A Quote by Vladimir Nabokov
The commentator may be excused for repeating what he has stressed in his own books and lectures, namely that "offensive" is frequently but a synonym for "unusual;" and a great work of art is of course always original, and thus by its very nature should come more or less as a shocking surprise.
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I know now that he who hopes to be universal in his art must plant in his own soil. Great art is like a tree, which grows in a particular place and has a trunk, leaves, blossoms, boughs, fruit, and roots of its own. The more native art is, the more it belongs to the entire world, because taste is rooted in nature. When art is true, it is one with nature. This is the secret of primitive art and also of the art of the mastersMichelangelo, Czanne, Seurat, and Renoir. The secret of my best work is that it is Mexican.
Man may be excused for feeling some pride at having risen, though not through his own exertions, to the very summit of the organic scale; and the fact of his having thus risen, instead of having been aboriginally placed there, may give him hopes for a still higher destiny in the distant future.
A comic writer should of all others be the least excused for deviating from nature, since it may not be always so easy for a serious poet to meet with the great and the admirable; but life every where furnishes an accurate observer with the ridiculous.
Obedience is a virtue of so excellent a nature, that Our Lord was pleased to mark its observance upon the whole course of His life; thus He often says, He did not come to do His Own will, but that of His Heavenly Father.
Typically, people who exercise start eating better and becoming more productive at work. They smoke less and show more patience with colleagues and family. They use their credit cards less frequently and say they feel less stressed. It's not completely clear why. But for many people, exercise is a keystone habit that triggers widespread change.
How very seldom do you encounter in the world a man of great abilities, acquirements, experience, who will unmask his mind, unbutton his brains, and pour forth in careless and picturesque phrase all the results of his studies and observation; his knowledge of men, books, and nature. On the contrary, if a man has by any chance an original idea, he hoards it as if it were old gold; and rather avoids the subject with which he is most conversant, from fear that you may appropriate his best thoughts.
Our task is not to find the maximum amount of content in a work of art, mush less to squeeze more content out of the work than is already there. Our task is to cut back on content so we can see the thing at all. The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us.
People have now a-days got a strange opinion that every thing should be taught by lectures. Now, I cannot see that lectures can do as much good as reading the books from which the lectures are taken.
A work of art is a work of order, and if the artist is to put the stamp of his own mind on his work, he must arrange, modify, and dispose of his materials so that they may appear in a more agreeable and beautiful manner than they would have assumed without his interference.
The so-called ‘crank’ may be quite original in his ideas. … Invention, however, in the engineering sense involves originality; but not that alone, if the results are to be of value. There is imagination more or less fertile, but with it a knowledge of what has been done before, carried perhaps by the memory, together with a sense of the present or prospective needs in art or industry. Necessity is not always the mother of invention. It may be prevision.
He brings to naught, destroys and rejects all that is not His own work; how He draws everything to Himself and absorbs it, that at last He may live and work in us and through us and reign alone as king. Happy the soul who refuses nothing to love, but places everything at His disposal, for only thus may all our works be done more and more in God.
I have the belief that a person and his art should have one direction; your work should be a synonym for your person - the two shouldn't be separate.
Geoffrey Hill may be the strongest and most original English poet of the second half of our fading century, although his work is by no means either easy or very popular. Dense, intricate, exceedingly compact, his poetry has always had great visionary force.
My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books. I've learned that the more I collaborate, like by having someone do a soundtrack to one of my books, the more I see my own work differently.
The creative process lies not in imitating, but in paralleling nature - translating the impulse received from nature into the medium of expression, thus vitalizing this medium. The picture should be alive, the statue should be alive, and every work of art should be alive.
The student is half afraid to meet one of the great philosophers face to face. He feels himself inadequate and thinks he will not understand him. But if he only knew, the great man, just because of his greatness, is much more intelligible than his modern commentator. The simplest student will be able to understand, if not all, yet a very great deal of what Plato said; but hardly anyone can understand some modern books on Platonism.
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