The Father's (n.) death is the most important event, the more heartbreaking and poignant loss in a man's life.
A Father (n.) who tells his son how much better things are now may, with one quiet story, teach him the opposite.
A Father (n.) is the oldest, first, and for children the only authority; from his autocratic power all other social authorities have developed — a Prince is the father of his country.
A Father (n.) has in his son an enemy the more impatient for his death the more unrestricted his rule — the son is his destined successor.
A Father (n.) invites criticism by his authority and severity, while filial piety — strongest after his death — forbids it to be spoken; so absurd dreams gather around dead fathers.
A Father (n.) slipped in for a brother: “I am the father of So-and-so — I mean his brother” expressed the view that the father was the one who most needed curing.
A Father (n.) went missing in my own book: knowing the house of Barca better than any reader, I wrote Hannibal's father as Hasdrubal — the brother's name — while fantasizing I had been born my half-brother's son.
A Father (n.) is feared no less than he is longed for and admired — and this ambivalence is imprinted in every religion.
A Father (n.) is clothed with excessive powers in the son's picture — and distrust of him is intimately linked with admiration.
A Father (n.) plays the dreaded enemy of childhood's sexual interests in both the Oedipus and castration complexes — admired for his big penis, feared as threatening one's own.
The Father (n.) embodies, in the son's eyes, every social restraint he tolerates unwillingly — and in an heir to the throne the waiting for his death becomes almost tragic.
The Father (n.) is the prototype of the bogies seen in anxiety states and of caricatures drawn to deride someone.
A Father (n.) is the paramount disturber of one's instinctual life — a model not only to imitate but to get rid of, in order to take his place.
The Father (n.) is both rival and model to the boy: hate wants him gone, tenderness wants to be him, and together they make the boy identify with him.
The Father (n.) is not only the boy's rival but sometimes the love he wants: he would take his mother's place, and fears castration for that wish too.
A Father (n.) was also once a child: Moses' great idea was not his own but Ikhnaton's, and Ikhnaton's perhaps came through his mother from the East.
A Father (n.) wins in the end: the young Goethe scorned his pedantic, stiff father and in old age grew his traits; the son of a good-for-nothing became honourable — then in his prime behaved as if he had taken that father as his model.