A Quote by Samuel Johnson
While an author is yet living, we estimate his powers by his worst performance; and when he is dead, we rate him by his best.
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By the consultation of books, whether of dead or living authors, many temptations to petulance and opposition, which occur in oral conferences, are avoided. An author cannot obtrude his service unasked, nor can be often suspected of any malignant intention to insult his readers with his knowledge or his wit. Yet so prevalent is the habit of comparing ourselves with others, while they remain within the reach of our passions, that books are seldom read with complete impartiality, but by those from whom the writer is placed at such a distance that his life or death is indifferent.
He loved me. He'd loved me as long as he he'd known me! I hadn't loved him as long perhaps, but now I loved him equally well, or better. I loved his laugh, his handwriting, his steady gaze, his honorableness, his freckles, his appreciation of my jokes, his hands, his determination that I should know the worst of him. And, most of all, shameful though it might be, I loved his love for me.
The master in the art of living makes little distinction between his work and his play, his labor and his leisure, his mind and his body, his information and his recreation, his love and his religion. He hardly knows which is which. He simply pursues his vision of excellence at whatever he does, leaving others to decide whether he is working or playing. To him he's always doing both.
When a man comes to me, I accept him at his best, not at his worst. Why make so much ado? When a man washes his hands before paying a visit, and you receive him in that clean state, you do not thereby stand surety for his always having been clean in the past.
And he arose and came to his father. But while he was still a long way off, his father saw him and felt compassion, and ran and embraced him and kissed him. And the son said to him, 'Father, I have sinned against heaven and before you. I am no longer worthy to be called your son. But the father said to his servants, 'Bring quickly the best robe, and put it on him, and put a ring on his hand, and shoes on his feet. And bring the fattened calf and kill it, and cet us eat and celebrate. For this my son was dead, and is alive again; he was lost, and is found.' And they began to celebrate.
Some souls think that the Holy Spirit is very far away, far, far, up above. Actually he is, we might say, the divine Person who is most closely present to the creature. He accompanies him everywhere. He penetrates him with himself. He calls him, he protects him. He makes of him his living temple. He defends him. He helps him. He guards him from all his enemies. He is closer to him than his own soul. All the good a soul accomplishes, it carries out under his inspiration, in his light, by his grace and his help.
I believe that there is much less difference between the author and his works than is currently supposed; it is usually in the physical appearance of the writer,--his manners, his mien, his exterior,--that he falls short of the ideal a reasonable man forms of him--rarely in his mind.
No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead.
It is possible that an individual may be successful, largely because he conserves all his powers for individual achievement and does not put any of his energy into the training which will give him the ability to act with others. The individual acts promptly, and we are dazzled by his success while only dimly conscious of the inadequacy of his code.
An author who sets his reader on sounding the depths of his own thoughts serves him best.
We over-estimate the conscience of our friend. His goodness seems better than our goodness, his nature finer, his temptations less. Everything that is his,--his name, his form, his dress, books, and instruments,--fancy enhances. Our own thought sounds new and larger from his mouth.
A warrior considers himself already dead, so there is nothing to lose. The worst has already happened to him, therefore he's clear and calm; judging him by his acts or by his words, one would never suspect that he has witnessed everything.
There are three infallible ways of pleasing an author, and the three form a rising scale of compliment: 1, to tell him you have read one of his books; 2, to tell him you have read all of his books; 3, to ask him to let you read the manuscript of his forthcoming book. No. 1 admits you to his respect; No. 2 admits you to his admiration; No. 3 carries you clear into his heart.
Were I to go down into the market-place, armed with the powers of witchcraft, and take a peasant by the shoulders and whisper to him, 'In your lifetime, have you known peace?' wait for his answer, shake his shoulders and transform him into his father, and ask him the same question, and transform him in his turn to his father, I would never hear the word 'Yes,' if I carried my questioning of the dead back for a thousand years. I would always hear, 'No, there was fear, there were our enemies without, our rulers within, there was prison, there was torture, there was violent death.
In the worst memoirs, you can feel the author justifying himself - forgiving himself - in every paragraph. In the best memoirs, the author is tougher on him- or herself than his or her readers will ever be.
He who loses his money is forsaken by his friends, his wife, his servants and his relations; yet when he regains his riches those who have forsaken him come back to him. Hence wealth is certainly the best of relations.
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