Fashionable Quotes - page 8
It has been fashionable in the twentieth century not only to debunk myth, ... but to pretend that that reasonable and educated people could avoid the embarrassment of religion and the risk of metaphysics by sticking close to demonstrable facts and testable hypotheses. However, in the course of reducing our beliefs and hopes to certainties and proofs, we impoverished and deluded ourselves. The modern anti-myth reduced human life to a story without a point, a tale told by an idiot, a process without a purpose, a journey without a goal, an affair without a climax (Godot never comes), an accidental collision of mindless atoms. ... We have hardly noticed that economics, technology and politics have become the new myth and metaphysic. We haven't avoided myth and metaphysics, only created demeaning ones.
Sam Keen
All fashionable clothes, as Thorstein Veblen has pointed out in his Theory of the Leisure Class (1899), are highly symbolic: materials, cut, and ornament are dictated only to a slight degree by consideration of warmth, comfort, or practicability. The more we dress up in fine clothes, the more we restrict our freedom of action. But by means of delicate embroideries, easily soiled fabrics, starched shirts, high heels, long and pointed fingernails. and other such sacrifices of comfort, the wealthy classes manage to symbolize, among other things, the fact that they don't have to work for a living.
S. I. Hayakawa
No man in this fashionable London of yours," friend Sauerteig would say, "speaks a plain word to me. Every man feels bound to be something more than plain; to be pungent withal, witty, ornamental. His poor fraction of sense has to be perked into some epigrammatic shape, that it may prick into me;-perhaps (this is the commonest) to be topsyturvied, left standing on its head, that I may remember it the better! Such grinning inanity is very sad to the soul of man. Human faces should not grin on one like masks; they should look on one like faces! I love honest laughter, as I do sunlight; but not dishonest: most kinds of dancing too; but the St.-Vitus kind not at all! A fashionable wit, ach Himmel, if you ask, Which, he or a Death's- head, will be the cheerier company for me? pray send not him!
Thomas Carlyle
The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity.
John Fowles
During a later period of his life, Rembrandt became bankrupt, mainly through his own extravagance... he could not help but collect things. At this time, his marvelous collection of paintings, jewels, swords, armor and precious costumes were publicly sold for a pittance. He had to leave his big, beautiful house in the fashionable part of Amsterdam and go to a very poor quarter. His original, fine house is now open to view. He dressed his subjects in oriental costumes, weapons and armor to give a rich, romantic and mysterious radiance to his paintings. At the same time he was a very down-to-earth Dutchman with a passion for reality. His art is the synthesis of a tremendous attraction to reality, with a need to draw things as they really were, and a desire for the exotic, the dramatic, the radiant, the unusual and the mysterious. p. 402.
Rembrandt