Mould Quotes - page 2
During the last hundred years parents and teachers have ceased to take childhood and adolescence for granted. They have attempted to fit education to the needs of the child, rather than to press the child into an inflexible educational mould. To this new task they have been spurred by two forces, the growth of the science of psychology, and the difficulties and maladjustments of youth.
Margaret Mead
Historically our own culture has relied for the creation of rich and contrasting values upon many artificial distinctions, the most striking of which is sex. It will not be by the mere abolition of these distinctions that society will develop patterns in which individual gifts are given place instead of being forced into an ill-fitting mould. If we are to achieve a richer culture, rich in contrasting values, we must recognize the whole gamut of human potentialities, and so weave a less arbitrary social fabric, one in which each diverse human gift will find a fitting place.
Margaret Mead
Darwin himself told us in his last book (The Formation of Vegetable Mould Through the Action of Worms) that we should never underestimate the power of worms on the move.... The inversion of a humble worm, especially when disturbed, may bring down empires. Shakespeare told us that "the smallest worm will turn being trodden on." And Cervantes wrote in his author's preface to Don Quixote that "even a worm when trod upon, will turn again." ...Geoffrey, it seems, was correct after all - not in every detail, of course, but at least in basic vision and theoretical meaning. And the triumph of surprise, the inversion of nuttiness to apparent truth, stands as a premier example of the most exciting general development in evolutionary theory during our times.
Stephen Jay Gould
Of course there is no prima facie reason why cheap things should be ugly, for a die or mould of a good design costs no more than a bad one; but still the fact remains that the objects in use in every-day life are not beautiful, and it is to effect a change in this respect that the Government have established Schools of Design and the excellent Museum of which I shall have to speak hereafter.
William Burges
Now kiss, and think that there are really those,
My own high-bosom'd beauty, who increase
Vain gold, vain lore, and yet might choose our way!
Through many years they toil; then on a day
They die not, - for their life was death, - but cease;
And round their narrow lips the mould falls close.
Dante Gabriel Rossetti
Nay, tho' our Atoms shou'd revolve by chance,
And matter leape into the former dance;
Tho' time our Life and motion cou'd restore,
And make our Bodies what they were before,
What gain to us wou'd all this bustle bring,
The new made man wou'd be another thing;
When once an interrupting pause is made,
That individual Being is decay'd.
We, who are dead and gone, shall bear no part
In all the pleasures, nor shall feel the smart,
Which to that other Mortal shall accrew,
Whom of our Matter Time shall mould anew.
John Dryden
So, human beings complain that the world is ill-made, do they? But ill-made for whom? For Man, who, in the immense design of the Universe is no more than an unimportant mould! The probability is that everything in this world which we think is botched or erroneous has its reasons at a totally different level of existence. The mould endures, no doubt, a small amount of suffering, but somewhere there are giants who, huge in stature as in mind, live in a state of semi-divinity. This is Voltaire's answer to the problem of evil. It is not very satisfactory because the mould need never have been created, and, in the eyes of God, it may well be that mere size is of no importance.
André Maurois
Today we should welcome, and even study, every serious attempt to envisage the future of our race; not merely in order to grasp the very diverse and often tragic possibilities that confront us, but also that we may familiarize ourselves with the certainty that many of our most cherished ideals would seem puerile to more developed minds. To romance of the far future, then, is to attempt to see the human race in its cosmic setting, and to mould our hearts to entertain new values.
Olaf Stapledon
But first I would like to explain why I cannot be with you in person today. Last month I was released from almost six years of house arrest. The regaining of my freedom has in turn imposed a duty on me to work for the freedom of other women and men in my country who have suffered far more -- and who continue to suffer far more -- than I have. It is this duty which prevents me from joining you today. Even sending this message to you has not been without difficulties. But the help of those who believe in international cooperation and freedom of expression has enabled me to overcome the obstacles. They made it possible for me to make a small contribution to this great celebration of the struggle of women to mould their own destiny and to influence the fate of our global village.
Aung San Suu Kyi
Cause it's a bitter sweet symphony, that's life
Try to make ends meet
you're a slave to money then you die.No change, I can change
I can change, I can change
But I'm here in my mold
I am here in my mold
and I'm a million different people
from one day to the next
I can't change my mould, no, no, no, no, no...
Richard Ashcroft
Credulity in arts and opinions... is likewise of two kinds viz., when men give too much belief to arts themselves, or to certain authors in any art. The sciences that sway the imagination more than the reason are principally three viz., astrology, natural magic, and alchemy... Alchemy may be compared to the man who told his sons that he had left them gold, buried somewhere in his vineyard; while they by digging found no gold, but by turning up the mould about the roots of the vines procured a plentiful vintage. So the search and endeavours to make gold have brought many useful inventions to light.
Francis Bacon
Millet was one of those artists on whom a few formal ideas make so deep an impression that they feel compelled to spend the whole of their lives in trying to lever them out. Perhaps this is the chief distinguishing mark of the classical artist; certainly it is what distinguishes his use of subject matter from that of the illustrator. The illustrator is essentially a reporter, his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time. He must give to his subjects an air of complete inevitability, and this becomes a problem of formal completeness. That is why the classic artists, Degas no less than Poussin, return to the same motives again and again, hoping each time to mould the subject closer to the idea.
Kenneth Clark
