Dialogue Quotes - page 13
We have other things to get over besides the occupation and discrimination. We are fighters and don't give in. If you don't open the door for me, I will come in through the window, and if it is closed, down the chimney. We were too polite, but we learned Israeli chutzpah. It's easy to humiliate an Arab who kowtows, but when that person says 'Listen, pal, tone it down, don't talk to me like that,' you arrive at a dialogue.
Lucy Aharish
Maurice Joly: In "Caesar” I bluntly accused our emperor of evil offenses...in ‘''this''' book I expose the nature of the man's mind, how he thinks, y'see!
Alphonse: But, Maurice, this Napoleon has seduced the public with social gifts...libraries and wars to give them national patriotic pride.
Maurice Joly: BAH! That is the kind of pallitative all dictators give their masses! But at what price? I ask you!
Alphonse: So...you show his plan by the dialogue of Machiavelli who is known as a cunning manipulator of political power, eh?
Maurice Joly: Yes, this is the clearest way to show the similarity of Napoleon's mind to Machiavelli's!
Alphonse: Hmmm! A clever device I must admit!
Will Eisner
Dialogue in Hell:
Twenty-First Dialogue
Machiavelli: I am afraid that you are somewhat prejudiced against loans;... modern economists today expressly recognize that, far from impoverishing the state, public debts enrich it. Will you allow me to explain how?
Montesquieu:.... I should first of all like to know from whom you will ask so much capital, and for what reason you will ask it.
Machiavelli: For that, foreign wars are a great help. In the great states, they permit the borrowing of five or six hundred millions; one manages so as to spend only half or two-thirds, and the rest finds its place in the treasury for domestic expenditures.
Will Eisner
Dialogue in Hell:
inscrutable...They never know if some enterprise already prepared will not descend on them from one day to the other.
A Prince whose power is founded upon a democratic base, must speak carefully, albeit popularly. If necessary he must not fear to speak like a demagogue, for after all he is the people, and he must have its passions...
You asked me a moment ago if I knew self-denial, if I would sacrifice myself for my people, relinquish the throne if necessary; now you have my answer, I can relinquish it as a martyr.
Will Eisner
Dialogue in Hell:
Thirteenth Dialogue
Machiavelli: This is because you do not understand, Montesquieu! How much impotence and even simplicity is found among the majority of men of European demagoguism. These tigers have souls of sheep, heads full of wind. Their dream is the absorption of the individual into a symbolic unity. They demand the complete realization of equality.
Will Eisner
Dialogue in Hell:
Seventeenth Dialogue
Montesquieu:... Now I understand the apologue the god Vishnu; you have a hundred arms like the Hindu idol and each one of your fingers touches a spring. In the same way that you touch everything, are you also able to see everything?
Machiavelli: Yes, for I shall make of the police an institution so vast that in the heart of my kingdom half of the people shall see the other half...
...If, as I scarcely doubt, I succeed in attaining this result, here are some of the forms by which my police would manifest themselves abroad: men of pleasure and good company in the foreign courts, to keep an eye on the intrigues of the princes and of the exiled pretenders...the establishment of political newspapers in the great capitals, printers and book stores places in the same conditions and secretly subsidized.
Will Eisner
Golovinski: Mr. Rachkovsky, a Zionist congress met last year. I can simply fabricate a manifesto!
Rachkovsky: Not good enough...and that will take too much time!
I have a solution!
Here is an old book by someone named Maurice Joly. It appeared here in France in 1864... and four years ago our journalist Decyon tried to use it to attack Russia's financial system.
Golovinski: The "Dialogue in hell between Machiavelli and Montesquie”!
Jolly's book attacks Napoleon III's government! It can be read as a plan for tyranny!
Rachkovsky: Exactly.
All you have to do is 'change this into a testament that emanates from the Jewish leaders...eh, Golovinski?
Golovinski: Ah, yes. A Jewish conspiracy! Yes, yes.
Will Eisner
Dialogue in Hell:
Twenty-third through twenty-fifth dialogues
Machiavelli: The cult of the prince is a sort of religion and, like all possible religions, this cult prescribes contradictions and mysteries beyond reason.
...I wish my aims to be impenetrable, even to those who are closest to me. I would only communicate my projects when I gave the command for execution....
His counselors ask one another secretly what he will think of next. He personifies in their eyes the Providence whose ways are.
Will Eisner
Dialogue in Hell:
finally comes the liquidation which adds 15, 20, or 30 millions. In short, in the general reckoning, the total of the unforeseen expenses forms one-third of the estimated expenditures. It is upon this last figure that the legislative vote of the Chambers falls as a form of confirmation. In this way, at the end of ten years the budget can be doubles and even tripled....
Monsesquieu:... It is certain that there are few governments who are not obliged to have recourse to borrowing; but it is also certain that they are obliged to make use of them sparingly; they could not, without immorality and danger, encumber future generations with exorbitant burdens, out of all proportion to.
Will Eisner
Dialogue in Hell:
Ninth Dialogue
Machiavelli: And where have you ever seen that a constitution, really worthy of the name, really durable, has ever been the result of popular deliberation? A constitution must come forth fully armed from the head of one man alone, or it is nothing but a work condemned to oblivion. Without homogeneity, without linking of parties, without practical strength, it will necessarily bear the imprint of all the weaknesses of sight that have presided at its composition....
Montesquieu: ...One would say, to hear you, that you are going to draw a people out of chaos or out of the deep night of their first origins....
Machiavelli: I do not say no: therefore you will see that I need not destroy your institutions from top to bottom to arrive at my goal. It will suffice me to modify the arrangements and to change the methods.
Will Eisner
Dialogue in Hell:
Fourth Dialogue
There are tremendous populations riveted to labor by poverty, as they were in other times by slavery. What difference, I ask you, do your fictions make to their happiness? Your great political movement has after all only ended in the triumph of a minority privileged by chance as the ancient nobility was by birth. What difference does it make to the proletariat bent over in its labor, weighted down by the heaviness of its destiny, that some orators have the right to speak, that some journalists have the right to write? You have created rights which will be purely academic for the mass of the people, since it cannot make use of them. These rights, of which the law permits him the ideal enjoyment and necessity refuses him the actual exercise, are the people only a bitter irony of defeat.
Will Eisner
Protocols:
Number 3, para. 16
It is the bottomless rascality of the goyim peoples, who crawl on their bellies to force, but are merciless toward weakness, unsparing to faults, and indulgent to crimes, unwilling to bear the contradictions of a free social system but patient unto martyrdom under the violence of a bold despotism. It is those qualities which are aiding us to independence. From the premier-dictators of the present day the goyim peoples suffer patiently and bear such abuse as for the least of them they would have beheaded twenty kings.
Graves: An obvious ineptitude!...Notice "humanity” in the "dialogue” becomes "goyim” in the "protocols,” a Yiddish word taken from the Hebrew that Jews use for gentiles. Could anyone believe that the elders would be so naïve and careless as to employ a common ethnic word in such a formal tract as the Protocols?”.
Will Eisner
Dialogue in Hell:
probable resources. How are loans made? By the issue of bonds containing an obligation on the part of the government to pay a yearly interest proportionate to the capital which has been depleted. If the loan is at 5 percent, for instance, the state, at the end of twenty years, has paid a sum equal to the capital borrowed; at the end of forty years, a double amount; at the end of sixty years, a triple amount, and yet it always remains debtor for the total of the same capital. The modern states wished to put a necessary.
Will Eisner
Dialogue in Hell:
limitation to the increase of taxes. So they conceived a scheme truly admirable for its simplicity.... A special fund was created, the capitalized resources of which are meant to be a permanent redemption of the public debt by successive fractions; so that every time the state borrows, it must endow the sinking fund with a certain capital for the purpose of liquidating the new debt at a given time....
Our system of accounting, fruit of long experience, is distinguished by the clarity and the certitude of its procedures. It obstructs abuses and gives to no one, from the smallest official to the chief of state himself, the means of diverting the least sum from its original purpose, or of making irregular use of it.
Will Eisner
I think that photography has a lot to do with sculpture – because it is three-dimensional and because it depicts reality. For example, I have always been able to relate to photography more than to painting. When I was photographing the hi-fi adverts ['Hi-Fi-Serie' (1979)] I thought to myself, everyone has one of these towers at home. It's the latest thing, the most modern equipment available. So a sculpture must be at least as modern and must stand up to it. Then I hung the pictures on the wall and put an ellipsoid on the floor and thought, the ellipsoid must be at least as good as this advert. At least as good. That's how good a modern sculpture has to be. Do you see what I mean? That was the dialogue...
Isa Genzken
they [her two shows in 2009] are so different, and actually it was a lot of work to make those two shows – I have never done that, two shows simultaneously. I worked on them for a whole year. It was very hard, because I was trying to get this balance between minimalism and something else beyond that – in dialogue with Minimalism, but with content. That was always the thing with minimalism, there was no content allowed of course, but only the thing in the space, that was what Sol LeWitt was always about, and Carl Andre – it was all about avoiding content. I was always very interested in this, right from the beginning, especially with my 'Ellipsoids' [she made 1981 - 1983]. They look like minimalism, but in the end there is a lot going on there.
Isa Genzken
