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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?

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
Work
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Century
Italian
Gothic
Written
Latin
Employ
Ends
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Monk
Reason
French
Sober
Find
Reflection
Publishing
Firsts
Reasons
Obscure
Fourteenth
First
Toward
German
Seventeenth

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Followers of the occult believe in only what they already know, and in those things that confirm what they have already learned.
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As a scholar I am interested in the philosophy of language, semiotics, call it what you want, and one of the main features of the human language is the possibility of lying.
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What did I really think fifteen years ago? A nonbeliever, I felt guilty in the midst of all those believers. And since it seemed to me that they were in the right, I decided to believe, as you might decide to take an aspirin: It can't hurt and you might get better.
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Well, Diotallevi and I are planning a reform in higher education. A School of Comparative Irrelevance, where useless or impossibe courses are given. The school's aim is to turn out scholars capable of endlessly increasing the number of unnecessary subjects.
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There is a constant in the average American imagination and taste, for which the past must be preserved and celebrated in full-scale authentic copy a philosophy of immortality as duplication. It dominates the relation with the self, with the past, not infrequently with the present, always with History and, even, with the European tradition.
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By means of the sign, man frees himself from the here and now for abstraction.
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The poets did not win the philosophers surrendered.
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I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.
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The Roseicrucians were everywhere, aided by the fact that they didn't exist.
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Yesterday's rose endures in its name, we hold empty names.
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The step between ecstatic vision and sinful frenzy is all too brief.
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If you want to become a man of letters and perhaps write some Histories one day, you must also lie and invent tales, otherwise your History would become monotonous. But you must act with restraint. The world condemns liars who do nothing but lie, even about the most trivial things, and it rewards poets, who lie only about the greatest things.
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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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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 have always been fascinated by paranoid people imagining conspiracies. I am fascinated by this in a critical way.
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Musical compositions can be very sad - Chopin - but you have the pleasure of this sadness. The cheap consolation is: you will be happy. The higher consolation is the pleasure and recognition of your unhappiness, the pleasure of having recognised that fate, destiny and life are such as they are and so you reach a higher form of consciousness.
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Daytime sleep is like the sin of the flesh the more you have the more you want, and yet you feel unhappy, sated and unsated at the same time.
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Originality and creativity are nothing but the result of the wise management of combinations. The creative genius combines more rapidly, and with a greater critical sense of what gets tossed out and what gets saved, the same material that the failed genius has to work with.
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We live for books. A sweet mission in this world dominated by disorder and decay.
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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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