But the power
of a man’s will is often powerless:
laughter and tears follow so close upon
the passions that provoke them that the more
sincere the man, the less they obey his will.
[Ma non può tutto la virtù che vuole;
ché riso e pianto son tanto seguaci
a la passion di che ciascun si spicca,
che men seguon voler ne’ più veraci.]Dante Alighieri (1265-1321) Italian poet
The Divine Comedy [Divina Commedia], Book 2 “Purgatorio,” Canto 21, l. 105ff (21.105-108) (1314) [tr. Musa (1981)]
(Source)
(Source (Italian)). Alternate translations:
As each alternate Passion leaves a trace
On the still-varying muscles of the face,
Fictitious oft; but, by the candid mind,
Conceal'd with pain, the dawn of dubious joy
My features wore.
[tr. Boyd (1802), st. 20]
But the power which wills,
Bears not supreme control: laughter and tears
Follow so closely on the passion prompts them,
They wait not for the motions of the will
In natures most sincere.
[tr. Cary (1814)]
But will is not with power entire endued.
Laughter and tears pursue so much the trace
The passion dictates that imprints them there,
Nor follow will in natures most sincere.
[tr. Bannerman (1850)]
But yet the power that wills cannot do all things;
For tears and laughter are such pursuivants
Unto the passion from which each springs forth,
In the most truthful least the will they follow.
[tr. Longfellow (1867)]
But virtue cannot all it would; for laughter and tears follow so much the passion from which each springs, that they least obey will in the most truthful men.
[tr. Butler (1885)]
But all it wishes, will cannot forbear:
For smiles and tears to diverse passion wed,
Upon that passion follow so instinct.
In open natures, will is quite outsped.
[tr. Minchin (1885)]
But the power that wills cannot do everything; for smiles and tears are such followers on the emotion from which each springs, that in the most truthful they least follow the will.
[tr. Norton (1892)]
But the virtue which wills is not all powerful;
for laughter and tears follow so closely the passion from which each springs, that they least obey the will in the most truthful.
[tr. Okey (1901)]
But the power to will cannot do all, for laughter and tears are so close followers on the passions from which they spring that they least follow the will in the most truthful.
[tr. Sinclair (1939)]
But all is not done by the will's decree;
For on the passion wherefrom each is bred
Laughter and tears follow so close that least
In the most truthful is the will obeyed.
[tr. Binyon (1943)]
But will with us is not made one with power;
Tears, laughter, tread so hard upon the heel
Of their evoking passions, that in those
Who're most sincere they least obey the will.
[tr. Sayers (1955)]
But man's will
is not supreme in every circumstance:
for tears and laughter come so close behind
the passions they arise from, that they least
obey the will of the most honest mind.
[tr. Ciardi (1961)]
But the power that wills cannot do everything; for smiles and tears are such close followers on the emotion from which each springs, that in the most truthful they least follow the will.
[tr. Singleton (1973)]
But virtue cannot do everything that it will;
For laughter and tears follow so closely on
The passions from which they respectively proceed,
That they follow the will least in the most truthful.
[tr. Sisson (1981)]
And yet the power of the will cannot do all,
for tears and smiles are both so faithful to
the feelings that have prompted them that true
feeling escapes the will that would subdue.
[tr. Mandelbaum (1982)]
But the power of the will cannot do everything,
for laughter and weeping follow so closely on the passion from which each springs that they follow the will least in those who are most truthful.
[tr. Durling (2003)]
But the virtue that wills is not all-powerful, since laughter and tears follow the passion, from which they spring, so closely, that, in the most truthful, they obey the will least.
[tr. Kline (2002)]
But will power can't do everything it wills.
For tears and laughter follow on so close
to those emotions from which each act springs
that these least follow will in those most true.
[tr. Kirkpatrick (2007)]
But the power that wills cannot do all it wills,
for laughter and tears so closely follow feelings
from which they spring, they least can be controlled
in those who are most truthful.
[tr. Hollander/Hollander (2007)]
But will alone won't stop a human being,
Since laughter and tears are deeply interwoven,
Following hard on emotions which spring them forth,
And when they're truthful have little to do with the will.
[tr. Raffel (2010)]
Quotations about:
crying
Note not all quotations have been tagged, so Search may find additional quotes on this topic.
LEAR: When we are born, we cry that we are come
To this great stage of fools.William Shakespeare (1564-1616) English dramatist and poet
King Lear, Act 4, sc. 6, l. 200ff (4.6.200-201) (1606)
(Source)
What is the reason that we laugh so freely in a theatre but are ashamed to weep? Is it less natural to be melted by what excites pity than to burst into laughter at what is comical? […] It is not thought odd to hear a whole theatre ring with laughter at some passage of a comedy, but, on the contrary, it implies that it was funny, and very naturally performed; therefore the extreme restraint every one puts on himself not to shed tears and the affected laughter with which one tries to disguise them, clearly prove that the natural result of lofty tragedy should be to make us all weep without concealment and publicly, and without any other hindrance than wiping our eyes.
[D’où vient que l’on rit si librement au théâtre, et que l’on a honte d’y pleurer? Est-il moins dans la nature de s’attendrir sur le pitoyable que d’éclater sur le ridicule? […] Comme donc ce n’est point une chose bizarre d’entendre s’élever de tout un amphithéâtre un ris universel sur quelque endroit d’une comédie, et que cela suppose au contraire qu’il est plaisant et très naïvement exécuté, aussi l’extrême violence que chacun se fait à contraindre ses larmes, et le mauvais ris dont on veut les couvrir prouvent clairement que l’effet naturel du grand tragique serait de pleurer tous franchement et de concert à la vue l’un de l’autre, et sans autre embarras que d’essuyer ses larmes, outre qu’après être convenu de s’y abandonner.]
Jean de La Bruyère (1645-1696) French essayist, moralist
The Characters [Les Caractères], ch. 1 “Of Works of the Mind [Des Ouvrages de l’Esprit],” § 50 (1.50) (1688) [tr. Van Laun (1885)]
(Source)
(Source (French)). Alternate translations:
What's the reason that we laugh so freely, and are asham'd to weep at the Theatre? Is Nature less subjects to be soften'd by pity, than to burst forth at what is Comical? [...] We must suppose 'tis the natural effect of a good Tragedy, to make us Weep freely in sight of the whole Audience, without any other trouble than drying our Eyes, and wiping our Faces. It being no more ridiculous to be seen Weeping, than to be heard to Laugh by the whole Theatre: On the contrary, we then conclude there was something acted very pleasantly, and to the life; and the restraint a man puts on him∣self to hide his tears, by an affected Grimace, plainly demonstrates that he ought not to resist the main design of a Tragedy, but give way to his Passions, and discover em as openly, and with as much confidence, as at a Comedy.
[Bullord ed. (1696)]
What is the reason we laugh so freely, but are asham'd to weep at the Theatre? Is Nature less subject to be soften'd by Pity, than to burst out into Laughter at what is Comical? [...] As therefore 'tis thought no odd thing to hear the whole Amphitheatre ring with an Universal Laughter, at some passage of a Comedy; butr on the contrary, implies something was pleasantly said, and naturally perform';d; so the extreme violence which every one offers to himself in constraining his Tears, and disguising ;em with affected Grimaces, clealry prove that the Natural Effect of good Tragedy is to make us weep with all freedom, and in concert, in another's sight, and wihtout any other disturbance than wiping our Eyes.
[Curll ed. (1713)]
Why is it that we laugh so freely at the theatre and yet are ashamed to weep there? Is it less natural to be moved by what is pitiful than to be amused by what is ridiculous? [...] Since then it is no unusual thing to hear a whole theatre break into unanimous laughter at some passage in a comedy, since this implies, on the contrary, that it is amusing and extremely life-like, so the extreme violence we do to our feelings by restraining our tears, and the false laughter with which we try to conceal them, clearly proves that the natural effect of great tragedy should be to make us all weep quite openly, with one accord, in one another’s presence, with no further concern than to wipe our eyes.
[tr. Stewart (1970), "Of Books"]
I’ve always felt sorry for people afraid of feeling, of sentimentality, of emotion, who conceal what they feel and are unable to weep with their whole heart. Because those who do not know how to weep with their whole heart don’t know how to laugh either.
Golda Meir (1898-1978) Russian-American-Israeli politician, teacher; Prime Minister of Israel (1969-1974)
Interview by Oriana Fallaci, Ms. (1973-04)
(Source)
The Ms. article is a portion of an interview held in Jerusalem in November 1972. Answering to the charge that she is hard and inflexible, countering that she is very sensitive and feeling in most matters.
The full interview was reprinted in Fallaci, Interview with History, ch. 4 "Golda Meir" (1974) [tr. Shepley (1976)], but slightly rephrased:
I’ve always felt sorry for people who are afraid of their feelings, of their emotions, and who hide what they feel and can’t cry wholeheartedly. Because anyone who can’t cry wholeheartedly can’t laugh wholeheartedly either.
Was this re-edited (and in which instance?), or is it a matter of different translation? It's unclear in what language the interview was conducted, but the original edition of the book (Intervista con la Storia) was in Italian, Fallaci's native language, which gave the passage as follow:
A me ha sempre fatto pena la gente che ha paura dei sentimenti, delle emozioni, e nasconde quello che prova e non sa piangere con tutto il cuore. Perché chi non sa piangere con tutto il cuore non sa nemmeno ridere a gola spiegata.
She weeps not for her sire if none be near,
In company she calls up many a tear.
True mourners would not have their sorrows known,
For grief of heart will choose to weep alone.[Amissum non flet cum sola est Gellia patrem,
Si quis adest, iussae prosiliunt lacrimae.
Non luget quisquis laudari, Gellia, quaerit,
Ille dolet vere, qui sine teste dolet.]Martial (AD c.39-c.103) Spanish Roman poet, satirist, epigrammatist [Marcus Valerius Martialis]
Epigrams [Epigrammata], Book 1, epigram 33 (1.33) (AD 85-86) [tr. Pott & Wright (1921)]
(Source)
"On Gellia." (Source (Latin)). Alternate translations:
Gellia ne'er mourns her father's loss,
When no one's by to see,
but yet her soon commanded tears
Flow in society:
To weep for praise is but a feigned moan;
He grieves most truly, that does grieve alone.
[tr. Fletcher (1656)]
When all alone, your tears withstand;
In company, can floods command.
Who mourns for fashion, bids us mark;
Who mourns indeed, mourns in the dark.
[tr. Killigrew (1695)]
Gellia alone, alas! can never weep,
Though her fond father perish'd in the deep;
With company the tempest all appears
And beauteous Gellia's e'en dissolved in tears.
Through public grief though Gellia aims at praise,
'Tis private sorrow which must merit raise.
[Gentleman's Magazine (1736)]
Her father dead! -- Alone no grief she knows;
Th' obedient tear at every visit flows.
No mourner he, who must with praise be fee'd!
But he, who mourns in secret, mourns indeed.
[tr. Hay (1755), 1.34]
Sire-reft, alone, poor Gellia weeps no woe:
In company she bids the torrent flow.
they cannot grieve, who to be seen, can cry:
Theirs is the grief, who without witness sigh.
[tr. Elphinston (1782), Book 6, Part 3, ep. 1]
Gellia, when she is alone, does not lament the loss of her father. If any one be present, her bidden tears gush forth. A person does not grieve who seeks for praise; his is real sorrow who grieves without a witness.
[tr. Amos (1858), #95 "Feigned Tears"]
Gellia does not mourn for her deceased father, when she is alone; but if any one is present, obedient tears spring forth. He mourns not, Gellia, who seeks to be praised; he is the true mourner, who mourns without a witness.
[tr. Bohn's Classical (1859)]
He grieves not much who grieves to merit praise;
His grief is real who grieves in solitude.
[ed. Harbottle (1897)]
Gellia weeps not while she is alone for her lost father; is any one be present, her tears leap forth at her bidding. He does not lament who looks, Gellia for praise;' he truly sorrows who sorrows unseen.
[tr. Ker (1919)]
Gellia, alone, ne'er weeps her sire at all;
In company the bidden tears down fall.
True grief is not for admiration shown.
He only weeps indeed, who weeps alone.
[tr. Francis & Tatum (1924), #18, 1.32]
When alone, Gellia never cries for the father she lost.
If someone is with her, tears well up in her eyes,
as if ordered to fall in. If some one looks for praise,
he is not in mourning, Gellia.
He truly mourns
who mourns
alone.
[tr. Bovie (1970)]
In private she mourns not the late-lamented;
If someone's by her tears leap forth on call.
Sorry, my dear, is not so easily rented.
They are true tears that without witness fall.
[tr. Cunningham (1971)]
Gellia does not cry for her lost father when she's by herself, but if she has company, out spring the tears to order. Gellia, whoever seeks credit for mourning is no mourner. He truly grieves who grieves without witnesses.
[tr. Shackleton Bailey (1993)]
Gellia's mourning for her father?
If by herself she doesn't bother.
But when she sees that company lurks
She opens up the waterworks.
She just wants praise for grief that's shown;
They truly grieve who weep alone.
[tr. Ericsson (1995)]
When Janet is sequestered, out of view,
Then never for her father's death she cries.
But let some viewers come, just one or two,
Then tears dramatically flood her eyes.
We know from this how sad in fact she's been:
It is not grief that's only grieved when seen.
[tr. Wills (2007)]
Gellia doesn't weep for her dead father
when she's alone, but tears pour on command
if someone comes. Who courts praise isn't mourning --
he truly grieves who grieves with none at hand.
[tr. McLean (2014)]
Alone, Gellia never weeps over her father's death;
if someone's there, her tears burst forth at will.
Mourning that looks for praise, Gellia, is not grief:
true sorrow grieves unseen.
[tr. Powell]
I hasten to laugh at everything, lest I should have to weep at everything.
[Je me presse de rire de tout, de peur d’être obligé d’en pleurer.]
Pierre Beaumarchais (1732-1799) French playwright, polymath [Pierre-Augustin Caron de Beaumarchais]
The Barber of Seville [Le Barbier de Séville], Act 1, sc. 2 [Figaro] (1773) [tr. 1896]
(Source)
(Source (French)). Alternate translations:
I make haste to laugh at everything for fear of being obliged to weep.
[Motto for the London Figaro (1871)]
I am eager to laugh at all for fear of being obliged to weep.
[Source (1887)]
I hasten to laugh at everything for fear that otherwise I might be forced to weep over it.
[tr. Taylor (1922)]
I force myself to laugh at everything for fear of being forced to weep at it.
[tr. Bermel (1960)]
I forced myself to laugh at everything for fear of having to weep.
[tr. Wood (1964)]
I always hasten to laugh at everything for fear that I may be obliged to weep.
[tr. Luciani (1964)]]
I make a point of laughing at everything, for fear of having to cry.
[tr. Anderson (1993)]
I make a point of laughing at life, because otherwise I'm afraid it would make me weep.
[tr. Coward (2003)]
I quickly laugh at everything, for fear of having to cry.
[Bartlett's]
And endless other variations ("I force myself to laugh at everything, for fear of having to cry") in one-off passages.
Sometimes given, in French, as "Je me hâte de me moquer de tout, de peur d'être obligé d'en pleurer."
Compare to Byron (1820).
Cry with me;
for sharing tears with others is relief in hardship.[συνάλγησον, ὡς ὁ κάμνων
δακρύων μεταδοὺς ἔχει
χουφότητα μόχϑων.]Euripides (485?-406? BC) Greek tragic dramatist
Andromeda [Ἀνδρομέδα], Frag. 119 (TGF) (412 BC)
(Source)
(Source (Greek)). Alternate translation.
Come, let us weep together; for the unhappy
Find social tears their poignant griefs assuage.
[tr. Wodhull (1809)]
It’s hard for decent people to stay angry at someone who has burst into tears, which is why it is often a good idea to burst into tears if a decent person is yelling at you.
Lemony Snicket (b. 1970) American author, screenwriter, musician (pseud. for Daniel Handler)
The Carnivorous Carnival (2002)
You want to cry aloud for your
mistakes. But to tell the truth the world
doesn’t need any more of that sound.Mary Oliver (1935-2019) American poet
“The Poet With His Face in His Hands,” New Yorker (4 Apr 2005)
(Source)
Collected in New and Selected Poems, Vol. 2 (2005), and The Best American Poetry, 2006.
“It’s not funny.”
“No, it isn’t, no more than everything else. Laughing is better than crying, though. When you can.”
Robert B. Parker (1932-2010) American writer
Promised Land (1976)
Lofty mountains are full of springs; great hearts are full of tears.
Joseph Roux (1834-1886) French Catholic priest
Meditations of a Parish Priest, 5.56 [tr. Hapgood (1886)]
Rejoice with them that do rejoice, and weep with them that weep.
The Bible (The New Testament) (AD 1st - 2nd C) Christian sacred scripture
Romans 12:15 [KJV]
Quoting 12:15-18: "Rejoice with those who rejoice, and weep with those who weep. Be of the same mind toward one another; do not be haughty in mind, but associate with the lowly Do not be wise in your own estimation. Never pay back evil for evil to anyone Respect what is right in the sight of all men. If possible, so far as it depends on you, be at peace with all men."
Are all men in disguise except those crying?
Daniel "Dannie" Abse (1923-2014) Welsh poet
“Encounter at a greyhound bus station” (1986)
He who walks through a great city to find subjects for weeping, may, God knows, find plenty at every corner to wring his heart; but let such a man walk on his course, and enjoy his grief alone — we are not of those who would accompany him. The miseries of us poor earthdwellers gain no alleviation from the sympathy of those who merely hunt them out to be pathetic over them. The weeping philosopher too often impairs his eyesight by his woe, and becomes unable from his tears to see the remedies for the evils which he deplores. Thus it will often be found that the man of no tears is the truest philanthropist, as he is the best physician who wears a cheerful face, even in the worst of cases.
Charles Mackay (1814-1889) Scottish poet, journalist, song writer
Extraordinary Popular Delusions And The Madness Of Crowds (1841)
Sorrow preys upon
Its solitude, and nothing diverts it
From its sad visions of the other world
Than calling it at moments back to this.
The busy have no time for tears.George Gordon, Lord Byron (1788-1824) English poet
The Two Foscari, Act 4, sc. 1 [Loredano] (1821)
(Source)
I was a closet pacifier advocate. So were most of my friends. Unknown to our mothers, we owned thirty or forty of those little suckers that were placed strategically around the house so a cry could be silenced in less than thirty seconds. Even though bottles were boiled, rooms disinfected, and germs fought one on one, no one seemed to care where the pacifier had been.
Erma Bombeck (1927-1996) American humorist
Motherhood, the Second Oldest Profession, ch. 7 (1983)
All things can be cured by salt water: sweat, tears, or the ocean.
Isak Dinesen (1885-1962) Danish writer [pseud. of Karen Christence, Countess Blixen]
(Attributed)
Waste not fresh tears over old griefs.
Euripides (485?-406? BC) Greek tragic dramatist
Alexander [Ἀλέξανδρος], Frag. 44 (TGF) [Chorus?] (415 BC) [tr. Morgan]
(Source)
And if I laugh at any mortal thing,
‘Tis that I may not weep.
This world is a comedy to those that think; a tragedy to those that feel.
Horace Walpole (1717-1797) English novelist, letter writer
Letter to Anne, Countess of Upper Ossory (16 Aug 1776)
(Source)
Walpole frequently used used this phrase or variants in letters (and in fact prefaces this quote with "I have often said ..."). Another example is an earlier letter to Horace Mann (31 Dec 1769):
I have often said, and oftener think, that this world is a comedy to those that think, a tragedy to those that feel -- a solution of why Democritus laughed and Heraclitus wept.
It may be derived from an (unsourced) similar quote attributed Jean de La Bruyère: "Life is a tragedy for those who feel, and a comedy for those who think".
Man is the only animal that laughs and weeps, for he is the only animal that is struck with the difference between what things are, and what they ought to be.
William Hazlitt (1778-1830) English writer
Lectures on the English Comic Writers, Lecture 1 “On Wit and Humour” (1819)
(Source)
Sometimes altered to end "... and what they might have been."
