A Quote by John Hurt
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The world is full of paradoxes and life is full of opposites. The art is to embrace the opposites, accommodate the paradoxes and live with a smile.
There are two kinds of paradoxes. They are not so much the good and the bad, nor even the true and the false. Rather they are the fruitful and the barren; the paradoxes which produce life and the paradoxes that merely announce death. Nearly all modern paradoxes merely announce death.
Life is full of ironies and absurdities.
Life is full of paradoxes, as roses are of thorns.
We live on the brink of disaster because we do not know how to let life alone. We do not respect the living and fruitful contradictions and paradoxes of which true life is full.
Only by acknowledging the full extent of slavery's full grip on U.S. Society - its intimate connections to present day wealth and power, the depth of its injury to black Americans, the shocking nearness in time of its true end - can we reconcile the paradoxes of current American life.
Like life and people, it is full of paradoxes. Etiquette is based on tradition, and yet it can change. Its ramifications are trivialities, but its roots are in great principles.
I try very hard to be fair, and I look for ironies. In a way, I live on ironies as a novelist.
One of the persistent ironies of reform is the impossibility of predicting the full consequences of change.
Life compulsively dangled the possibility of life. Life, the dramatist on speed. Life, that couldn't stop with its foreshadows and ironies and symbols and clues, its wretched jokes and false endings and twists. Life with its hopeless addiction to plot.
Ordinary readers, forgive my paradoxes: one must make them when one reflects; and whatever you may say, I prefer being a man with paradoxes than a man with prejudices.
Periods of change are full of paradoxes. They're difficult but exciting, frightening but freeing. Letting go of old patterns that no longer work for us is exhilarating.
Life is that perfect fine line between ironies.
Much of the conventional analysis of India's stature in the world relies on the all-too-familiar economic assumptions. But we are famously a land of paradoxes, and one of those paradoxes is that so many speak about India as a great power of the 21st century when we are not yet able to feed, educate and employ all our people.
I suppose that's one of the ironies of life doing the wrong thing at the right moment.
'Ida' doesn't set out to explain history. That's not what it's about. The story is focused on very concrete and complex characters who are full of humanity with all its paradoxes. They're not pawns used to illustrate some version of history or an ideology.
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