A Quote by Jeremy Collier
Of all sorts of flattery, that which comes from a solemn character and stands before a sermon is the worst-complexioned. Such commendation is a satire upon the author, makes the text look mercenary, and disables the discourse from doing service.
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Never preach a sermon without a text from the Bible, a text containing the theme which you can elaborate. The text is the best proof in support of your argument. A sermon without a text is an argument without a proof.
It is no flattery to give a friend a due character; for commendation is as much the duty of a friend as reprehension.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
If we ban whatever offends any group in our diverse society, we will soon have no art, no culture, no humor, no satire. Satire is by its nature offensive. So is much art and political discourse. The value of these expressions far outweighs their risk.
I think hallucinations need to be discussed. There are all sorts of hallucinations, and then many sorts which are okay, like the ones I think which most of us have in bed at night before we fall asleep, when we can see all sorts of patterns or faces and scenes.
Milton almost requires a solemn service of music to be played before you enter upon him. But he brings his music, to which who listen had need bring docile thoughts and purged ears.
If you look at the discourse before the revolution, whether it is the left communist, whether it is the right secularist...the entirety of this discourse was such that it encouraged the kind of ascendancy for a man like Ayatollah Khomeini.
Architecture is a discourse; everything is a discourse. Fashion discourse is actually a micro-discourse, because it's centered around the body. It is the most rapidly developing form of discourse.
Comedy is very interesting because you can very quickly cross into dangerous territory. I mean look at what happened, unfortunately, (in) Paris a couple of weeks ago. They were making comics - which were really satire - but it offended people. I'm not saying the reaction was justified but there's definitely a line when you're doing comedy or satire and how it might affect somebody. That's the thing you have to watch and I think you have to be respectful of it.
You have a certain objectivity, as a member of the audience, and you can come away maybe being provoked into a certain discourse or a certain arena of questioning, regarding how you would deal with things that your character has to deal with. Whereas when you're doing a film, once you start asking, "What would I do?," you're getting the distance greater between yourself and the character, or you're bringing the character to you, which I think is self-serving, in the wrong way. The idea is to bring yourself to the character.
The aim of the scholarly editor is not to produce the the easiest text for the reader, but to get as near as he can to the text of the author.
Put simply the novel stands between us and the hardening concept of statistical man. There is no other medium in which we can live for so long and so intimately with a character. That is the service a novel renders.
SATIRE, n. An obsolete kind of literary composition in which the vices and follies of the author's enemies were expounded with imperfect tenderness.
All we can say is that, as the result of a process which went on from the fourth century to about the eighth, a standard type of text was produced, which is found in the vast majority of the manuscripts that have come down to us. At least ninety-six per cent of the extant manuscripts of the Greek New Testament are later than the eighth century; and of those only a handful preserve traces of the other types of text which were in existence before the adoption of the standard text, and out of which it was created.
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