Quote Investigator® – Page 153

Quote Origin: Let Us Be More Ashamed of Shabby Ideas and Shoddy Philosophies

Albert Einstein? Apocryphal?

Question for Quote Investigator: Recently, the dress sense of a leading British politician was criticized, and his sharp rejoinder was based on a quotation attributed to Albert Einstein contrasting the relative importance of shabby clothes versus shabby ideas. Would you please examine the provenance of this statement?

Reply from Quote Investigator: The earliest evidence of the quotation located by QI appeared in a 1949 compilation titled “Treasury of the Christian Faith: An Encyclopedic Handbook of the Range and Witness of Christianity” which included the following entry:¹

If most of us are ashamed of shabby clothes and shoddy furniture, let us be more ashamed of shabby ideas and shoddy philosophies. — Albert Einstein

Einstein died in 1955; hence, the statement was credited to him while he was still alive. However, the 1949 book did not present a supporting citation, and QI has not yet located any pointers to speeches, interviews, or essays by Einstein containing the saying.

The most comprehensive reference about Einstein’s pronouncements is the 2010 book “The Ultimate Quotable Einstein” from Princeton University Press, and the expression about “shabby ideas” was not present in this volume.²

This entry presents a snapshot of QI’s research, and more information may be uncovered by other researchers. Here are additional selected citations in chronological order.

Quote Origin: Brevity Is the Soul of Lingerie

Dorothy Parker? Apocryphal?

Question for Quote Investigator: William Shakespeare memorably wrote that:

Brevity is the soul of wit.

The wordsmith Dorothy Parker famously transformed the Bard’s phrase into a humorous and erotic remark:

Brevity is the soul of lingerie.

Several quotation references list Parker’s statement, but the earliest citation I’ve seen is indirect; a friend named Alexander Woollcott attributed the quip to her in 1934. Would you please help me to find better evidence?

Reply from Quote Investigator: In October 1916 “Vogue” magazine published a lengthy profusely illustrated article titled “Vogue Pattern Service”. One page displayed drawings of models wearing nightgowns and chemises together with the following caption in capital letters. Boldface has been added to excerpts:¹

FROM THESE FOUNDATIONS OF THE AUTUMN WARDROBE, ONE MAY LEARN THAT BREVITY IS THE SOUL OF LINGERIE

Dorothy Parker was employed at “Vogue”, and QI believes she crafted the caption; indeed, a few years later she used the quip again. By 1919 she had moved to “Vanity Fair”, and the magazine printed a comical piece she composed titled “Our Office: A Hate Song: An Intimate Glimpse of Vanity Fair—En Famille”. She leveled light-hearted criticisms at each department of the publishing enterprise:²

I hate the office;
It cuts in on my social life.

There is the Art Department;
The Cover Hounds.
They are always explaining how the photographing machine works.
And they stand around in the green light
And look as if they had been found drowned.

When Parker mocked the editorial group she employed the adage under investigation:

Then there is the Editorial Department;
The Literary Lights.
They are just a little holier than other people
Because they can write classics about
“‘Brevity is the soul of lingerie’, said this little chemise to itself”;
And “Here are five reasons for the success of the Broadway plays”.
They are all full of soul;
Someone is forever stepping on their temperaments.
They are constantly having nervous breakdowns
And going away for a few weeks.

Here are additional selected citations in chronological order.

Quote Origin: One Cannot Invent What Does Not Exist. The Genius of Invention Lies in Rediscovering What Has Been Lost, Forgotten, or Misunderstood

Pablo Picasso? Jacques Lassaigne? Mary Chamot? Playboy?

Question for Quote Investigator: I came across the following statement attributed to the prominent artist Pablo Picasso:

A painter cannot paint what does not exist. He can only rediscover what has been lost, forgotten or misunderstood.

This is certainly a curious ontological outlook, but I have not been able to find a good citation. What do you think?

Reply from Quote Investigator: This statement was ascribed to Pablo Picasso in “Playboy” magazine in 1964, but QI believes this evidence was flawed. A full citation is given further below.

The earliest strong match found by QI appeared in the critical commentary accompanying a 1939 art book about the French painter Henri de Toulouse-Lautrec. The critic was Jacques Lassaigne, and his words were translated from French to English by Mary Chamot. Lassaigne’s topic was invention and not painting. Boldface has been added to excerpts:¹

It is obvious that one cannot invent what does not exist. The genius of invention lies in rediscovering what has been lost, forgotten or misunderstood: scientific theory teaches us that no energy is lost in the world, but that it changes.

Interestingly, the commentary by Lassaigne included another passage about the different motivations of artists and the diverse milieus of creation. The highlighted phrase within the following excerpt was later reassigned to Picasso in 1964:²

Are the tortuous bye-ways and secret experiences necessary and productive? I think it is a question of intention: they are valuable and enriching only so far as they are not made to oblige: art can certainly not be born in artifice. For the rest, in plastic values we can only judge by results, not by intentions.

Here are additional selected citations in chronological order.

Quote Origin: It Doesn’t Matter Who You Love or How You Love, But That You Love

John Lennon? Rod McKuen? Sally Jessy Raphael? Anonymous?

Question for Quote Investigator: There is a popular meme/quotation on social networks such as Facebook, Twitter, and Tumblr:

It matters not who you love, where you love, why you love, when you love, or how you love, it matters only that you love.

This saying is attributed to the famous musician John Lennon of the Beatles, but I have not found it in his writings or song lyrics. Would you please explore this topic?

Reply from Quote Investigator: QI has found no substantive evidence that John Lennon employed the above expression. Lennon died in 1980, and the words were linked to him by 1997.

Rod McKuen was a singer-songwriter and poet who achieved a remarkable peak of popularity in the 1960s and 1970s. He performed a large number of well-attended concerts, and he often delivered an emphatic and empathetic message to his fans at the end of a show. In April 1971 “The New York Times” profiled McKuen, and reported his message which was a concise version of the saying listed above. Boldface has been added to excerpts:¹

He has no solutions to offer, no panaceas to propound and makes no claims to cosmic insights. “I’m not preaching. I’m just talking about the things that move me.” Still, at the end of every public appearance recently, he’s been admonishing his listeners that “it doesn’t matter who you love or how you love, but that you love.”

This, apparently, is a message a great many people want to hear, whether it’s stated directly or merely implied in the way McKuen talks or sings or writes about the things that matter most to him.

QI conjectures that the statement attributed to Lennon was derived from the words of Rod McKuen via extension and elaboration.

Here are additional selected citations in chronological order.

Quote Origin: No One Owns Life, But Anyone Who Can Pick Up a Frying Pan Owns Death

William S. Burroughs? Apocryphal?

Question for Quote Investigator: Pronouncements about the dichotomy of life and death are often somber, serious, and banal. However, William S. Burroughs, the postmodernist author of “Naked Lunch” and “Junkie: Confessions of an Unredeemed Drug Addict”, apparently crafted the following eccentric statement:

No one owns life, but anyone who can pick up a frying pan owns death.

Is this genuine? You are my last hope for finding a citation.

Reply from Quote Investigator: The Summer 1959 issue of the short-lived periodical “Big Table” printed an article titled “Anyone Who Can Pick Up a Frying Pan Owns Death” by Alan Ansen which discussed William S. Burroughs and his writings. Boldface has been added to excerpts:¹

A tall ectomorph—in Tangier the boys called him El Hombre Invisible—his persona constituted by a magic triad of fedora, glasses and raincoat rather than by a face, his first presence is that of a con man down on his luck. But that impression soon gives way to the feeling that, whatever his luck may be, yours has been very good. A cracker accent and use of jive talk fail to conceal incisive intelligence and a frightening seriousness. “No one owns life,” says Burroughs, “but anyone who can pick up a frying pan owns death.”

Ansen and Burroughs were friends, and QI believes that Ansen heard the quotation directly from Burroughs.

Burroughs seems to be suggesting that a frying pan may be used as an implement of murder; therefore, the wielder of the pan potentially “owns” death. Alternatively, cooking a dead creature in a frying pan may be considered a way in which one may “own” death.

Here are additional selected citations in chronological order.

Quote Origin: Music Washes Away from the Soul the Dust of Everyday Life

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

Question for 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?

Reply from 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

. . . 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

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.

Quote Origin: 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?

Question for 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?

Reply from 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

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.

Quote Origin: When There’s Anything To Steal, I Steal

Pablo Picasso? Françoise Gilot? Carlton Lake? Apocryphal?

Question for 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?

Reply from 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

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

. . . 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.

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.

Quote Origin: 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?

Question for 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?

Reply from 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

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.