A Quote by Charles Caleb Colton
Genius, when employed in works whose tendency it is to demoralize and to degrade us, should be contemplated with abhorrence rather than with admiration; such a monument of its power, may indeed be stamped with immortality, but like the Coliseum at Rome, we deplore its magnificence because we detest the purposes for which it was designed.
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When I spoke at the St. Lawrence Seaway ceremonies in 1969, I borrowed some words from the monument there which I had joined Queen Elizabeth in dedicating just 10 years before. That monument, as its inscription puts it, 'bears witness to the common purpose of two nations whose frontiers are the frontiers of friendship, whose ways are the ways of freedom, whose works are the works of peace'.
History is not a web woven with innocent hands. Among all the causes which degrade and demoralize men, power is the most constant and most active.
Rome will exist as long as the Coliseum does; when the Coliseum falls, so will Rome; when Rome falls, so will the world.
While the Coliseum stands, Rome shall stand; when the Coliseum falls, Rome shall fall; when Rome falls, the world shall fall.
They do not need our praise. They do not need that our admiration should sustain them. There is no immortality that is safer than theirs. We come not for their sakes but for our own, in order that we may drink at the same springs of inspiration from which they themselves drank.
There is something else which has the power to awaken us to the truth. It is the works of writers of genius. They give us, in the guise of fiction, something equivalent to the actual density of the real, that density which life offers us every day but which we are unable to grasp because we are amusing ourselves with lies.
Even in an advanced stage of civilization, there is always a tendency to prefer those parts of literature which favor ancient prejudices, rather than those which oppose them; and in cases where this tendency is very strong, the only effect of great learning will be to supply the materials which may corroborate old errors and confirm old superstitions. In our time such instances are not uncommon; and we frequently meet with men whose erudition ministers to their ignorance, and who, the more they read the less they know.
You know I hate, detest, and can't bear a lie, not because I am straighter than the rest of us, but simply because it appals me. There is a taint of death, a flavour of mortality in lies - which is exactly what I hate and detest in the world - what I want to forget.
The Man of Genius may at the same time be, indeed is commonly, an Artist, but the two are not to be confounded. The Man of Genius,referred to mankind, is an originator, an inspired or demonic man, who produces a perfect work in obedience to laws yet unexplored. The artist is he who detects and applies the law from observation of the works of Genius, whether of man or nature. The Artisan is he who merely applies the rules which others have detected. There has been no man of pure Genius, as there has been none wholly destitute of Genius.
I started studying what the nature of a monument is and what a monument should be. And for the World War III memorial I designed a futile, almost terrifying passage that ends nowhere.
On this question of principle, while actual suffering was yet afar off, they [the Colonies] raised their flag against a power to which, for purposes of foreign conquest and subjugation, Rome in the height of her glory is not to be compared,-a power which has dotted over the surface of the whole globe with her possessions and military posts, whose morning drum-beat, following the sun, and keeping company with the hours, circles the earth with one continuous and unbroken strain of the martial airs of England.
I do sort of feel like I'm building my monument with what I do, but it's pretty small and inconsequential compared to real works of genius like this, which are giving vast inspiration to humanity. But I guess I shouldn't even say that. It's ridiculous to say that. You are what you are. My stature suits me.
The genius of America may be that it has built "the fall of Rome" into its very makeup: it is very consciously a constant work in progress, designed to accommodate and build on revolutionary change.
the leader releases energy, unites energies, and all with the object not only of carrying out a purpose, but of creating further and larger purposes. And I do not mean here by larger purposes mergers or more branches; I speak of larger in the qualitative rather than the quantitative sense. I mean purposes which will include more of those fundamental values for which most of us agree we are really living.
I am firmly convinced, as I have already said, that to effect any great social improvement, it is sympathy rather than self-interest, the sense of duty rather than the desire for self-advancement, that must be appealed to. Envy is akin to admiration, and it is the admiration that the rich and powerful excite which secures the perpetuation of aristocracies.
In 'Roma,' I wanted to get across the idea that underneath Rome today is ancient Rome. So close. I am always conscious of that, and it thrills me. Imagine being in a traffic jam at the Coliseum! Rome is the most wonderful movie set in the world... As was the case with many of my film ideas, it was inspired by a dream.
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