extra nip in the breeze, the patter of shed leaves dropping—all evidences of fall drifting into winter were clearer each day.

Use a dash only when a more common mark of punctuation seems inadequate.

Her father’s suspicions proved well-founded—it was not Edward she cared for—it was San Francisco.

Her father suspicions proved well-founded. It was not Edward she cared for, it was San  Francisco.

 Violence—the kind you see on television—is not honestly violent—there lies its harm.

 Violence, the kind you see on television, is not honestly violent. There lies its harm.

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

The 8 Gregorian Church Modes

“Dorian * Hypodorian * Phrygian * Hypophrygian * Lydian * Hypolydian * Mixolydian * Hypomixolydian

The exact origins of this eightfold organization of modes that completely dominated the church music of medieval Christendom remains contentious. Most authorities accept that the Carolingian court borrowed them from ninth-century Byzantine liturgies, which themselves arose out of the ancient priestly chants of the Near East.

Just as in ancient Greece, generation after generation of writers sought to define the effects of their emotions. Dorian was considered to be serious and to tame the passions; Hypodorian tended towards the mournful and tearful; Phrygian incited passion and led towards mystical revelry; Hypophrygian was the mode of tender harmony that tempered anger; Lydian was the music of cheerful happiness; Hypolydian was the tone of devout and emotional piety; Mixolydian united pleasure and sadness; and Hypomixolydian aspired to a sense of perfection and secure, contented knowledge.”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

Salon Des Refuses

Salon Des Refuses: The exhibition promoted by Napoleon III in 1863 to show works rejected by the Paris Salon. Because it undermined the prestige of the academic art sanctioned at the official salon, it is often cited as signaling the birth of the avant-garde and modern art. It showed works by Edouard Manet, Eugene Boudin, Ignace Henri Fantin-Latour, Camille Pissarro, James McNeill Whistler, and others.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

The Invisible Man

The Invisible Man: The title of two very different novels. The first is a work of science fiction by H.G. Wells (1866-1946), published in 1897. In this story a scientist finds the secret of invisibility, which lures him into temptation. The first film version(1933), starring Claude Rains, was highly regarded, but its several sequels less so.

The second novel with this title was by the black US writer Ralph Ellison (1914-94). Published in 1952, it won the 1953 National Book Award for fiction. The novel tells the story of a Southern black who moves to New York, participates in the struggle against white oppression, and ends up ignored and living in a coal hole.

I am an invisible man. I am a man of substance, of flesh and bone, fibre and liquids—and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me.

 The Invisible Man, prologue.

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

The Devil’s Dictionary: Abroad

“Abroad, adj. At war with savages and idiots. To be a Frenchman abroad is to be miserable; to be an American abroad is to make others miserable.” 

Excerpted from: Bierce, Ambrose. David E. Schultz and S.J. Joshi, eds. The Unabridged Devil’s Dictionary. Athens: The University of Georgia Press, 2000. 

Term of Art: Humanism

“Humanism: In the first place, the humanists of the Renaissance period were students of literae humaniores (q.v.); the literature of Greek and Latin poets, dramatists, historians and rhetoricians. At the Renaissance (q.v.) there was a great revival of interest in Classical literature and thought and this revival was, to some extent, at the expense of medieval scholasticism (q.v.). The long-term influences of this revival were immense and incalculable, and they led to an excessive devotion to Classical ideals and rules in the late 17th and 18th centuries.

Humanism, a European phenomenon, was a more worldly and thus more secular philosophy; and it was anthropocentric. It sought to dignify and ennoble man.

In its more extreme forms humanistic attitudes regarded man as a the crown of creation; a point of view marvelously expressed in Hamlet by Hamlet:

‘…What a piece of work is man. How noble in reason, how infinite in faculty. In form and moving how express and admirable in action, how like an angel in apprehension, how like a god. The beauty in the world. The paragon of animals.’

It would have been inconceivable that anyone in the 14th century should have expressed such a view. Then Hamlet adds: ‘And yet, to me, what is this quintessence of dust?’ And in that one line he summarizes another attitude or feeling, which a man in the 14th century would have responded to instantly.

At its best, humanism helped to civilize man, to make him realize his potential powers and gifts, and to reduce the discrepancy between potentiality and attainment. It was a movement that was at once a product of and a counteraction to a certain prevalent skepticism; a way of dealing with the disequilibrium created by the conflict between belief and doubt. Humanism turned out to be a form of philosophy which concentrated on the perfection of a worldly life, rather than on the preparation for an eternal and spiritual life.

The popularity of the courtesy book (q.v.) in the 16th and 17th centuries, for instance, suggests what a radical change there had been in man’s view of himself. He was increasingly regarded as a creature perfectible on earth. Hence the secular emphasis on courtesy books.

Humanistic ideas and beliefs pervade much other literature of the Renaissance period. Ficino (1433-1499); Pico della Mirandola (1463-1494); Erasmus (1466-1536); Guillaume Bude (1468-1540); Sir Thomas More (1478-1535); Juan Luis Vives(1492-1540); and Montaigne (1533-1592) were outstanding humanists.”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.