Critic Quotes - page 7
It is not the critic who counts not the man who points out how the strong man stumbles, or where the doer of deeds could have done thembetter. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood, who strives valiantly who errs and comes short again and again because there is not effort without error and shortcomings but who does actually strive to do thedeed who knows the great enthusiasm, the great devotion, who spends himself in a worthy cause, who at the best knows in the end thetriumph of high achievement and who at the worst, if he fails, at least he fails while daring greatly. So that his place shall never be withthose cold and timid souls who know neither victory nor defeat.
Theodore Roosevelt
I Critic am. Critics follow Festival for many lifetimes. We come to Criticize. First want I to know, am I Criticizing sapients? Or is just puppet show on cave wall of reality? Zombies or zimboes? Shadows of mind? Amusements for Eschaton?
A shiver ran up and down Burya's spine. "I think I'm sapient,” he said cautiously. "Of course, I'd say that even if I wasn't, wouldn't I? Your question is unanswerable. So why ask it?”
Sister Seventh leaned forward. "None of your people ask anything,” she hissed. "Food, yes. Guns, yes. Wisdom? No. Am beginning think you not aware of selves, ask nothing.
Charles Stross
Those who say that all historical accounts are ideological constructs (which is one version of the idea that there is really no historical truth) rely on some story which must itself claim historical truth. They show that supposedly "objective" historians have tendentiously told their stories from some particular perspective; they describe, for example, the biasses that have gone into constructing various histories of the United States. Such an account, as a particular piece of history, may very well be true, but truth is a virtue that is embarrassingly unhelpful to a critic who wants not just to unmask past historians of America but to tell us that at the end of the line there is no historical truth. It is remarkable how complacent some "deconstructive" histories are about the status of the history that they deploy themselves.
Bernard Williams
The average man, if he meddles with criticism at all, is a conservative critic. His opinions are determined not by his reason -- 'the bulk of mankind' says Swift 'is as well qualified for flying as for thinking' -- but by his passions; and the faintest of all human passions is the love of truth. He believes that the text of ancient authors is generally sound, not because he has acquainted himself with the elements of the problem, but because he would feel uncomfortable if he did not believe it; just as he believes, on the same cogent evidence, that he is a fine fellow, and that he will rise again from the dead.
A. E. Housman
Sir - In finding so much to praise in 'Entertaining Mr. Sloane,' which seems to be nothing more than a highly sensationalized, lurid, crude and over-dramatised picture of life at its lowest, surely your dramatic critic has taken leave of his senses.The effect this nauseating work had on me was to make we want to fill my lungs with some fresh, wholesome Leicester Square air. A distinguished critic, if I quote him correctly, felt the sensation of snakes crawling around his ankles while watching it.Yours truly,Peter Pinnell.
Joe Orton
One would have thought that the notion of an impersonal critic was as patently absurd as that of an impersonal person: yet playwrights still cherish it as a sort of holy ideal. Admittedly, we all make mystiques: but this one is particularly wishful. The man who asks for an anonymous, impersonal criticism is trying to elevate criticism to the status of a science; whereas it is, I am afraid, only an art. The critic's business is to write readable English: the playwright's to write speakable English. Beyond that it is every man for himself.
Kenneth Tynan
At an exhibition in London, one sagacious critic wrote: 'Monsieur Degas seems a good pupil of Nittis!' Doesn't this reflect that mania which men of letters have for squabbling in court over who had a given idea first? And the mania spreads to painters who take great care of their originality.
Paul Gauguin
Spencer "was incapable", our critic haughtily re marks, "of discerning the difference between a homogeneity in matter, necessarily and blindly tending toward a heterogeneity,, and such a law of organism [sic], progress, and growth as requires a spiritual intelligence to originate and maintain it." Perheps he was a poor man! or perhaps he thought he had better discern and formulate progress where he could do it to the best advantage, and leave the postulating of spiritual intelligences to those who had a greater talent than he for building in the region of the unverifiable.
Noah Porter
