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I have lost the freedom of not having an opinion.

Umberto Eco

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Umberto Eco
Age: 84 †
Born: 1932
Born: January 5
Died: 2016
Died: February 19
Essayist
Historian
Literary Critic
Literary Scholar
Medievalist
Novelist
Pedagogue
Philosopher
Screenwriter
Semiotician
Translator
Lissändria
Umberto Ecco
Umberto Eccounstino
Humberto Eco
Dedalus
Umberto Eko
Oumperto Eko
Eco Umberto
U. Eco
Opinion
Freedom
Lost

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There are four types: the cretin, the imbecile, the stupid and the mad. Normality is a balanced mixture of all four.
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For the enemy to be recognized and feared, he has to be in your home or on your doorstep.
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All the stories I would like to write persecute me. When I am in my chamber, it seems as if they are all around me, like little devils, and while one tugs at my ear, another tweaks my nose, and each says to me, 'Sir, write me, I am beautiful.
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Sometimes you say things with a smile with the precise intention of making it clear that you are not being serious, and are only kidding. If I salute a friend with a smile and say, How are you, you old scoundrel! clearly I don't really mean he's a scoundrel.
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Where else? I belong to a lost generation and am comfortable only in the company of others who are lost and lonely.
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I suspect that there is no serious scholar who doesn’t like to watch television. I’m just the only one who confesses.
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It comes down to a question of attention: it's difficult to use the Net distractedly, unlike the television or the radio.
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Yesterday's rose endures in its name, we hold empty names.
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Not that the incredulous person doesn't believe in anything. It's just that he doesn't believe in everything.
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Does the novel have to deepen the psychology of its heroes? Certainly the modern novel does, but the ancient legends did not do the same. Oedipus' psychology was deduced by Aeschylus or Freud, but the character is simply there, fixed in a pure and terribly disquieting state.
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A transposable aphorism is a malaise of the urge to be witty, or in other words, a maxim that is untroubled by the fact that the opposite of what it says is equally true so long as it appears to be funny.
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On sober reflection, I find few reasons for publishing my Italian version of an obscure, neo-Gothic French version of a seventeenth century Latin edition of a work written in Latin by a German Monk toward the end of the fourteenth century...First of all, what style should I employ?
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At most, recognizing that our history was inspired by many tales we now recognize as false should make us alert, ready to call to constantly into question the very tale we believe true, because the criterion of the wisdom of the community is based on constant awareness of the fallibility of our learning.
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Monsters exist because they are part of the divine plan, and in the horrible features of those same monsters the power of the creator is revealed.
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The French, the Italians, the Germans, the Spanish and the English have spent centuries killing each other.
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There are four kinds of people in this world: cretins, fools, morons, and lunatics.
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The hand of God creates it does not conceal.
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Man's principle trait is a readiness to believe anything. Otherwise, how could the Church have survived for almost two thousand years in the absense of universal gullibility?
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For Mallarmé naming an object meant suppressing three-quarters of its poetic pleasure (which consists in the joy of guessing bit by bit - le suggérer, voilà le rêve!).
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I felt like poisoning a monk.
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