Music Washes Away from the Soul the Dust of Everyday Life

Pablo Picasso? Berthold Auerbach? Playboy? Aline Saarinen? Anonymous?

Dear Quote Investigator:The following adage has been attributed to the famous painter and sculptor Pablo Picasso. Here are two versions:

1) Art washes away from the soul the dust of everyday life.
2) The purpose of art is washing the dust of daily life off our souls.

I was surprised to discover a similar remark about music ascribed to a prominent German writer named Berthold Auerbach. Here are two versions:

1) Music washes away from the soul the dust of everyday life.
2) Music cleanses the soul from the dust and dross of everyday life.

What do you think?

Quote Investigator: In 1864 Berthold Auerbach published the novel “Auf der Höhe” (“On the Heights”) which included the following statement in German about the cleansing nature of music:[1]1866, Auf der Höhe: Roman in acht Büchern von Berthold Auerbach, Volume 2, Quote Page 70, Cotta’schen Buchh., Stuttgart, Germany. (Original publication was in 1864 according to several … Continue reading

. . . die Musik wäscht ihnen den Alltagsstaub von der Seele . . .

In 1867 a translation of the book by Fanny Elizabeth Bunnett was released. One of Auerbach’s characters was appointed to the position of general superintendent of the Royal Theatricals, and he sought advice from another character. He was told that music was essential to dramatic works, and it should be included before the beginning and between the acts of a play. Boldface has been added to excerpts:[2]1867, On the Heights by Berthold Auerbach, Volume 2 of 3, Third Book: Seventh Chapter, Quote Page 64, Translated by F. E. Bunnett (Fanny Elizabeth Bunnett), Published by Bernhard Tauhnitz, Leipzig, … Continue reading

I know every art wishes now to isolate itself and be independent, and not to be subject to others. A drama without music is a repast without wine. When men see a great drama without having passed before hand through the initiatory undulations of music, they appear to me as if unconsecrated, unpurified; music washes away from the soul, the dust of every day life, and says to each one; ‘thou art now no longer in thine office, or in the barracks, or in thy workshop’.

The analogous saying about art was attributed to Pablo Picasso in 1964, but the artist was not being quoted directly, and this linkage might be spurious. A detailed citation is given further below.

Here are additional selected citations in chronological order.

Continue reading “Music Washes Away from the Soul the Dust of Everyday Life”

References

References
↑1 1866, Auf der Höhe: Roman in acht Büchern von Berthold Auerbach, Volume 2, Quote Page 70, Cotta’schen Buchh., Stuttgart, Germany. (Original publication was in 1864 according to several bibliographies) (HathiTrust Full View) link link
↑2 1867, On the Heights by Berthold Auerbach, Volume 2 of 3, Third Book: Seventh Chapter, Quote Page 64, Translated by F. E. Bunnett (Fanny Elizabeth Bunnett), Published by Bernhard Tauhnitz, Leipzig, Germany. (Google Books Full View) link

We Love Music for the Buried Hopes, the Garnered Memories, the Tender Feelings, It Can Summon with a Touch

Letitia Elizabeth Landon? Pablo Picasso? Samuel Rogers?

Dear Quote Investigator: The following statement has been attributed to the major artist Pablo Picasso:

Art! I love it for the buried hopes, the garnered memories, the tender feelings it can summon at a touch.

Curiously, a similar remark about music has been attributed to the Victorian novelist and poet Letitia Elizabeth Landon:

We love music for the buried hopes, the garnered memories, the tender feelings it can summon at a touch.

The poet Samuel Rogers has also been linked to the words above. Would you please help to dispel this confusion?

Quote Investigator: The earliest evidence located by QI appeared in the novel “Romance and Reality” by L.E.L. The three initials were used to designate the author Letitia Elizabeth Landon. The following passage employed a simile based on a magic lamp. Thus, the phrase “summon with a touch” referred to both a magical genie and intense feelings. Boldface has been added to excerpts:[1] 1831, Romance and Reality by L.E.L. (Letitia Elizabeth Landon), Volume 1 of 3, Chapter 8, Quote Page 64, Published by Henry Colburn and Richard Bentley, London. (Google Books Full View) link

The man who stands listening to even a barrel-organ, because it repeats the tones “he loved from the lips of his nurse”—or who follows a common ballad-singer, because her song is familiar in its sweetness, or linked with touching words, or hallowed by the remembrance of some other and dearest voice—surely that man has a thousand times more “soul for music” than he who raves about execution, chromatic runs, semi-tones, &c. We would liken music to Aladdin’s lamp–worthless in itself, not so for the spirits which obey its call. We love it for the buried hopes, the garnered memories, the tender feelings, it can summon with a touch.

The parallel saying about art was attributed to Pablo Picasso in 1964, but the artist was not being quoted directly, and this linkage might be spurious. A detailed citation is given further below. By 2003 the saying about music was being credited to Samuel Rogers who had died in 1855. QI believes this linkage was not substantive.

Here are additional selected citations in chronological order.

Continue reading “We Love Music for the Buried Hopes, the Garnered Memories, the Tender Feelings, It Can Summon with a Touch”

References

References
↑1 1831, Romance and Reality by L.E.L. (Letitia Elizabeth Landon), Volume 1 of 3, Chapter 8, Quote Page 64, Published by Henry Colburn and Richard Bentley, London. (Google Books Full View) link

When There’s Anything To Steal, I Steal

Pablo Picasso? Françoise Gilot? Carlton Lake? Apocryphal?

Dear Quote Investigator: Pablo Picasso was one of the most influential artists of the twentieth century. He was also open to the ideas and approaches of other creators. The following remark has been attributed to the master painter:

When there’s anything to steal, I steal.

Is this statement authentic?

Quote Investigator: There is a substantive citation supporting this quotation. In 1964 “Life with Picasso” by Françoise Gilot and Carlton Lake was published. Gilot was a long-time companion and muse of Picasso; they had two children together. She was also an independent artist and writer. Her coauthor, Lake, was an art critic.

Gilot described a visit that she and Picasso made to the fellow artist Henri Laurens who seemed delighted with the meeting. Gilot concluded that Laurens was especially welcoming because he was not in his studio. Boldface has been added to excerpts:[1] 1964, Life with Picasso by Françoise Gilot and Carlton Lake, Part VI, Quote Page 317, McGraw-Hill Book Company, New York. (Verified with scans)

Most of the painters and sculptors Pablo called on were a little uneasy when Pablo was in their ateliers, perhaps because Pablo often said, “When there’s anything to steal, I steal.” So they all felt, I think, that if they showed him work they were doing and something caught his eye, he would take it over but do it much better and then everyone else would think that they had copied it from him.

Gilot was with Picasso primarily between 1944 and 1953; hence, the 1964 book was published after a decade delay. Yet, her coauthor was convinced that the quotations presented were accurate. The information in her testimony that Lake was able to cross-check was correct:[2] 1964, Life with Picasso by Françoise Gilot and Carlton Lake, Section: Foreword, Quote Page 9, McGraw-Hill Book Company, New York. (Verified with scans)

. . . I have been continuously impressed by her demonstration of the extent to which that much abused term “total recall” can be literally true. Françoise knows exactly what she said, what Pablo said, every step of the way for the ten years and more that they spent together. The direct quotations from Picasso are exactly that.

Here are additional selected citations in chronological order.

Continue reading “When There’s Anything To Steal, I Steal”

References

References
↑1 1964, Life with Picasso by Françoise Gilot and Carlton Lake, Part VI, Quote Page 317, McGraw-Hill Book Company, New York. (Verified with scans)
↑2 1964, Life with Picasso by Françoise Gilot and Carlton Lake, Section: Foreword, Quote Page 9, McGraw-Hill Book Company, New York. (Verified with scans)

Quote Origin: Nits Will Be Lice

John Nalson? Oliver Cromwell? Tom Quick? Anonymous?

Question for Quote Investigator: Historically, non-combatants have sometimes been deliberately attacked during warfare. A cruel motto has been employed to rationalize the targeting of young people. Here are three versions:

Nits make lice.
Nits will become lice.
Nits will be lice.

A “nit” refers to the egg of a head louse especially when it is attached to a human hair. Would you please explore the provenance of this saying?

Reply from Quote Investigator: Warning: This article discusses cruel and inhumane activities. The earliest evidence located by QI appeared in a 1683 book by an English historian named John Nalson titled “An Impartial Collection of the Great Affairs of State from the Beginning of the Scotch Rebellion in the Year MDCXXXIX to the Murther of King Charles I”. While discussing warfare in Ireland the author stated that barbarities were committed by combatants on all sides. He also stated that one of his relatives who had served in the military heard the motto spoken during battle. Boldface has been added to excerpts:1

. . . I have heard a Relation of my own, who was a Captain in that Service, Relate, that no manner of Compassion or Discrimination was shewed either to Age or Sex, but that the little Children were promiscuously Sufferers with the Guilty, and that if any who had some grains of Compassion reprehended the Soldiers for this unchristian Inhumanity, they would scoffingly reply, Why? Nits will be Lice, and so would dispatch them . . .

Here are additional selected citations in chronological order.

Continue reading “Quote Origin: Nits Will Be Lice”

What You Can Do, or Dream You Can, Begin It; Boldness Has Genius, Power, and Magic in It

Johann Wolfgang von Goethe? John Anster? William Hutchison Murray? Apocryphal?

Dear Quote Investigator: There is a wonderful quotation about the pivotal step of making a commitment to an enterprise:

Whatever you can do or dream you can, begin it;
Boldness has genius, power, and magic in it.

These two lines are often attributed to the great German playwright and thinker Johann Wolfgang von Goethe. There are different versions of the quotation and some contain the following:

Until one is committed there is hesitancy, the chance to draw back. . .

Would you please explore this topic?

Quote Investigator: In 1835 an Irish poet named John Anster published a translation of Part One of Johann Wolfgang von Goethe’s tragic masterwork “Faust”. Anster’s interpretation was free and poetical; thus, some pieces did not directly align with the German text written by Goethe. The passage below was from a section titled “Prelude at the Theatre” (Vorspiel auf dem Theater) and was spoken by a character called “Manager” (Direktor). Boldface has been added to excerpts:[1]1835, Faustus, A Dramatic Mystery; The Bride of Corinth; The First Walpurgis Night, Translated from the German of Goethe, and Illustrated with Notes by John Anster, Section: Prelude at the Theatre, … Continue reading

Strong drink is what we want to gull the people,
A hearty, brisk, and animating tipple;
Come, come, no more delay, no more excuses,
The stuff we ask you for, at once produce us.
Lose this day loitering—’twill be the same story
To-morrow–and the next more dilatory;
Then indecision brings its own delays,
And days are lost lamenting o’er lost days.
Are you in earnest? seize this very minute–
What you can do, or dream you can, begin it,
Boldness has genius, power, and magic in it,
Only engage, and then the mind grows heated—
Begin it, and the work will be completed!

Anster wrote the phrase “What you can do” and not “Whatever you can do” which has become common in modern times. QI believes that the lines above should be credited to Anster with an inspiration from the words of Goethe.

The passage containing the word “hesitancy” that was also mentioned by the questioner was from neither Goethe nor Anster. An explanation is given together with the 1951 citation presented further below.

Here are additional selected citations in chronological order.

Continue reading “What You Can Do, or Dream You Can, Begin It; Boldness Has Genius, Power, and Magic in It”

References

References
↑1 1835, Faustus, A Dramatic Mystery; The Bride of Corinth; The First Walpurgis Night, Translated from the German of Goethe, and Illustrated with Notes by John Anster, Section: Prelude at the Theatre, (Spoken by Manager), Quote Page 15, Printed for Longman, Rees, Orme, Brown, Green, & Longman, London. (Google Books Full View) link

There Have Only Been Two Geniuses in the World — Willie Mays and Willie Shakespeare

Tallulah Bankhead? Apocryphal?

Dear Quote Investigator: The famous actress Tallulah Bankhead was an ardent baseball fan, and she was particularly impressed by the outstanding skills of the great athlete Willie Mays. Apparently, she stated that there have only been two authentic geniuses in history:

Willie Mays and Willie Shakespeare

I am not sure if this ascription is accurate because Bankhead died in 1968, and the earliest citation I have seen is from the 1980s. Would you please examine this quotation?

Quote Investigator: There is substantive evidence that Tallulah Bankhead did make a remark of this type. The earliest instance located by QI appeared in 1962. The detailed citation is given further below.

In 1960 “Ebony” magazine published a profile of Bankhead in which she praised Willie Mays and expressed her allegiance to the San Francisco Giants baseball team:[1] 1960 January, Ebony, Volume 15, Number 3, A Southerner Looks At Prejudice By Allan Morrison, Start Page 29, Quote Page 30 and 33, Published by Johnson Publishing Company. (Google Books Full View) link

Willie Mays: “A perfectly charming man . . . the greatest all-around ballplayer in the world . . . a master showman with a spectacular touch” says Tallulah . . .

Her well-known devotion to the National League Giants started in 1939 and persisted after that club had abandoned New York’s Polo Ground for San Francisco’s Seals Stadium. The Giants’ failure to win the pennant last year was a disappointment to her, but she is speculating enthusiastically about their chances in 1960. “With the help of those good Alabama men, Willie Mays and Willie McCovey, they might do it this time,” she says.

On October 23, 1962 “The Chicago Daily Defender” printed a small set of miscellaneous quotations under the title “They Said It”. The statement under examination was credited to Tallulah Bankhead. Boldface has been added to excerpts:[2] 1962 October 23, Chicago Daily Defender, They Said It, Quote Page 11, Column 4, Chicago, Illinois. (ProQuest)

“There have only been two geniuses in the world — Willie Mays and Willie Shakespeare. But dahling, I think you had better put Shakespeare first.”
—Actress Tallulah Bankhead

Here are additional selected citations in chronological order.

Continue reading “There Have Only Been Two Geniuses in the World — Willie Mays and Willie Shakespeare”

References

References
↑1 1960 January, Ebony, Volume 15, Number 3, A Southerner Looks At Prejudice By Allan Morrison, Start Page 29, Quote Page 30 and 33, Published by Johnson Publishing Company. (Google Books Full View) link
↑2 1962 October 23, Chicago Daily Defender, They Said It, Quote Page 11, Column 4, Chicago, Illinois. (ProQuest)

Riches Are Like Muck Which Stinks in a Heap But Spread Abroad Makes the Earth Fruitful

Richard Branson? Thornton Wilder? Francis Bacon? Mr. Bettenham? King James I of England? Henry Edmundson? Richard Flecknoe? Clint Murchison? Anonymous?

Dear Quote Investigator: The famous British entrepreneur Richard Branson employed an extraordinary simile. He said that “money is like manure”, and elaborated on the thought as follows:[1]Website: Richard Branson blog at Virgin.com, Article title: Why money is like manure, Article author: Richard Branson, Date on website: February 13, 2014, Website description: Thoughts of businessman … Continue reading

If you let money pile up, it starts to stink. But if you spread it around then it can do a lot of good.

Branson also credited the prominent playwright Thornton Wilder with a remark that was thematically similar. Would you please explore the history of this figurative language?

Quote Investigator: This family of expressions has a very long history that stretches back into the 1600s. The English philosopher and scientist Francis Bacon wrote a piece discussing statecraft titled “Of Seditions and Troubles” that was published in his landmark collection of essays in 1625. Bacon wrote a precursor to the expression under examination that used the word “muck” instead of “manure”. Boldface has been added to excerpts:[2]1625, Title: The Essayes or Counsels, Ciuill and Morall, of Francis Lo. Verulam, Viscount St. Alban, Author: Francis Bacon, Quote Page 85, Printed by Iohn Haviland for Hanna Barret, London. (Early … Continue reading

Above all things, good Policie is to be used, that the Treasure and Moneyes, in a State, be not gathered into few Hands. For otherwise, a State may have a great Stock, and yet starve. And Money is like Muck, not good except it be spread. This is done, chiefly, by suppressing, or at the least, keeping a strait Hand, upon the Devouring Trades of Usurie, Ingrossing, great Pasturages, and the like.

Bacon presented the core simile, but he did not extend the analogy to the olfactory organ. Yet, in 1625 Bacon also released a collection of “Apophthegmes New and Old” that included a longer expression with the word “stench” that was attributed to someone named “Mr. Bettenham”: [3]1625, Title: Apophthegmes New and Old, Collected by the Right Honourable, Francis Lo. Verulam, Viscount St. Alban, Author: Francis Bacon, Quote Page 273, Printed by J. Haviland for Hanna Barret, and … Continue reading

Mr. Bettenham vsed to say; That Riches were like Mucke: When it lay, vpon an heape, it gaue but a stench, and ill odour; but when it was spread vpon the ground, then it was cause of much fruit.

The above simile matched the notion presented by Richard Branson recently. Thanks to top researcher Barry Popik who located the saying. Popik’s entry on this topic is located on his website.

Here are additional selected citations in chronological order.

Continue reading “Riches Are Like Muck Which Stinks in a Heap But Spread Abroad Makes the Earth Fruitful”

References

References
↑1 Website: Richard Branson blog at Virgin.com, Article title: Why money is like manure, Article author: Richard Branson, Date on website: February 13, 2014, Website description: Thoughts of businessman Richard Branson who founded the Virgin Group. (Accessed virgin.com on February 5, 2016) link
↑2 1625, Title: The Essayes or Counsels, Ciuill and Morall, of Francis Lo. Verulam, Viscount St. Alban, Author: Francis Bacon, Quote Page 85, Printed by Iohn Haviland for Hanna Barret, London. (Early English Books Online 2)
↑3 1625, Title: Apophthegmes New and Old, Collected by the Right Honourable, Francis Lo. Verulam, Viscount St. Alban, Author: Francis Bacon, Quote Page 273, Printed by J. Haviland for Hanna Barret, and Richard Whittaker, and are to be sold at the Kings head in Pauls Chuch-yard, London. (Early English Books Online)

It’s Not True That Life Is One Damn Thing After Another—It’s One Damn Thing Over and Over

Edna St. Vincent Millay? Apocryphal?

Dear Quote Investigator: You have already examined the following mordant saying:

Life is just one damned thing after another.

Apparently, the prominent poet Edna St. Vincent Millay disagreed, and she offered her own alternative trenchant analysis of life. Here are three versions:

It’s one damn thing over and over.
It’s the same thing over and over again.
It’s the same damn thing over and over.

Would you please examine this saying?

Quote Investigator: Edna St. Vincent Millay wrote a letter dated October 24, 1930 to friend and fellow poet Arthur Davison Ficke. She complained about her recurrent bouts of sickness:[1]1952, Letters of Edna St. Vincent Millay, Edited by Allan Ross Macdougall, (Letter from Edna St. Vincent Millay to “Artie” Arthur Davison Ficke; Date: October 24, 1930; Location: … Continue reading

Dearest Artie:
It’s not true that life is one damn thing after another—it’s one damn thing over & over—there’s the rub—first you get sick—then you get sicker—then you get not quite so sick—then you get hardly sick at all—then you get a little sicker . . .

Although the letter was written in 1930 it was only released to the general public in 1952 with the publication of “Letters of Edna St. Vincent Millay” edited by Allan Ross Macdougall.

Here are additional selected citations in chronological order.

Continue reading “It’s Not True That Life Is One Damn Thing After Another—It’s One Damn Thing Over and Over”

References

References
↑1 1952, Letters of Edna St. Vincent Millay, Edited by Allan Ross Macdougall, (Letter from Edna St. Vincent Millay to “Artie” Arthur Davison Ficke; Date: October 24, 1930; Location: Steepletop), Quote Page 240, Published by Harper & Brothers, New York. (Verified with scans)

Human: A Non-Linear Servo-Mechanism Weighing Only 150 Pounds that Can Be Produced Cheaply by Unskilled Labor

Arthur C. Clarke? Albert Scott Crossfield? George T. Hauty? S. Fred Singer?

Dear Quote Investigator: In the early days of the space-age researchers and administrators were considering replacing human pilots and astronauts with computers. The argument against this form of automation was presented with a single humorous sentence that emphasized the advantages of humans. Are you familiar with this quotation? Would you please examine this topic?

Quote Investigator: In May 1954 “The New York Times” published an article titled “Test Pilot Faces Robot Challenge” which reported on suggestions made by scientists within the NATO (North Atlantic Treaty Organization) alliance that test pilots should be replaced by machines. A set of pilots spoke in opposition to this proposal during a meeting of a NATO advisory group.

Albert Scott Crossfield was a prominent American test pilot who had achieved speed records while flying experimental aircraft. He delivered a compact comical summary of human uniqueness in the form of an interrogative. Boldface has been added to excerpts:[1]1954 May 6, New York Times, Test Pilot Faces Robot Challenge: U. S., British, French Fliers Reply in NATO Air Group to Machine Proposal by Thomas F. Brady, Quote Page 11, Column 1, New York. … Continue reading[2] 1954 May 6, Seattle Daily Times, Supersonic Pilots Resent Idea of Yielding to Robots (New York Times News Service), Quote Page 15, Column 5, Seattle, Washington. (GenealogyBank)

“Where can you find another non-linear servo-mechanism weighing only 150 pounds and having great adaptability, that can be produced so cheaply by completely unskilled labor?” Mr. Crossfield” inquired.

The passage above was the earliest instance located by QI. Interestingly, it did not contain the word “computer”. Also, the words were spoken as a rebuttal to the idea of replacing aircraft pilots and not astronauts. Many variant expressions have evolved over time. QI believes that earlier instances may exist.

Here are additional selected citations in chronological order.

Continue reading “Human: A Non-Linear Servo-Mechanism Weighing Only 150 Pounds that Can Be Produced Cheaply by Unskilled Labor”

References

References
↑1 1954 May 6, New York Times, Test Pilot Faces Robot Challenge: U. S., British, French Fliers Reply in NATO Air Group to Machine Proposal by Thomas F. Brady, Quote Page 11, Column 1, New York. (ProQuest)
↑2 1954 May 6, Seattle Daily Times, Supersonic Pilots Resent Idea of Yielding to Robots (New York Times News Service), Quote Page 15, Column 5, Seattle, Washington. (GenealogyBank)

The Architect’s Most Effective Tools Are the Eraser in the Drafting Room and the Wrecking Bar on the Job

Frank Lloyd Wright? Edgar Tafel? Apocryphal?

Dear Quote Investigator: Recently, I was reading a book about software design, and the author emphasized the importance of detecting and fixing errors quickly. The following quotation was presented:

You can use an eraser on the drafting table or a sledgehammer on the construction site.

The statement was attributed to the innovative major architect Frank Lloyd Wright, but I have been unable to locate a proper citation. Would you please help?

Quote Investigator: QI believes that the expression above was probably not spoken or written by Frank Lloyd Wright. But he did make a remark that displayed several points of similarity; hence, the statement above probably evolved from an accurate quotation.

The earliest pertinent instance located by QI was published in the 1965 biographical work “Frank Lloyd Wright: America’s Greatest Architect” by Herbert Jacobs. The author was in frequent contact with Wright for twenty-five years as client, friend, and reporter. Indeed, Wright designed and built two houses for the author. Part of the book described the relationship between Wright and his apprentices. Boldface has been added to excerpts:[1] 1965, Frank Lloyd Wright: America’s Greatest Architect by Herbert Jacobs, Chapter 12: Taliesin Accents Youth, Quote Page 139, Harcourt, Brace & World, New York. (Verified on paper)

If Wright was passing by a drafting board, he might stop to note progress. The apprentice would leap to his feet and stand respectfully at the side while Wright eased himself onto the bench and took up pencil-and eraser.

“The architect’s two most important tools are: the eraser in the drafting room and the wrecking bar on the site,” he would say with a smile.

Wright died in 1959; thus, the text above was published posthumously. Nevertheless, QI believes the ascription was highly credible because of the author’s long relationship with Wright. The tool specified was a wrecking bar instead of a sledgehammer. Also, there was no implicit conditional ordering between the eraser and wrecking bar; both were deemed important.

Here are additional selected citations in chronological order.

Continue reading “The Architect’s Most Effective Tools Are the Eraser in the Drafting Room and the Wrecking Bar on the Job”

References

References
↑1 1965, Frank Lloyd Wright: America’s Greatest Architect by Herbert Jacobs, Chapter 12: Taliesin Accents Youth, Quote Page 139, Harcourt, Brace & World, New York. (Verified on paper)