Umberto Eco Quotes

Books are not made to be believed, but to be subjected to inquiry. When we consider a book, we mustn’t ask ourselves what it says but what it means, a precept that the commentators of the holy books had very clearly in mind.

For the male who dominates and writes, or by writing dominates, the woman has always been portrayed with hostility from the earliest times. Let us not be deceived by angelic descriptions of women. On the contrary, precisely because great literature is dominated by sweet, gentle creatures, the world of satire — which is that of the popular imagination — continually demonizes the woman, from antiquity, through the Middle Ages, and up to modern times.

I was in a maze. No matter which way I turned, it was the wrong way.

But the meaning of identity is now based on hatred, on hatred for those who are not the same. Hatred has to be cultivated as a civic passion. The enemy is the friend of the people. You always want someone to hate in order to feel justified in your own misery.

Someone said that patriotism is the last refuge of cowards; those without moral principles usually wrap a flag around themselves, and those bastards always talk about the purity of race.

A narrator should not supply interpretations of his work; otherwise he would have not written a novel, which is a machine for generating interpretations.

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. Perhaps the mission of those who love mankind is to make people laugh at the truth, to make truth laugh, because the only truth lies in learning to free ourselves from insane passion for the truth.

عندما يخطئ الراعي ينبغي إبعاده عن بقية الرعاة ، ولكن الويل إذا ما أخذت النعاج ترتاب في الرعاة

Epistemological thinkers connected with quantum methodology have rightly warned against an ingenuous transposition of physical categories into the fields of ethics and psychology (for example. the identification of indeterminacy with moral freedom). Hence, it would not be justified to understand my formulation as making an analogy between the structures of the work of art and the supposed structures of the world. Indeterminacy, complementarity, noncausality are not modes of being in the physical world, but systems for describing it in a convenient way. The relationship which concerns my exposition is not the supposed nexus between an "ontological" situation and a morphological feature in the work of art, but the relation between an operative procedure for explaining physical processes and an operative procedure for explaining the processes of artistic production and reception. In other words, the relationship between a scientific methodology and a poetics.

"There, Master Niketas," Baudolino said, "when I was not prey to the temptations of this world, I devoted my nights to imagining other worlds. ... There is nothing better than imagining other worlds," he said, "to forget the painful one we live in. At least so I thought then. I hadn't yet realized that, imagining other worlds, you end up changing this one."

The order that our mind imagines is like a net, or like a ladder, built to attain something. But afterward you must throw the ladder away, because you discover that, even if it was useful, it was meaningless.

Hay cosas que ves venir, no es que te enamores porque te enamoras, te enamoras porque en ese período tenías una desesperada necesidad de enamorarte. En los períodos en que tienes ganas de enamorarte debes fijarte bien dónde te metes: como haber bebido un filtro, de esos que hacen que uno se enamore del primero que pasa. Podría ser un ornitorrinco.

I wrote a novel because I had a yen to do it. I believe this is sufficient reason to set out to tell a story.

"It is necessary to create constraints, in order to invent freely. In poetry the constraint can be imposed by meter, foot, rhyme, by what has been called the "verse according to the ear."... In fiction, the surrounding world provides the constraint. This has nothing to do with realism... A completely unreal world can be constructed, in which asses fly and princesses are restored to life by a kiss; but that world, purely possible and unrealistic, must exist according to structures defined at the outset (we have to know whether it is a world where a princess can be restored to life only by the kiss of a prince, or also by that of a witch, and whether the princess's kiss transforms only frogs into princes or also, for example, armadillos)."

If you want to use television to teach somebody, you must first teach
them how to use television.