Like me, for instance, who can count so many years in my life when I completely lost all inclination to laugh, leaving aside whether or not this was my own fault, I for one need above all just to have a good laugh. I found that in Guy de Maupassant and there are others here, Rabelais among the old writers, Henri Rochefort among today's, where one can find that - Voltaire in 'Candide'. On the contrary, if one wants truth, life as it is, De Goncourt, for example, in 'Germinie Lacerteux', 'La fille Elisa', Zola in 'La joie de vivre' and 'L'assommoir' and so many other masterpieces paint life as we feel it ourselves and thus satisfy that need which we have, that people tell us the truth. The work of the French naturalists Zola, Flaubert, Guy de Maupassant, De Goncourt, Richepin, Daudet, Huysmans is magnificent and one can scarcely be said to belong to one's time if one isn't familiar with them.
Vincent van GoghRelated topics
above aside contrary count example familiar fault found find french good guy instance laugh leaving life lost need paint people say tell thus time truth work inclination others fille years elisa goncourt maupassant flaubert rabelaisRelated quotes
Philosophers who have supposed that actual action was required if 'good' were to be used in a sincere evaluation have got into difficulties over weakness of will, and they should surely agree that enough has been done if we can show that any man has reason to aim at virtue and avoid vice. But is this impossibly difficult if we consider the kinds of things that count as virtue and vice? Consider, for instance, the cardinal virtues, prudence, temperance, courage and justice. Obviously any man needs prudence, but does he not also need to resist the temptation of pleasure when there is harm involved? And how could it be argued that he would never need to face what was fearful for the sake of some good? It is not obvious what someone would mean if he said that temperance or courage were not good qualities, and this not because of the 'praising' sense of these words, but because of the things that courage and temperance are.
Philippa Foot
Would you like to know, for instance, to what extent higher mathematics is used in our two great industries? Well, it is never used at all. Having found this to be the case in my own experience, after quite a long career, I wondered whether I was not an exception; so I made enquiries, and I found that it was a general rule that neither engineers nor managers used higher mathematics in carrying out their duties. We must, of course, learn mathematics that goes without saying but the question is how much must we learn? Up to the present this point has nearly always been decided simply by professors, but it seems to me to be a question in which professors do not count very much, and in which they count less as they become more learned and more devoted to their work. They would like to pass on all their scientific knowledge and they find that their pupils always leave them too soon.
Henri Fayol
The desire to vanquish faults because it is "I" who have them is ineffectual, since it falls within the same category as the faults themselves. Indeed, every fault is a form of egoism or even pride. We must tend towards Perfection because we understand it and therefore love it, and not because we desire that our ego should be perfect. In other terms, we must love and realize a virtue because it is true and beautiful, and not because it would become us if we possessed it; and we must hate and fight against a fault because it is false and ugly, and not because it is ours and because it disfigures us. To possess a virtue is first and foremost to be without the fault which is contrary to it, for God created us virtuous. He created us in His image; faults are superimposed. Moreover it is not we who possess virtue, it is virtue which possesses us.
Frithjof Schuon
.. Recently I was at the home of Thomas Hess and he had a painting hanging there and I said to my wife: 'Is that one of my paintings?'. And she said: 'Well, it looks like one of yours from around 1942'. But then we realized that it wasn't one of my but one of Baziote's paintings.... at that time, 1942, the differences in our paintings may have seemed very great, but now [1960] the difference is not so great apparently.... For example; in the early forties Rothko and I decided to paint a certain subject matter. Perhaps if we saw some of those paintings now.... they might not seem so different as they did at the time. However, at no point was there ever any sort of a doctrine or a programma or anything that would make a school. I think it was simply a situation in which all of the painters were at that time; they were trying to break away from certain things.
Adolph Gottlieb
Part of the unknown reality, then, is hidden beneath language and the enforced pattern of accustomed words-so, for an exercise, look about your environment. Make up new, different 'words' for the objects that you see about you. Pick up any object, for example. Hold it for a few seconds, feel its texture, look at its color, and spontaneously give it a new name by uttering the sounds that come into your mind. See how the sounds bring out certain aspects of the object that you may not have noticed before. The new word will fit as much as the old one did. It may, in fact, fit better. Do this with many objects, following the same procedure. You can instead say the name of any object backwards. In such ways you break up to some extent the automatic patterning of familiar phrases, so that you can perceive the individuality that is within each object.
Robert Butts
