A Quote by Samuel Johnson
There are, indeed, few kinds of composition from which an author, however learned or ingenious, can hope a long continuance of fame.
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I think there are different kinds of fame. There's fame which is plastic and about paparazzi and money and being rich, and then there's the fame, which is when no one knows who you are but everyone wants to know who you are.
Philosophers have long conceded, however, that every man has two educators: 'that which is given to him, and the other that which he gives himself. Of the two kinds the latter is by far the more desirable. Indeed all that is most worthy in man he must work out and conquer for himself. It is that which constitutes our real and best nourishment. What we are merely taught seldom nourishes the mind like that which we teach ourselves.
Satire is, indeed, the only sort of composition in which the Latin poets whose works have come down to us were not mere imitators of foreign models; and it is therefore the sort of composition in which they have never been excelled.
There are two subjects, indeed, which I shall claim a right to further as long as I breathe: the public education, and the sub-division of counties into wards. I consider the continuance of republican government as absolutely hanging on these two hooks.
The Plagiarism of orators is the art, or an ingenious and easy mode, which some adroitly employ to change, or disguise, all sorts of speeches of their own composition, or that of other authors, for their pleasure, or their utility; in such a manner that it becomes impossible even for the author himself to recognise his own work, his own genius, and his own style, so skilfully shall the whole be disguised.
These early Saints were indeed homeless, but they were not hopeless. Their hearts were broken, but their spirits were strong. They had learned a profound and important lesson. They had learned that hope, with its attendant blessings of peace and joy, does not depend upon circumstance. They had discovered that the true source of hope is faith—faith in the Lord Jesus Christ and in His infinite Atonement, the one sure foundation upon which to build our lives.
The love of fame is a passion natural and universal, which no man, however high or mean, however wise or ignorant, was yet able to despise.
Even personal tastes are learned, in the matrix of a culture or a subculture in which we grow up, by very much the same kind of process by which we learn our common values. Purely personal tastes, indeed, can only survive in a culture which tolerates them, that is, which has a common value that private tastes of certain kinds should be allowed.
It might be a kind of relief to be finished. You have to start all over again. But I believe you’re always as good as your potential. I now live in my work and in a few relationships with the few people I can really count on. Fame will go by, and, so long, I’ve had you fame. If it goes by, I’ve always known it was fickle. So at least it’s something I experienced, but that’s not where I live.
What's interesting is when you talk about that - "living forever" or as long as you possibly can - what you really want is a continuance of your memories and your experiences. If I said you could live another 200 years, but we'd have to reboot you, that's not attractive. Nobody wants that as much as a continuance of your experience.
I felt as if I learned a few things. I learned that it's sometimes okay to think like a weenie, so long as you don't act like one—at least not all the time. I learned that it's okay to be wrong, as long as you can admit it and are willing to listen to those who may know better.
SATIRE, n. An obsolete kind of literary composition in which the vices and follies of the author's enemies were expounded with imperfect tenderness.
I consider nature a vast chemical laboratory in which all kinds of composition and decompositions are formed.
...it is seldom indeed that a composition which was poor when the picture was taken can be improved by reshaping it in the dark room.
Evidently one cannot look for long at the Last Supper without ceasing to study it as a composition, and beginning to speak of it as a drama. It is the most literary of all great pictures, one of the few of which the effect may largely be conveyed - can even be enhanced - by description.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
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