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And what would we be, we sinful creatures, without fear, perhaps the most foresighted, the most loving of the divine gifts?

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
Creatures
Perhaps
Divine
Fear
Without
Would
Sinful
Gifts
Loving

More quotes by Umberto Eco

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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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Authors frequently say things they are unaware of only after they have gotten the reactions of their readers do they discover what they have said
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When the poet is in love, he is incapable of writing poetry on love. He has to write when he remembers that he was in love.
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That is a real attitude - to see everything as being meaningful, even the less important things, to prove something, even the greater problems of life.
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When I went from being an academic to being a member of the community of writers some of my former colleagues did look on me with a certain resentment.
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The thought that all experience will be lost at the moment of my death makes me feel pain and fear... What a waste, decades spent building up experience, only to throw it all away... We remedy this sadness by working. For example, by writing, painting, or building cities.
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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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How does a person feel when looking at the sky? He thinks that he doesn't have enough tongues to describe what he sees. Nevertheless, people have never stopping describing the sky, simply listing what they see.
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You cannot escape one infinite, I told myself, by fleeing to another. You cannot escape the revelation of the identical by taking refuge in the illusion of the multiple.
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Poetry is not a matter of feelings, it is a matter of language. It is language which creates feelings.
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The print does not always have the same shape as the body that impressed it, and it doesn't always derive from the pressure of a body. At times it reproduces the impression a body has left in our mind: it is the print of an idea.
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Yes, I know, it's not the truth, but in a great history little truths can be altered so that the greater truth emerges.
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To imagine secret societies and conspiracy is a way not to react to the social and political life. Because you say, We don't know who they are. We cannot react without reasoning. So it is a way to keep people far from the political environment.
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The ideology of this America wants to establish reassurance through Imitation. But profit defeats ideology, because the consumers want to be thrilled not only by the guarantee of the Good but also by the shudder of the Bad.
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Mystical additions and subtractions always come out the way you want.
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A secret is powerful when it is empty.
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I started to write [The Name of the Rose] in March of 1978, moved by a seminal idea. I wanted to poison a monk.
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Today I realize that many recent exercises in deconstructive reading read as if inspired by my parody. This is parody's mission: it must never be afraid of going too far. If its aim is true, it simply heralds what others will later produce, unblushing, with impassive and assertive gravity.
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A newspaper can follow the compulsions, the desires of the readers. Take the English evening newspapers - they are following the readers' desires when they are interested only in the royal family gossip. But even the most objective, serious newspaper in the world designs the way in which the reader could or should think. That's unavoidable.
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I have come to believe that the whole world is an enigma, a harmless enigma that is made terrible by our own mad attempt to interpret it as though it had an underlying truth.
Umberto Eco