A Quote by Aleksandr Solzhenitsyn
Generosity is a two-edged virtue for an artist - it nourishes his imagination but has a fatal effect on his routine.
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The artist's imagination may wander far from nature. But as long as it is a living, moving power in his brain, isn't it just as real as any other natural phenomenon? The artist justifies his existence only when he can transform his imagination into truth.
That is an artist as I would have an artist be, modest in his needs: he really wants only two things, his bread and his art--panemet Circen.
Art really has its source in the transcendent, the unmanifest field of pure consciousness, which is the non-changing, immortal field of all possibilities...When the awareness of the artist is in tune with this center of infinite creativity, his piece of art breathes fullness of life, nourishes the creator, the artist, and inspires his admirers with waves of bliss.
An artist must have imagination. An artist who does not use his imagination is a mechanic.
And what is the great thing that the stage does? It cultivates the imagination. And . . . the imagination constitutes the great difference between human beings. . . . The imagination is the mother of pity, the mother of generosity, the mother of every possible virtue. It is by the imagination that you are enabled to put yourself in the place of another.
Translation is a two-edged instrument: it has the special purpose of demonstrating the learner's knowledge of the foreign language, either as a form of control or to exercise his intelligence in order to develop his competence.
The writer cultivates, extends, raises and inflates his imagination, sure that this is his destiny, his usefulness, his contribution to the understanding of good and evil. As he inflates his imagination he inflates his capacity for evil.
Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.
Roxane: His face is like yours, burning with spirit and imagination. He is proud and noble and young and fearless and beautiful- Cyrano:(losing all his colour.) Beautiful! Roxane: Yes. What's wrong? Cyrano: With me? Nothing. It's only... only... (Displaying his bandaged hand, with a little smile.) This fatal wound.
Papa had some amazing qualities. He was a very spiritual person. He was very passionate about his work. He was a completely self-made man. At the same time, his generosity and kindness were two aspects of him that really defined his personality.
For an artist to marry his model is as fatal as for a gourmet to marry his cook: the one gets no sittings, and the other gets no dinners.
The critic, to interpret his artist, even to understand his artist, must be able to get into the mind of his artist; he must feel and comprehend the vast pressure of the creative passion.
There is in every artist's studio a scrap heap of discarded works in which the artist's discipline prevailed against his imagination.
I love him who maketh his virtue his inclination and destiny: thus, for the sake of his virtue, he is willing to live on, or live no more.
He had prepared his death much earlier, in his imagination, unaware that his imagination, more creative than he, was planning the reality of that death.
In the performance of an illocutionary act in the literal utterance of a sentence, the speaker intends to produce a certain effect by means of getting the hearer to recognize his intention to produce that effect; and furthermore, if he is using the words literally, he intends this recognition to be achieved in virtue of the fact that the rules for using the expressions he utters associate the expression with the production of that effect.
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