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"From early childhood his mother had taught him that to discuss in public a profound emotional experience-which, in the open air, immediately evanesces and fades, and, oddly, becomes similar to an analogous experience of one's interlocutor-was not only vulgar, but also a sin against sentiment."
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Exlpore more Emotion quotes
"He was like an autumn without leaves, he was unreal!"
"One day it may feel as if energy and enthusiasm are quenched, feelings dried up and emotions scorched, love and affection tangled in a harsh and uninviting setting. Nothing seems to grow anymore. No seed. No flowers. No foreseeable hope. No conceivable prospects. Any blossom of expectation seems to have become an illusion and life appears to have come to a standstill. If no seed of loving care is sown in the untilled, abandoned land, no bud can come into flower. Singer Amy Winehouse felt like lying fallow in the ground of a wasteland "with tears dry, dying a hundred times, going back to black" and leaving eventually for a place of ultimate sorrow and heartbreak, for a point of no return. ['Amour en friche']"
"If I can make you feel the same way that I feel about my product or service we'll have a meaningful conversation about it and how it can help. The trouble is that most sales people don't feel anything. Nothing at all."
"It gives a fella relief to tell, but it jus' spreads out his sin."
"Henry liked fun and avoided when he could any solemn or serious matter, for he confused these with sorrow."
"You stop believing in wishes when the only one you want to make can never come true."
"... We need the sweet pain of anticipation to tell us we are really alive."
Explore more quotes by Vladimir Nabokov
"I clearly understand, first, that the real human being is a poet and, second, that [the tyrant] is the incarnate negation of a poet."
"The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time."
"That human life is but a first installment of the serial soul and that one's individual secret is not lost in the process of earthly dissolution, becomes something more than an optimistic conjecture, and even more than a matter of religious faith, when we remember that only commonsense rules immortality out."
"It is interesting to ponder the fact that there is no real difference between what the Western Fascists wanted of literature and what the Bolsheviks want. Let me quote: "The personality of the artist should develop freely and without restraint. One thing, however, we demand: acknowledgement of our creed. Thus spoke one of the big Nazis, Dr. Rosenberg, Minister of Culture in Hitler's Germany. Another quote: "Every artist has the right to create freely; but we, Communists, must guide him according to plan. Thus spoke Lenin. Both of these are textual quotations, and their similitude would have been highly diverting had not the whole thing been so very sad."
"The idea of God was invented in the small hours of history by a scam who had genius; it somehow reeks too much of humanity, that idea, to make its azure origin plausible..."
"And I thought to myself how those fast little articles forget everything, everything, while we, old lovers, treasure every inch of their nymphancy."
"But as Van casually directed the searchlight of backthought into that maze of the past where the mirror-lined narrow paths not only took different turns, but used different levels (as a mule-drawn cart passes under the arch of a viaduct along which a motor skims by), he found himself tackling, in still vague and idle fashion, the science that was to obsess his mature years - problems of space and time, space versus time, time-twisted space, space as time, time as space - and space breaking away from time, in the final tragic triumph of human cogitation: I am because I die."
"Cannot it actually be that in a wildly literal sense, unacceptable to one's reason, he meant disappearing in his art, dissolving in his verse, thus leaving of himself, of his nebulous person, nothing but verse?"
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