Top Basho Quotes

Browse top 7 famous quotes and sayings about Basho by most favorite authors.

Favorite Basho Quotes

1. "Ivanov- "Up to now , all revolutions have been made by moralizing diletantes. They were always in good faith and perished because of their dilettantism. We for the first time are consequent...""Yes," said Rubashov. "So consequent, that in the interests of a just distribution of land we deliberately let die of starvation about five million farmers and their families in one year. So consequent were we in the liberation of human beings from the shackles of industrial exploitation that we sent about ten million people to do forced labour in the Artic regions and the jungles of the East, under conditions similar to those of antique galley slaves. So consequent that, to settle a difference of opinion, we know only one argument: death, whether it is a matter of submarines, manure, or the Party line to be followed in Indo-China. ..."
Author: Arthur Koestler
2. "It was quiet in the cell. Rubashov heard only the creaking of his steps on the tiles. Six and a half steps to the door, whence they must come to fetch him, six and a half steps to the window, behind which night was falling. Soon it would be over. But when he asked himself, For what actually are you dying? he found no answer.It was a mistake in the system; perhaps it lay in the precept which until now he had held to be uncontestable, in whose name he had sacrificed others and was himself being sacrificed: in the precept, that the end justifies the means. It was this sentence which had killed the great fraternity of the Revolution and made them run amuck. What had he once written in his diary? "We have thrown overboard all conventions, our sole guiding principle is that of consequent logic; we are sailing without ethical ballast."
Author: Arthur Koestler
3. "Cigarettes to be fetched for me from the canteen,' said Rubashov.'Have you got prison vouchers?''My money was taken from me on my arrival,' said Rubashov. 'Then you must wait until it has been changed for vouchers.''How long will that take in this model establishment of yours?' asked Rubashov. 'You can write a letter of complaint,' said the old man.'You know quite well that I have neither paper nor pencil,' said Rubashov. 'To buy writing materials you have to have vouchers,' said the warder."
Author: Arthur Koestler
4. "I have already thought it over,' said Rubashov. 'I reject your proposition. Logically, you may be right. But I have had enough of this kind of logic. I am tired and I don't want to play this game anymore. Be kind enough to have me taken back to my cell."
Author: Arthur Koestler
5. "Rubashov had always believed that he knew himself rather well. Being without moral prejudices, he had no illusions about the phenomenon called the "first person singular" and had taken for granted, without particular emotion, that this phenomenon was endowed with certain impulses which people are generally reluctant to admit. Now, when he stood with his forehead against the window or suddenly stopped on the third black tile, he made unexpected discoveries. He found that those processes wrongly known as monologues are really dialogues of a special kind - dialogues in which one partner remains silent while the other, against all grammatical rules, addresses him as "I" instead of "you," in order to creep into his confidence and to fathom his intentions, but the silent partner just remains silent, shuns observation, and even refuses to be localized in time and space."
Author: Arthur Koestler
6. "With you, thought Rubashov and looked at the whitewashed wall behind which the other stood—in the meantime he hadprobably lit a cigarette and was blowing the smoke against the wall — with you I have no accounts to settle. To you I oweno fare. Between you and us there is no common currency and no common language. ... Well, what do you want now?"
Author: Arthur Koestler
7. "Great works of art in all cultures succeed in capturing within the constraints of their form both the pathos of anguish and a vision of its resolution. Take, for example, the languorous sentences of Proust or the haiku of Basho, the late quartets and sonatas of Beethoven, the tragicomic brushwork of Sengai or the daunting canvases of Rothko, the luminous self-portraits of Rembrandt and Hakuin. Such works achieve their resolution not through consoling or romantic images whereby anguish is transcended. They accept anguish without being overwhelmed by it. They reveal anguish as that which gives beauty its dignity and depth."
Author: Stephen Batchelor

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