A Quote by Robert Harbison

Gardens always mean something else, man absolutely uses one thing to say another. — © Robert Harbison
Gardens always mean something else, man absolutely uses one thing to say another.
I've always been a character actor, although I'm not quite sure what that means. All my scripts are absolutely covered in notes, so any time I say anything - even 'pass the salt' - I have six subtexts, comments on what I really mean when I'm saying that. Maybe that's what gives the impression that I'm saying one thing and thinking something else.
A thing chosen always as an end and never as a means we call absolutely final. Now happiness above all else appears to be absolutely final in this sense, since we always choose it for its own sake and never as a means to something else.
When someone tells a man to be a man, they mean that there is a way to be a man. A man is not just a thing to be-it is also a way to be, a path to follow and a way to walk. Some try to make manhood mean everything. Others believe that it means nothing at all. Being good at being a man can't mean everything, and it has always meant something.
Cows is one thing. But one man telling another man where he can go in this country is something else.
My favorite thing is landscaping. I love landscaping. And so what I'll do is, mostly I put language into search engines, and if I want to look, like, at tulip gardens, or, like, Georgian gardens, i love English gardens, how they're laid out. Japanese gardens, Asian gardens. So, I'm kind of a frustrated landscaper.
The problem posed by indirect speech acts is the problem of how it is possible for the speaker to say one thing and mean that but also to mean something else.
THE ARTISTIC IMAGE IS ALWAYS A METONYM, WHERE ONE THING IS SUBSTITUTED FOR ANOTHER, THE SMALLER FOR THE GREATER. TO TELL OF WHAT IS LIVING, THE ARTIST USES SOMETHING DEAD; TO SPEAK OF THE INFINITE, HE SHOWS THE FINITE.
I always hate explaining away songs, because for me they mean something, and for other people, they'll mean something absolutely different.
In short, [Coltrane's] tone is beautiful because it is functional. In other words, it is always involved in saying something. You can't separate the means that a man uses to say something from what he ultimately says. Technique is not separated from its content in a great artist.
People look at the same passage, and one person will say this is the best thing he's ever read, and another person will say it's absolutely idiotic. I mean, there's no way to reconcile those two things. You just have to forget the whole business of what people are saying.
In life, people talk at right angles. One asks a question, and the other replies in part, then uses that part to move the conversation to something else. Everyone has an agenda, has something they're trying to say - or not say.
I'd go nuts. Because people look at the same passage and one person will say this is the best thing he's ever read, and another person will say it's absolutely idiotic. I mean, there's no way to reconcile those two things. You just have to forget the whole business of what people are saying.
When we say 'time', I believe we mean at least two things. We mean changes. And we mean something unchangeable. We mean something that moves . but against an unmoving background. And vice versa.Animals can sense changes. But consciousness of time involves the double sense of constancy and change. Which can only be attributed to those who give expression to it. And that can only be done through language, and only man has language.The perception of time and language are inextricably bound up with one another.
Every song falls short of the glory of what a song could be. That's why the urge is there to start again and yet again. Often it's the fault of rhyme. I've discovered a hundred times that there just aren't enough rhymes to say what I wanted to say, so I said something else instead. Sometimes it was a better thing, but the thing I meant to say went unsaid. So there's an opening for another song.
I think it's fair to say there is a demagogic path that Europeans, South Americans, Asians have pursued, and we know where that leads. It uses xenophobia, it uses paranoia, it uses prejudice, it uses nationalism to really stir people up and to, you know, begin an us-versus-them contrast, which is dangerous and is not something we've had in our politics at a presidential level in America.
Instead of saying that man is the creature of circumstance, it would be nearer the mark to say that man is the architect of circumstance. It is character which builds an existence out of circumstance. From the same materials one man builds palaces, another hovels; one warehouses, another villas; bricks and mortar are mortar and bricks until the architect can make them something else.
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