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Frasi di Anthony Burgess
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Anthony Burgess, pseudonimo di John Burgess Wilson , è stato uno scrittore, critico letterario e glottoteta britannico, attivo anche come compositore, librettista, poeta, drammaturgo, sceneggiatore, giornalista, saggista, traduttore ed educatore.

È considerato uno dei più grandi autori inglesi del Novecento. Wikipedia  

✵ 25. Febbraio 1917 – 22. Novembre 1993
Anthony Burgess photo
Anthony Burgess: 308 citazioni5 Mi piace

Anthony Burgess frasi celebri

“Devo forse essere soltanto un’arancia meccanica?”

Anthony Burgess

Arancia Meccanica

“L'arte è pericolosa. È una delle sue attrattive: quando cessa di essere pericolosa, tu non la vuoi.”

Anthony Burgess

da The Face, dicembre 1984

“Non si chiedono mica quale è la causa della bontà. e allora perché il contrario?”

Anthony Burgess libro Arancia meccanica

A Clockwork Orange
Arancia Meccanica
Variante: Non si chiedono mica qual è la causa della bontà, e allora perchè il contrario?

“Ma il vero peccato sta nell’intenzione esistenziale. Un uomo che non può scegliere cessa di essere un uomo.”

Anthony Burgess

Arancia Meccanica

“La guerra è il sistema più spiccio per trasmettere una cultura.”

Anthony Burgess

da 1984 & 1985

“Se Arancia meccanica, così come 1984, rientra nel novero dei salutari moniti letterari – o cinematografici – contro l'indifferenza, la sensibilità morbosa e l'eccessiva fiducia nello Stato, allora quest'opera avrà qualche valore.”

Anthony Burgess

Origine: Lettera al Los Angeles Times http://www.archiviokubrick.it/opere/film/am/burgess.html, 13 febbraio 1972. Traduzione dall'inglese come in Arancia Meccanica, Einaudi Tascabili 351

Anthony Burgess Frasi e Citazioni

“Il terrorismo viene presentato dai terroristi medesimi come uno strumento ad alta finalità, ma gli strumenti hanno la tendenza ad impinguarsi delle finalità fino a sostituirsi ad esse. Lo strumento rende la vita tollerabile al funzionario, laddove la finalità non si mostra bastevole o sufficiente. Solo anime innocenti possono essere capaci di deplorare la crudeltà di mezzi necessari alla instaurazione di finalità gloriose. Uno di questi era Michail Bakunin, santo patrono degli anarchici. Bakunin aveva studiato Hegel, che insegnava l'inevitabilità dell'avvento del millennio. L'Hegelismo applicato è riscontrabile tanto nel marxismo quanto nel bakuninismo, le due dottrine che, entrambe, insegnavano come il cammino dell'inevitabilità possa essere accelerato dall'azione dell'uomo. Azione chiamata rivoluzione nella sfera delle idee, terrorismo nella sfera della pratica”

Anthony Burgess

Anthony Burgess, Corriere della Sera, 29-4-1978

“In realtà lui non ha scelta, vero? Era il proprio interesse, la paura del dolore fisico che lo hanno spinto a quel grottesco gesto di autoavvilimento. La sua insincerità era anche troppo evidente. Cessa di essere un malfattore, ma cessa anche di essere una creatura capace di scelta morale.”

Anthony Burgess

Arancia Meccanica

Questa traduzione è in attesa di revisione. È corretto?

“Era come un uccello del cielo celeste più raramente filato o come un vino argenteo che scorreva su un'astronave, la gravità ora non ha senso.”

Anthony Burgess

Anthony Burgess: Frasi in inglese

“…the snarling, whining, pampered, analphabetic humanoids of Hollywood emerge as garbage irrelevantly gilded with adventitious photogeneity.”

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Anthony Burgess

"Schmuck".
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“I lay a little while, naked, mottled, sallow, emaciated, smoking a cigarette that should have been postcoital but was not.”

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Anthony Burgess

Fiction, Earthly Powers (1980)

“All right,” said Rowlandson. He began shakily to count out notes. Near-broken, he was still an Englishman; he would not bargain.”

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Anthony Burgess

Fiction, Devil of a State (1961)

“The greater part of the time I spent, when I talked at all, talking to men. I liked to take luncheon in some pub or other, sitting on a high stool at the snack-counter, barons of beef, hams, salads and dishes of pickle spread before me, the server in his tall white cap carving with skill. Other male eaters would be wedged against me, champing over newspapers, and there were a peculiar animal content in being among warm silent men, raising glasses in smacking silent toasts to themselves, the automatic ‘ah’ after the draught, the forkful of red beef and mustard pickle. Sitting with my gin or whisky afterwards I would often manage to get into conversation with some lonely man or other – usually an exile like myself – and the talk would be about the world, air-routes and shipping-lines, drinking-places thousands of miles away. Then I felt happy, felt I had come home, because home to people like me is not a place but all places, all places except the one we happen to be in at the moment.”

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Anthony Burgess

Fiction, The Right to an Answer (1960)

“We're in control, and we have what we want!”

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Anthony Burgess

Fiction, Beard's Roman Women (1976)

“I am late with the new Doris Lessing [The Golden Notebook]. I make no apology: it has taken me a long time to read (568 pages of close print) and at the end of it all I feel cheated. This talented writer has attempted an experiment which has failed, essayed a scale which is beyond her…. This is a book of revolt – political, social, sexual. Anna [the heroine] became a Communist in South Africa, seeing in Communism a "moral energy" not to be found in other creeds or in the long-entrenched privileged class. Anna is also concerned with being a "free woman" – rebelling against traditional male dominance – and with achieving maximal erotic fulfilment…. There is no doubt about the great moral virtues here – intelligence, honesty, integrity – but it is the aesthetic virtues that seem to be lacking. The characters do not really interest us: when we have dialogue it is strangely unnatural … Mrs Lessing’s old singleness of vision, her strength as a writer, is not to be found here. [Review in the English provincial newspaper the Yorkshire Post, 1962]”

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Anthony Burgess

People, Joseph Conrad, Doris Lessing

“…the Malay word chium meant to plough the beloved’s face with one’s nose”

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Anthony Burgess

Fiction, Beds in the East (1959)

“In China he had spoken good Mandarin, and in ten years this had become his first tongue. Here he found himself with a parish of Hokkien and Cantonese speakers and a few English people whose language he could hardly talk. His French, severed from its sources of nourishment, grown coarse through lack of use, halted and wavered, searching for the right word which Mandarin was always ready to supply.”

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Anthony Burgess

Fiction, The Enemy in the Blanket (1958)

“The great gift of the southern lands to our civilisation is the simple right to sit at an outside cafe table and look at things.”

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Anthony Burgess

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“…slang…the home-made language of the ruled, not the rulers, the acted upon, the used, the used up. It is demotic poetry emerging in flashes of ironic insight.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“I myself was, for nearly six years, in such close touch with the Malay language that it affected my English and still affects my thinking. When I wrote a novel called A Clockwork Orange, no European reader saw that the Malay word for "man" – orang – was contained in the title (Malay students of English invariably write "orang squash"…”

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Anthony Burgess

Non-Fiction, Joysprick: An Introduction to the Language of James Joyce (1973)

“You drink wine, you have foreskins. These things have been observed.”

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Anthony Burgess

Fiction, Napoleon Symphony (1974)

“Relief brought an aching desire to be sitting in a kedai with a large bottle of Tiger or Anchor or Carlsberg in front of him….”

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Anthony Burgess

Fiction, Time for a Tiger (1956)

“Any kind of discourse which has a flavour of the British ruling class, so powerful is ancestral memory, must be strenuously avoided.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“(Singapore) is not even a place where a white man is permitted to go to pieces….”

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Anthony Burgess

"Tanah Melayu".
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“Writers are not, by nature, respectable: their function is to be subversive.”

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Anthony Burgess

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“The British…used to regard foreigners as either a comic turn or a sexual menace. To learn a European language…was, at best, to seek to acquire a sort of girls’-finishing-school ornament, at worst, to capitulate feebly to the enemy.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“All art preserves mysteries which aesthetic philosophers tackle in vain.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“There is a profound middle-class nostalgia for the days of British protection….”

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Anthony Burgess

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“The consciousness in [Australia and New Zealand] of the elevation of a substandard dialect into a national tongue has been responsible for a mixture of attitudes to citizens of the mother country - inferiority, defiance, contempt. A blending of the first two may be responsible for the upward intonation pattern of answers, more appropriate to questions…. slang is of its nature defiant. It is also demotic…. But the ruling class of Australia is itself demotic.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“They could hardly believe it, the retreating arses of all that Mameluke or Turkish cavalry, heathen anyway, crying heathen words as they cantered off in gunsnioke and dust-clouds, dropping spears and jewels and good Birmingham pistols. And soon it was water water water, a world of blessed water, the muddy stinking welcoming mother Nile near Rahmaniya.”

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Anthony Burgess

Fiction, Napoleon Symphony (1974)

“The most sensational of all the sick literary lives was that of Maupassant, who died mad at forty-three and whose hatred of God, man and nature - manifested in literary productions which give us immense pleasure: how is that to be explained? - spring from a kind of mother fixation as well as a terror of the cold. He was a bull of a man much given to boats and riparian dalliance, but he had bad circulation. He had other things too, including a Chinese-style priapism which enabled him to copulate, usually in public, six times in a row, the secret being his failure to detumesce. This, of course, like acne and the common cold, can be a symptom of tertiary syphilis, which Maupassant certainly had.”

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Anthony Burgess

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“‘That it is still possible for a man of initiative to make money in the East is the firm opinion of balding, plump Mr Denham who adds, however, “Not if you take a wife with you.” Mr Denham has scathing things to say about Englishwomen and their lack of domestic virtues. He particularly selects their cooking as a target, but considers also that they are far inferior to the slant-eyed beauties of the Orient in the all-important matter of fidelity to their menfolk. Mr Denham is considered an authority on the women of Japan who, he says, are lovely, demure and submissive…. On his own admission he has little time for anything except money, dalliance, and the “imbibing of liquors of all kinds”.’”

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Anthony Burgess

Fiction, The Right to an Answer (1960)

“There was a silence. Outside, and most unfortunately, a boy could be heard calling to another boy: ‘Piss off, Cowie.’ Stern looks were fixed on Woolton.”

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Anthony Burgess

Fiction, The Worm and the Ring (1960)

“…the bathroom which Crabbe visited showed signs that Moneypenny now regarded even a lavatory as supererogatory.”

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Anthony Burgess

Fiction, Beds in the East (1959)

“Ted, I noted, was very busy - at the pumps, at the glasses behind, the bottles below, the merrily ringing till, like a percussion-player in some modern work who dashes with confidence from xylophone to glockenspiel to triangle to wind-machine to big drum to tambourine.”

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Anthony Burgess

Fiction, The Right to an Answer (1960)

“There were…smiles of encouragement for Lydgate, and some smiles of sweet pity as well, as for the only leper present.”

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Anthony Burgess

Fiction, Devil of a State (1961)

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