Miguel Delibes’ 70 best quotes (and famous quotes)

Miguel Delibes (1920 – 2010) was a Spanish novelist and journalist born in Valladolid.

During his brilliant career he ran national newspapers, but as his career progressed he devoted himself to his true calling: writing a novel.

    Table of Contents

    Phrases by Miguel Delibes

    He became one of the members of the Royal Academy of the Spanish Language and was the winner of various first-rate literary prizes.

    In today’s article we will walk through the life and work of this great writer through the best sentences of Miguel Delibes.

    1. Fame has no place to take which is truly positive.

    Delibes was not convinced he was popular.

    2. Hunter … I am a hunter who writes; that is to say, I got in touch with the fundamentals of deep Castile through my hunter and fisherman excursions. Then I learned to speak like these Castilians. And all my books have these characters inside, from the rat thief to Mr. Cayo of the contested vote … You can say that my communication with people and my language of the village I learned from contact with these gentlemen. there to something different.

    Extract showing his passion for hunting.

    3. Modern man lives as a stranger to these sensations inscribed in the depths of our biology and which maintain the pleasure of going out into the field.

    His passion for the countryside knew no bounds.

    4. Progress does not work … if it “must inexorably translate into an increase in incommunicado detention and violence, autocracy and mistrust, injustice and prostitution in the world. natural environment, the exploitation of man for man and the exaltation of money as the only valuation “.

    A useful and calm progression, the ideal according to Delibes.

    5. The people are the real masters of the language.

    No academy should rule.

    6. In literature, there is nothing more difficult than simplicity.

    The more abstruse you are, the less you transmit.

    7. Burials … Today, I just want to take care of the funerals; burials in the Frederica, with baroque chariots, feathered horses and wigs with wigs, that’s how funerals are done in my village. One, of course, is not against burials. One is rather against fallacious formalisms. We advocate, in short, simple, minority burials, where everything that goes, goes for the feeling and not for education. Perhaps that would prevent so much talk of football at the funeral, and on leaving the deceased would only be found because the dead are the only punctual men in the country.

    His thought on the last farewell to the elderly.

    8. I remember that day as lived in another skin, unfolded.

    About the Spanish Civil War.

    9. The camp is one of the few opportunities to escape.

    He always awaits us with open arms.

    10. Journalism is a draft of literature … And literature is journalism without constraint of closure.

    Great consideration for the profession.

    11. Writing correctly is not only about finding the right adjective in each case, but also the noun, verb or adverb, that is, the word. And it is in the handling of these words, by finding them in time and by tanning them correctly, that lies the secret of a good writer.

    Excellent sentence from Miguel Delibes on the art of writing.

    12. Fascism … More difficult than living under fascism was that each group believed to be in possession of the truth. It completely shattered families. Some families broke up, others died in the Alcazar of Toledo; it was the saddest end you can imagine for this war, which started as a joke in North Africa … I think Spain screwed up a long time ago; I wasn’t old enough to judge when Spain was fucked, but they fucked each other. There is no excuse whatsoever to the right or the left. In between, they fucked Spain.

    Historical-political reflection.

    13. Loyalty … I’ve been loyal to a journal, a girlfriend, friends, whatever I felt good for. I have been faithful to my passion for journalism, for hunting … In the same way as I was a child, I grew up, with more perfection, with more sensitivity, with worse milk. I have always done the same.

    On the concept of fidelity, which remains immutable in its being.

    14. Glory is a matter of years, for it is time that decides which author is destined to be forgotten and which other is destined to last.

    A little luck may also be necessary.

    15. The language was born from the village; may he return to him, may he be founded with him because the people are the true masters of the language.

    A true expert in mastering the Spanish language.

    16. Death … I have the impression since I was a child that I have been threatened with death; not mine, but the death of those on whom it depended. I was a four or six year old bird of prey, but I was afraid that I would miss those who provided me with the elements for a living, my parents.

    From the environment to the death of their loved ones.

    17. The novel is an attempt to explore the human heart from an idea that is almost always the same told with a different environment.

    Reflections of Delibes on the Narrative Fact.

    18. He had a frothy imagination.

    Red God extract on gray background.

    19. The doctor’s face was plastered, dislocated.

    A description of a secondary character.

    20. Loss is one of the motives of the writer.

    Duel can help us write.

    21. Literature … It was a real dedication. I found in her the refuge that I did not find so perfect at the cinema, at the cafe or at the game; the relationship of two was perfectly established between a person and a book. My desire to write was to try to communicate with two people, to use the pen as an element of communication with others. To write is to communicate with another.

    The romantic fact of written communication.

    22. Life was the worst tyrant known.

    The gray side of existence.

    23. He forgot about the stagnant air in his brain.

    Another small fragment of God in red on a gray background.

    24. The most positive thing that has been shown with regimes of force, whether left or right, is that man does not have enough to live on. Men need closer, more personal attention.

    25. Men are made. The mountains are already made.

    Geography comes before.

    26. The protagonists of my stories are people under the pressure of the social environment, losers, victims of ignorance, politics, organization, violence or money.

    A look at the commonalities of his literary work.

    27. My greatest wish would be that this grammar [de la Real Academia, 2010] it was final, that it arrived at the city, that it was merged with it, since, in short, the city is the true owner of the language.

    The purity of cultural fusion.

    28. My homeland is childhood.

    Where one feels comfortable and protected, childhood.

    29. My life as a writer would not be as it is if it were not supported by an unalterable moral foundation. Ethics and aesthetics have gone hand in hand in all aspects of my life.

    On the ethics of its stories.

    30. My peasants, my land … To the initial roots that linked my city to me, I had to add new ones that I could never ignore: my dead relatives, my family, my friends, my North of Castile , my business school, my daily streets, my peasants, my land …

    On its Castilian roots.

    31. There have always been poor and rich, Mario, and the obligation of those who thank God we have had enough is to help those who do not have them, but you must immediately correct the plain , that you find flaws even in the gospel.

    A sample of ideological position.

    32. I am not a writer who hunts, but a hunter who writes … I am an environmentalist who writes and hunt.

    Excellent self-definition.

    33. To write a good book, I do not consider it essential to know Paris or to have read Don Quixote. Cervantes, when he wrote Don Quixote, had not yet read it.

    Ironic reflection on experience and talent.

    34. Journalism … Flaws in contemporary journalism? The desire for morbidity, to slip away. I was asked about the Civil War and then about my penchant for partridge hunting. And the headline was that Miguel Delibes regretted the bloodshed as if I had gone around the shots in the neck. I didn’t know if I was sorry for the partridges I had killed or the soldiers who might have fallen under my hypothetical shots. But I have no resentment. I have always said that I am a simple man who simply writes.

    The art of writing touches people.

    35. I first knew my province, later I adored it, and finally when I saw it besieged by meanness and injustice I tried to defend it. For eight lustrums, I had to endure being accused of being a centralizer in Valladolid and Castile, when, strictly speaking, they were the first victims of centralism … And when the circumstances worsened and the law was imposed on the country. to books my concern for mine. And not only to defend their economy but to defend the peasant, our farmer, his pride, his dignity, the judicious use of our language.

    Its origins formed its literary spirit.

    36. Feelings that have nestled seven ages ago in the hearts of my characters: solidarity, tenderness, mutual respect, love; the belief that every being has come to this world to relieve the loneliness of another being.

    The moral and vital principles of the Delibes characters.

    37. If the sky over Castile is so high, it is because the peasants have lifted it by dint of looking at it.

    Funny reflection on his homeland.

    38. We tend to reduce language, to simplify it. It is difficult for us to write a sentence. This way, those who talk a lot stumble a lot, and those who measure their words get away from the problem.

    We are vague about how we use the language.

    39. Valladolid and Castile … Here is a certain fact: when I made the decision to write, literature and the feeling of my land mingled. Valladolid and Castile would be the background and the motif of my books in the future …, I took not only the characters, the scenes and the plots of my novels, but also the words with which they have been written. which cooed in my childhood were the germ of my future expression.

    Another reflection of Miguel Delibes on his peasant origins.

    40. Life is over … The hunter who writes ends at the same time as the writer who hunts … I ended up as I had always imagined: unable to shoot a red partridge or to write a quartile professionally.

    A poetic sentence in which he describes his decline.

    41. Sex must be a mystery and a personal discovery.

    Do you and no one else.

    42. There are things that the human will cannot control.

    We are sometimes slaves to our emotions.

    43. And they put in their memories notes of thrilling reality.

    Extract from El camí, one of his works.

    44. He warned that children are inevitably responsible for what no one is responsible for.

    From the same work as the previous excerpt.

    45. Madrid scares me, because while Valladolid already looks like a huge parking lot, Madrid seems to be five times the size.

    Sarcastic thought on the Spanish capital.

    46. ​​I was not so much myself as the characters I represented in this literary carnival. So they are largely my biography.

    Each character has a part of his personality.

    47. The question to ask is not whether hunting is cruel or not, but which hunting procedures are permitted and which are not.

    Ethical reflection on the practice of hunting.

    48. In life you have accomplished a great deal, but you have failed in the main, that is, you have failed. This idea depresses you deeply.

    You can be successful and at the same time feel failed in essential areas.

    49. Perhaps it was her ability to amaze me that dazzled me with her, which over the years has kept me tenaciously in love.

    About one of his loves.

    50. He believed that history could repeat itself and slept lulled by the sensation that was enveloped in him by the scent of a placid and strange saying.

    Another fragment from his novel The Way.

    51. It hurt him that facts so easily become memories; noticing the bitter feeling that nothing, nothing from the past, could be repeated.

    52. The artist does not know who pushes him, what his reference is, why he writes or why he paints, why he would stop doing it. In my case, it was pretty clear. I wrote for her. And when he missed his opinion, I missed the reference. I stopped doing it, I stopped writing, and this situation went on for years. At that time, I sometimes thought it was all over.

    Words of frustration when his wife passed away.

    53. I very much doubt that there is a single hero in my books; they are all anti-heroes, but at the same time they are all enveloped in a warm look of understanding. I tried to endow them with humanity and tenderness. A tenderness that is not always on the surface, because many of my characters are primary and abrupt, but that can be guessed when you know them inside out.

    A portrait of his favorite characters.

    54. These are compatible things for hunting and loving animals. What our morale imposes on us is not to use tricks or traps. My gang and I left the field when the heatwave or weather conditions made the hunt too easy and boring. Hunting doesn’t kill, but shoots down tough pieces after tough competition. This explains why we come back more satisfied with two partridges slaughtered against the prognosis than a dozen eggs.

    A very personal conception of the hunting activity.

    55. I have taken a deliberate stance for the weak in my literature. In all of my books there is societal harassment of the individual and it always beats up society. And this in any of my protagonists, however different they may be, from the bourgeois Cecilio Rubes of “My idolatrous son Sissi”, to the Nini of “The rats”, who in order to survive must hunt and eat these animals. Despite the social or class distance that clearly exists between the two characters, we find in short two beings frustrated and harassed by an implacable social environment.

    From his ethical and literary predilections.

    56. When life takes hold of one, all decision-making power is left aside.

    Goodbye control.

    57. Each inhabitant of the village would rather die before moving a finger for the benefit of the others. People lived in isolation and cared only for themselves. And frankly, the fierce individualism of the valley was only broken on Sunday afternoon, at sunset.

    Fragment of the track.

    58. (…) The chaplain said then that everyone had a marked path in life and that we could renounce this path out of ambition and sensuality and that a beggar could be richer than a millionaire in his palace ., Loaded with logs and servants.

    A logic of religious morality.

    Another excerpt from one of his best works: The Road.

    59. It all sounded like a dream, painful and stinging in its very satiety.

    One of Miguel Delibes’ quotes based on the emotional.

    60. He pretended to walk under the weight of an invisible load that forced him to bend at the waist. They were, without a doubt, remorse.

    A description of a character who starts from the physical to show the psychological.

    61. Saving, when it comes at the expense of an unmet need, makes people bitter and resentful.

    Saving is not the same as not being able to meet a priority need.

    62. The immense mountains, with their sheer ridges cut into the horizon, permeated an irritating impression of insignificance.

    A powerful description of the natural environment.

    63. Red hair could indeed be a reason for longevity, or at least a kind of protective amulet.

    Folklore is very present in the thought of Miguel Delibes.

    64. Decision-making power reaches man when he no longer needs it for anything

    About old age.

    65. When people lack muscle in their arms, they have too much of it on their tongue.

    A scathing comment on those who criticize a lot.

    66. To live was to die day by day, little by little, inexorably.

    Life seen as a countdown.

    67. Men are made; the mountains are already made.

    An aphorism on our link with nature.

    68. Instruction, at the College; education, a house.

    A distinction between two types of knowledge transmission.

    69. Things must be this way because they have always been this way. Why not steer clear of those who may be right for you?

    A reflection imbued with conservatism.

    70. We live among civilized peoples and among civilized peoples, we must behave like a civilized being.

    A small personal sacrifice to be able to live in society.

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