A Quote by William Shakespeare
Past and to come, seems best; things present, worse.
Related Quotes
Posterity will say as usual: "In the past things were better, the present is worse than the past.
There are worse things than having behaved foolishly in public. There are worse things than these miniature betrayals, committed or endured or suspected; there are worse things than not being able to sleep for thinking about them. It is 5 a.m. All the worse things come stalking in and stand icily about the bed looking worse and worse and worse.
I am interested in the past. Perhaps one of the reasons is we cannot make, cannot change the past. I mean you can hardly unmake the present. But the past after all is merely to say a memory, a dream. You know my own past seems continually changed when I am remembering it, or reading things that are interesting to me.
True forgiveness deals with the past, all of the past, to make the future possible. We cannot go on nursing grudges even vicariously for those who cannot speak for themselves any longer. We have to accept that we do what we do for generations past, present and yet to come. That is what makes a community a community or a people a people-for better or for worse.
Contrary to popular belief, the past was not more eventful than the present. If it seems so it is because when you look backward things that happened years apart are telescoped together, and because very few of your memories come to you genuinely virgin.
Time is the most undefinable yet paradoxical of things; the past is gone, the future is not come, and the present becomes the past, even while we attempt to define it.
Best not to mix the past with the present. The present paints the past with gold. The past paints the present with lead.
True perfection seems imperfect,
yet it is perfectly itself.
True fullness seems empty,
yet it is fully present.
True straightness seems crooked.
True wisdom seems foolish.
True art seems artless.
The Master allows things to happen.
She shapes events as they come.
She steps out of the way
and lets the Tao speak for itself.
Custom looks to things that are past, and fashion to things that are present, but both of them are somewhat purblind as to things that are to come.
The past seems to infuse into the present, and in the brown, wringled faces of the old people one sees the presence of the past.
We learn in the past, but we are not the result of that. We suffered in the past, loved in the past, cried and laughed in the past, but that's of no use to the present. The present has its challenges, its good and bad side. We can neither blame nor be grateful to the past for what is happening now. Each new experience of love has nothing whatsoever to do with past experiences. It's always new.
Science is the observation of things possible, whether present or past; prescience is the knowledge of things which may come to pass, though but slowly.
You can make the argument that there's no such thing as the past. Nobody lived in the past. They lived in the present. It is their present, not our present, and they don't know how it's going to come out. They weren't just like we are because they lived in that very different time. You can't understand them if you don't understand how they perceived reality.
Sir, sorrow is inherent in humanity. As you cannot judge two and two to be either five, or three, but certainly four, so, when comparing a worse present state with a better which is past, you cannot but feel sorrow. It is not cured by reason, but by the incursion of present objects, which bear out the past.
But the past does not exist independently from the present. Indeed, the past is only past because there is a present, just as I can point to something over there only because I am here. But nothing is inherently over there or here. In that sense, the past has no content. The past - or more accurately, pastness - is a position. Thus, in no way can we identify the past as past
Originally the structure was . . . a modern narrator who would appear intermittently and talk about his memories of his grandmother, which would then be juxtaposed against scenes from the past. But the stories from the past were always more interesting that the things in the present. I find this almost endemic to modern plays that veer between past and present. . . . So as we've gone on developing GOLDEN CHILD, the scenes from the past have become more dominant, and all that remains of the present are these two little bookends that frame the action.
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