Style Quotes - page 79
[In the 18th century] Whether one reads the underground texts or those of the great Enlightenment authors, one has the impression that Spinozism was everywhere; but at the same time, it can be said, strictly speaking, there were no Spinozists (except as convenient phantoms for apologists); there were only thinkers who make use of Spinoza. Naturally, they could do so with more or less creativity, style, and depth.
Baruch Spinoza
I had never met Bell, nor heard him lecture, but in my reading of his scientific papers I have developed a great admiration for him and his work. I have especially admired his attempts to dismantle the orthodox Copenhagen interpretation of quantum theory, written with such tremendous style and obvious enjoyment. Although in this book I have tried to present a balanced account - arguing one way and then another - I hope that I have done justice to Bell's superbly constructed criticisms. The debate over the meaning of quantum theory will certainly be poorer without him.
John Stewart Bell
I've always loved Hart Crane; but I love him in fractions, delighting in half a dozen of those rhapsodic poems long on style and short on sense but finding the rest mystifying as a Masonic ritual. In some of his best poems, I merely admire lines, and in some of those lines I merely admire phrases.
Hart Crane
What can we say about Kamal Haasan that has not already been said? This man was born to be an actor. Winning a national award for his first performance as a four year old, he has carved out a niche for himself in the [[w:Film industry|industry like no other actor could. Although his acting has been celebrated over the years, his style has not been given due credit. Kamal's look not only changed as he grew as an actor but was strategically chalked out to suit each of his characters. From his haircut, to beard, mustache, his wardrobe, he was one of those pioneering actors in India to extremely to use prosthetics for different looks. One could say he was addicted to [[w:Experimenting|experimenting with his looks and characters. Go over his career and you will be amazed with exactly how much Kamal's style has evolved over the past half century.
Kamal Haasan
Children aren't like that, which is why they look so young, 'cause they always have a sense of style and purpose. When they're walking around, they have a very definite purpose, they're walking. And it's a great walk as well, it's not an adult's sort of bemused shuffle, it's that 'I'm going over here.' And you say 'Why are you going over there?' 'Because I have a harmonica.' 'What are you doing with the harmonica?' 'I'm going to put it in the toilet.' 'Why are you doing tha-' 'Enough questions, goodbye!'
Dylan Moran
I really wrote in his (W.H. Auden's) style. I was crazy about him. I loved his poems so much that I was using this British language all the time-I was saying trousers and subaltern and things like that. You understand I was a Bronx kid. We went through a few poems, and he kept asking me, do you really talk like that? And I kept saying, Oh yeah, well, sometimes. That was the great thing I learned from Auden: that you'd better talk your own language. Then I asked him what young writers now ask me-and I always tell them this story-I said to Auden, Well, do you think I should keep writing? He laughed and then became very solemn. If you're a writer, he said, you'll keep writing no matter what. That's not a question a writer should ask. Something like that, not exactly, but close.
Grace Paley
He had a reservoir of learning, from which he drew gracefully and effortlessly. But the most marked quality of his judicial and non-judicial writing was not the ability to borrow an apt quotation or to find an idea well expressed by one who had written before him; it was the ability to think brilliantly in original and bold fashion and to express his thoughts in forceful and eloquent English of a style inimitably his own. His writing was pithy and pungent; yet he never sacrificed clarity of thought for a well-turned phrase. He was a master of the paradox; he had a great love of alliteration and his antithetical statements were gems. Yet his wit never descended to the frivolous; it always added a barb to the telling point. His wit was especially telling when turned upon himself or his Court.
Robert H. Jackson
Of rhymes I printed seven volumes-
The list concludes John Murray's columns .
But then I only sung of passions
That do not suit with modern fashions;
Of Incest and such like diversions
Permitted only to the Persians,
Or Greeks to bring upon their stages-
But that was in the earlier ages
Besides my style is the romantic,
Which some call fine, and some call frantic;
While others are or would seem as sick
Of repetitions nicknamed Classic.
For my part all men must allow
Whatever I was, I'm classic now.
I saw and left my fault in time,
And chose a topic all sublime-
Wondrous as antient war or hero-
Then played and sung away like Nero:
The subject has improved my wit so,
The first four lines the poet sees
Start forth in fourteen languages!
Though of seven volumes none before
Could ever reach the fame of four...
Lord Byron
On our return homewards, Shelley urged Byron to complete something he had begun. Byron smiled and replied,
"John Murray, my patron and paymaster, says my plays won't act. I don't mind that, for I told him they were not written for the stage-but he adds, my poesy won't sell: that I do mind, for I have an ‘itching palm.' He urges me to resume my old ‘Corsair style, to please the ladies.' John Murray is right, if not righteous: all I have yet written has been for women-kind; you must wait until I am forty, their influence will then die a natural death, and I will show the men what I can do.”.
Lord Byron
As far as I am concerned, I learned this technique [the use of flat areas, painted in bright color - sometimes in contrasting juxtaposition, sometimes like pieces of colored glass in heavy dark outlines] from Kandinsky and, at the same time, from the glass paintings of the Bavarian peasants of the Murneau area, who had painted for centuries in this style.
Wassily Kandinsky
The magaicians of the 19th century, enthralled by the science of optics, photography and electricity, opened the door to motion pictures and thereby rendered themselves obsolete. Any amateur with a pair of scissors can cut and edit a strip of film in order to make a woman vanish, sever a head, burn a body down to the skeleton and reverse time. Talent went out of style.... People either didn't believe Houdini when he said that his tricks on film were real, or they didn't care. Illusion became big bigness, and the magicians were out of work.
John Leonard (critic)
The words, the style always reflects a habit of mind. And the habit of mind comes in from a different angle. The habit of mind uses the colloquial here and uses the joke there. And then creates some discordant music and then something strange and wonderful happens.
And you see things differently. You see a different light is shed on it.
John Leonard (critic)
I especially respected and admired Clemente, who later became one of my best friends. Roberto was superhuman on the ball field. He played right field with the grace and style of a ballet dancer. His agility and strength enabled him to perform plays some fans thought to be impossible. But he was also an intensely fierce warrior who played each game as if it were his last.
Roberto Clemente
The first start I ever got in the big leagues was in Pittsburgh for the last three games in 1967. I knew Dock Ellis and I met Clemente through him. We talked every time we met in the following years. He gave me a few pointers. I felt if a guy like Roberto could tell you something, it was wise to listen. I always like to talk to outstanding players about hitting – Roberto Clemente, Joe Torre, Tommy Davis. Guys who have the same hitting style as I do. But I remember Roberto for one thing he did with his glove, not his bat. In 1971, he took a home run away from me here in the Dome. Steve Blass was pitching and we were behind, 1-0, in the ninth. Joe Morgan walked and I hit a ball to right that was going over the yellow line. I know the game is tied for sure. If [it's gone], we win. But Clemente went head-on into the wall, and fell to the ground, almost on his neck. He was motionless. Al Oliver came over and took the ball out of his glove. I couldn't believe he caught the ball.
Roberto Clemente
