A Quote by Franz Grillparzer

The way in which modern German poetry follows theories reminds me of pupils who, scolded by their teacher for their insubordination, justify themselves by saying that they invented new rules of propriety according to which they are quite well- behaved.
Occurrences which according to received theories ought not to happen, are the facts which serve as clues to new discoveries
The laws of nature are the rules according to which the effects are produced; but there must be a cause which operates according to these rules. The laws of navigation never navigated a ship. The rules of architecture never built a house.
There is ... scarcely any species of writing of which we can tell what is its essence, and what are its constituents; every new genius produces some innovation, which, when invented and approved, subverts the rules which the practice of foregoing authors had established.
It is paltry philosophy if in the old-fashioned way one lays down rules and principles in total disregard of moral values . As soon as these appear one regards them as exceptions, which gives them a certain scientific status, and thus makes them into rules. Or again one may appeal to genius , which is above all rules; which amounts to admitting that rules are not only made for idiots , but are idiotic in themselves.
Someone once defined a social problem as a situation in which the real world differs from the theories of intellectuals. To the intelligentsia, it follows, as the night follows the day, that it is the real world that is wrong and which needs to change.
Jamming - which follows rules but not individual notes - gives you a different result each time, depending upon the players and the conditions in which they find themselves. It is adaptable to changing conditions.
Liebig was not a teacher in the ordinary sense of the word. Scientifically productive himself in an unusual degree, and rich in chemical ideas, he imparted the latter to his advanced pupils, to be put by them to experimental proof; he thus brought his pupils gradually to think for themselves, besides showing and explaining to them the methods by which chemical problems might be solved experimentally.
There are many situations in life where we don't think while behaving in a certain way. Then there are instances which leads to the realization that maybe this is happening because you had behaved in a certain way. This thought at times is self liberating, according to me.
I didn't see [Luigi St. Omer] as a teacher. I saw him as a comrade I respected and I could go to see anytime something was bothering me. He was indeed my "big brother". He praised me when I did something exceptional and scolded me when I did things which were out of the way.
If a teacher have any opinion which he wishes to conceal, his pupils will become as fully indoctrinated into that as into any which he publishes.
I spent most of my teen years trying to figure out the rules of life, theories for why things happened, why people behaved as they did, and mostly I came to the conclusion that either there were no rules, or the rules sucked. Reading science fiction wasn't about imagining myself into some more exciting life filled with adventure, it was about finding a world where things worked the way I wanted them to.
My father, Dennis Popham, was a very handsome, talented artist, and as my mother always reminds me, 'someone who had wonderful style.' He was half Samoan-German, half New Zealander, and their first date was to a Fleetwood Mac concert, which I love the thought of.
The most dangerous tendency of the modern world is the way in which bogus theories are given the force of dogma.
The new painters do not propose, any more than did their predecessors, to be geometers. But it may be said that geometry is to the plastic arts what grammar is to the art of the writer. Today, scholars no longer limit themselves to the three dimensions of Euclid. The painters have been lead quite naturally, one might say by intuition, to preoccupy themselves with the new possibilities of spatial measurement which, in the language of the modern studios, are designated by the term fourth dimension.
If you examine the highest poetry in the light of common sense, you can only say that it is rubbish; and in actual fact you cannot so examine it at all, because there is something in poetry which is not in the words themselves, which is not in the images suggested by the words 'O windy star blown sideways up the sky!' True poetry is itself a magic spell which is a key to the ineffable.
Let a man be stimulated by poetry, established by the rules of propriety, and perfected by music.
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