José Saramago citáty (138 citátov, page 3) | Citáty slávnych osobností

“He spent the whole time sitting on a log in the woodshed, sometimes starting straight ahead with the fixity of a blind man who knows that even if he turns his head in the other direction he will still not see anything”

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José Saramago kniha The Cave

Zdroj: The Cave (2000), p. 30 (Vintage 2003)

“In order to protect the physical hygiene and mental health of the living, we usually bury the dead.”

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José Saramago kniha All the Names

Zdroj: All the Names (1997), p. 181

“Be content to bless each other, that is all the blessing you need, and how I wish that all blessings were so.”

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José Saramago kniha Baltasar and Blimunda

Abençoem-se antes um ao outro, é quanto basta, pudessem ser todas as bênçãos como essa.
Zdroj: Baltasar and Blimunda (1982), p. 175

“Life is like that, full of words that are not worth saying or that were worth saying once but not any more, each word that we utter will take up the space of another more deserving word not deserving in its own right, but because of the possible consequences of saying it.”

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José Saramago kniha The Cave

A vida é assim, está cheia de palavras que não valem a pena, ou que valeram e já não valem, cada uma que ainda formos dizendo tirará o lugar a outra mais merecedora, que o seria não tanto por si mesma, mas pelas consequências de tê-la dito.
Zdroj: The Cave (2000), p. 28 (Vintage 2003)

“No life is without its lies.”

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José Saramago kniha All the Names

Zdroj: All the Names (1997), p. 172

“[…] the skin is only what we want others to see of us, underneath it not even we know who we are, […]”

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José Saramago kniha All the Names

Senhor José's ceiling; p. 132
All the Names (1997)

“The man changed position, turned his back on the wardrobe blocking the door and let his right arm slide down toward the side on which the dog is lying. A minute later, he was awake. He was thirsty. He turned on his bedside light, got up, shuffled his feet into the slippers which were, as always, providing a pillow for the dog's head, and went into the kitchen. Death followed him. The man filled a glass with water and drank it. At this point, the dog appeared, slaked his thirst in the water-dish next to the back door and then looked up at his master. I suppose you want to go out, said the cellist. He opened the door and waited until the animal came back. A little water remained in his glass. Death looked at it and made an effort to imagine what it must be like to feel thirsty, but failed. She would have been equally incapable of imagining it when she'd had to make people die of thirst in the desert, but at the time she hadn't even tried. The dog returned, wagging his tail. Let's go back to sleep, said the man. They went into the bedroom again, the dog turned around twice, then curled up into a ball. The man drew the sheet up to his neck, coughed twice and soon afterward was asleep again. Sitting in her corner, death was watching. Much later, the dog got up from the carpet and jumped onto the sofa. For the first time in her life, death knew what it felt like to have a dog on her lap.”

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José Saramago kniha Death with Interruptions

Zdroj: Death with Interruptions (2005), p. 172

“Our biggest tragedy is not knowing what to do with our lives.”

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José Saramago

Nossa maior tragédia é não saber o que fazer com a vida.
During the opening lecture of the course Literature and power. Lights and shadows, in the University Carlos III in Madrid. As quoted by Marco Aurélio Weissheimer in the article Saramago prega retorno à filosofia para salvar democracia, na Agência Carta Maior. (January 19th, 2004)

“Doesn't anybody understand that killing in the name of God only makes Him a murderer?”

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José Saramago

Interview with Edney Silvestre, 2007.

“Perhaps only in a world of the blind will things be what they truly are.”

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José Saramago kniha Blindness

Zdroj: Blindness (1995), p. 126

“(a picture of)a naked woman, although she was covering her pubis with her right hand and her breasts with her left. _ _ _ _ covering yourself up like that is worse than showing everything”

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José Saramago kniha The Cave

Zdroj: The Cave (2000), pp. 58–59 (Vintage 2003)

“The emptiness of old age had caused him to forget that, in matters of feeling and of the heart, too much is always better than too little.”

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José Saramago kniha The Cave

Zdroj: The Cave (2000), p. 69 (Vintage 2003)

“[…], old photographs are very deceiving, they give us the illusion that we are alive in them, and it's not true, the person we are looking at no longer exists, and if that person could see us, he or she would not recognise him or herself in us, Who's that looking at me so sadly, he or she would say.”

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José Saramago kniha All the Names

Zdroj: All the Names (1997), p. 153

“How are you, doctor, that is what we say when we do not wish to play the weakling, we say Fine, even though we may be dying, and this is commonly known as taking one's courage in both hands, a phenomenon that has only been observed in the human species.”

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José Saramago kniha Blindness

Zdroj: Blindness (1995), p. 32

“My problem in this situation is to know whether I should have blushed before or if l should be blushing now, I can recall having seen you blush once, When, When I touched the rose in your office, Women blush more easily than men, we're the weaker sex, Both sexes are weak, I was also blushing, How come you know so much about the weakness of the sexes, I know my own weakness, and something about the weakness of others.”

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José Saramago

O meu problema, nesta situação, é saber se já deveria ter corado antes, ou se é agora que devo corar, Lembro-me de a ter visto corar uma vez, Quando, Quando toquei na rosa que estava no seu gabinete, As mulheres coram mais que os homens, somos o sexo frágil, Ambos os sexos são frágeis, eu também corei, Sabe assim tanto da fragilidade dos sexos, Sei da minha própria fragilidade, e alguma coisa da dos outros.
Zdroj: The History of the Siege of Lisbon (1989), p. 219

“He got out of the van to see how many other suppliers were ahead of him and thus calculate, more or less accurately, how long he would have to wait. He was number thirteen, he counted again, no, there was no doubt about it. Although he was not a suspirations person, he knew about that number’s bad reputation, in any conversation about chance, fate or destiny, someone always chips in with some real-life experience of the negative, even fatal influence of the number thirteen. He tried to remember if he had ever been in this place in the queue before, but the long and the short of it was that either it had never happened or else he had simply forgotten. he got annoyed with himself, it was nonsense, utterly absurd to worry about something that has no real existence, yes, that was right, he had never thought of that before, numbers don’t really exist, things couldn’t care less what number we give them, its all the same to them if we say they’re number thirteen or number forty-four, we can conclude, at the very least, that they do not even notice the position they happen to end up in. people aren’t things, people always want to be in first place”

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José Saramago kniha The Cave

Zdroj: The Cave (2000), p. 9 (Vintage 2003)

“Fumbling in total darkness, they reached out to each other, naked, he penetrated her with desire and she received him eagerly, and they exchanged eagerness and desire until their bodies were locked in embrace, their movements in harmony, her voice rising from the depth of her being, his totally submerged, the cry that is born, prolonged, truncated, that muffled sob, that unexpected tear, and the machine trembles and shudders, probably no longer even on the ground but, having rent the screen of brambles and undergrowth, is now hovering at dead of night amid the clouds, Blimunda, Baltasar, his body weighing on hers, and both weighing on the earth, for at last they are here, having gone and returned.”

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José Saramago kniha Baltasar and Blimunda

Em profunda escuridão se procuraram, nus, sôfrego entrou nela, ela o recebeu ansiosa, depois a sofreguidão dela, a ânsia dele, enfim os corpos encontrados, os movimentos, a voz que vem do ser profundo, aquele que não tem voz, o grito nascido, prolongado, interrompido, o soluço seco, a lágrima inesperada, e a máquina a tremer, a vibrar, porventura não está já na terra, rasgou a cortina de silvas e enleios, pairou no alto da noite, entre as nuvens, pesa o corpo dele sobre o dela, e ambos pesam sobre a terra, afinal estão aqui, foram e voltaram.
Zdroj: Baltasar and Blimunda (1982), pp. 255–256