A Quote by George Santayana
A man's memory may almost become the art of continually varying and misrepresenting his past, according to his interest in the present.
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A man's memory is bound to be a distortion of his past in accordance with his present interests, and the most faithful autobiography is likely to mirror less what a man was than what he has become.
And government (to define it de facto, or according to modern prudence) is an art whereby some man, or some few men, subject a city or a nation, and rule it according to his or their private interest; which, because the laws in such cases are made according to the interest of a man, or of some few families, may be said to be the empire of men, and not of laws.
Books are not men and yet they are alive. They are man's memory and his aspiration, the link between his present and his past, the tools he builds with.
Originally the structure was . . . a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present. . . . So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.
My trade and my art is living. He who forbids me to speak about it according to my sense, experience, and practice, let him orderthe architect to speak of buildings not according to himself but according to his neighbor; according to another man's knowledge, not according to his own.
art is the most general condition of the Past in the present. ... Perhaps no work of art is art. It can only become art, when it is part of the past. In this normative sense, a 'contemporary' work of art would be a contradiction - except so far as we can, in the present, assimilate the present to the past.
The man is distinguished from the youth by the fact that he takes the world as it is, instead of everywhere fancying it amiss and wanting to improve it, i.e. model it after his ideal; in him the view that one must deal with the world according to his interest, not according to his ideals, becomes confirmed.
Either Mitt Romney through his own words and his own signature was misrepresenting his position at Bain to the SEC, which is a felony, or he was misrepresenting his position at Bain to the American people.
Either Mitt Romney, through his own words and his own signature, was misrepresenting his position at Bain to the SEC, which is a felony, or he was misrepresenting his position at Bain to the American people...
The book, the college, the school of art, the institution of any kind, stop with some past utterance of genius. . . . They look backward and not forward. But genius looks forward: the eyes of man are set in his forehead, not in his hindhead: man hopes: genius creates. Whatever talents may be, if the man create not, the pure efflux of the Deity is not his; - cinders and smoke there may be, but not yet flame.
Language is the memory of man. Without it he has no past, a paltry present, and an empty future. With it he can bring his dreams to life.
When a citizen gives his suffrage to a man of known immorality he abuses his trust; he sacrifices not only his own interest, but that of his neighbor; he betrays the interest of his country.
Whatever man may stand, whatever he may do, to whatever he may apply his hand - in agriculture, in commerce, and in industry, or his mind, in the world of art, and science - he is, in whatsoever it may be, constantly standing before the face of God. He is employed in the service of his God. He has strictly to obey his God. And above all, he has to aim at the glory of his God.
A God who draws near out of love, the Holy Father continued, walks with His people, and this walk comes to an unimaginable point. We could never have imagined that the same Lord would become one of us and walk with us, be present with us, present in His Church, present in the Eucharist, present in His Word, present in the poor, He is present, walking with us. And this is closeness: the shepherd close to his flock, close to his sheep, whom he knows, one by one.
A character on stage who can present no convincing argument or information as to his past experience, his present behaviour or his aspirations, nor give a comprehensive analysis of his motives, is as legitimate and as worthy of attention as one who, alarmingly, can do all these things.
The second-hand artist blindly following his sensei or sifu accepts his pattern. As a result, his action is and , more importantly, his thinking become mechanical. His responses become automatic, according to set patterns, making him narrow and limited.
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