Illustrated Quotes (displaying: 1 - 30 of 174 quotes )
You may scold your carpenter, when he has made a bad table, though you can't make a table yourself.' I say to you - 'Mr. Finch, you may point out a defect in a baby's petticoats, though you haven't got a baby yourself!' Doesn't that satisfy you? All right! Take another illustration. Look at your room here. I can see in the twinkling of an eye, that it's badly lit. You have only got one window - you ought to have two. Is it necessary to be a practical builder to discover that? Absurd! Are you satisfied now? No! Take another illustration. What's this printed paper, here, on the chimney-piece? Assessed Taxes. Ha! Assessed Taxes will do. You're not in the House of Commons; you're not a Chancellor of the Exchequer - but haven't you an opinion of your own about taxation, in spite of that? Must you and I be in Parliament before we can presume to see that the feeble old British Constitution is at its last gasp?
One of the marks of our world is perhaps this reversal: we live according to a generalized image-repertoire. Consider the United Sates, where everything is transformed into images: only images exist and are produced and are consumes ... Such a reversal necessarily raises the ethical question: not that the image is immoral, irreligious, or diabolic (as some have declared it, upon the advent of the Photograph), but because, when generalized, it completely de-realizes the human world of conflicts and desires, under cover of illustrating it.
Your Kentuckian of the present day is a good illustration of the doctrine of transmitted instincts and peculiarities. His fathers were mighty hunters, - men who lived in the woods, and slept under the free, open heavens, with the stars to hold their candles; and their descendant to this day always acts as if the house were his camp, - wears his hat at all hours, tumbles himself about, and puts his heels on the tops of chairs or mantel-pieces, just as his father rolled on the green sward, and put his upon trees or logs, - keep all the windows and doors open, winter and summer, that he may get air enough for his great lungs, - calls everybody "stranger", with nonchalant bonhommie, and is altogether the frankest, easiest, most jovial creature living.
The Constitution. . . illustrates the complexity of the American system: that it serves the interests of a wealthy elite, but also does enough for small property owners, for middle-income mechanics and farmers, to build a broad base of support. The slightly prosperous people who make up this base of support are buffers against the blacks, the Indians, the very poor whites. They enable the elite to keep control with a minimum of coercion, a maximum of law--all made palatable by the fanfare of patriotism and unity.
In the case of Michel Angelo we have an artist who with brush and chisel portrayed literally thousands of human forms; but with this peculiarity, that while scores and scores of his male figures are obviously suffused and inspired by a romantic sentiment, there is hardly one of his female figures that is so,—the latter being mostly representative of woman in her part as mother, or sufferer, or prophetess or poetess, or in old age, or in any aspect of strength or tenderness, except that which associates itself especially with romantic love. Yet the cleanliness and dignity of Michel Angelo's male figures are incontestable, and bear striking witness to that nobility of the sentiment in him, which we have already seen illustrated in his sonnets.
When I was small and would leaf through the Old Testament retold for children and illustrated in engravings by Gustave Dore, I saw the Lord God standing on a cloud. He was an old man with eyes, nose, and a long beard, and I would say to myself that if He had a mouth, He had to eat. And if He ate, He had intestines. But that always gave me a fright, because even though I come from a family that was not particularly religious, I felt the idea of a divine intestine to be sacrilegious. Spontaneously, without any theological training, I, a child, grasped the incompatibility of God and shit... Either/or: either man was created in God's image-- and God has intestines!-- or God lacks intestines and man is not like him... Shit is a more onerous theological problem than is evil. Since God gave man freedom, we can, if need be, accept the idea that He is not responsible for man's crimes. The responsibility for shit, however, rests entirely with Him, the Creator of man.
The human louse somewhat resembles a tiny lobster, and he lives chiefly in your trousers. Short of burning all your clothes there is no known way of getting rid of him. Down the seams of your trousers he lays his glittering white eggs, like tiny grains of rice, which hatch out and breed families of thier own at horrible speed. I think pacifists might find it helpful to illustrate thier pamphlets with enlarged photographs of lice. Glory of war indeed! In war all solderies are lousy, at the least when it is warm enough. The men that fought at Verdun, at Waterloo, at Flodden, at Senlac, at Thermopylae - every one of them had lice crawling over his testicles.
Writing comics? Still the best job in the world. I sit around all day making shit up and see it illustrated, in 99% of cases, exactly as I imagined it -- if not better. I've been doing this a long time now, and I'm going to do it until I die. Which probably won't be long, given the constant insane deadline pressure.
The usual example given to illustrate an Outside Context Problem was imagining you were a tribe on a largish, fertile island; you'd tamed the land, invented the wheel or writing or whatever, the neighbours were cooperative or enslaved but at any rate peaceful and you were busy raising temples to yourself with all the excess productive capacity you had, you were in a position of near-absolute power and control which your hallowed ancestors could hardly have dreamed of and the whole situation was just running along nicely like a canoe on wet grass... when suddenly this bristling lump of iron appears sailless and trailing steam in the bay and these guys carrying long funny-looking sticks come ashore and announce you've just been discovered, you're all subjects of the Emperor now, he's keen on presents called tax and these bright-eyed holy men would like a word with your priests.
Why do you love the woman you're in love with? Because she is. And that, after all, is God's own definition of Himself; I am that I am. The girl is who she is. Some of her isness spills over and impregnates the entire universe. Objects and events cease to be mere representations of classes and become their own uniqueness; cease to be illustrations of verbal abstractions and become fully concrete. Then you stop being in love, and the universe collapses, with an almost audible squeak of derision, into its normal insignificance.
In reading we must become creators. Once the child has learned to read alone, and can pick up a book without illustrations, he must become a creator, imagining the setting of the story, visualizing the characters, seeing facial expressions, hearing the inflection of voices. The author and the reader "know" each other; they meet on the bridge of words.
The firelight touches and transfigures her face, and we see, concretely illustrated, the impossible paradox and supreme truth—that perception is (or at least can be, ought to be) the same as Revelation, that Reality shines out of every appearance, that the One is totally, infinitely present in all particulars.
Human history, like all great movements, was cyclical, and returned to the point of beginning. The idea of indefinite progress in a right line was a chimera of the imagination, with no analogue in nature. The parabola of a comet was perhaps a yet better illustration of the career of humanity. Tending upward and sunward from the aphelion of barbarism, the race attained the perihelion of civilization only to plunge downward once more to its nether goal in the regions of chaos.
All the products of one period have something in common; the artists who illustrate the poetry of their generation are the same artists who are employed by the big financial houses. And nothing reminds me so much of the monthly parts of Notre-Dame de Paris, and of various books by Grard de Nerval, that used to hang outside the grocer's door at Combray, than does, in its rectangular and flowery border, supported by recumbent river-gods, a 'personal share' in the Water Company.
But the truth is, O men of Athens, that God only is wise; and by his answer he intends to show that the wisdom of men is worth little or nothing; he is not speaking of Socrates, he is only using my name by way of illustration, as if he said, He, O men, is the wisest, who, like Socrates, knows that his wisdom is in truth worth nothing.
Marrying cousins was astoundingly common into the nineteenth century, and nowhere is this better illustrated than with the Darwins and their cousins the Wedgwoods (of pottery fame). Charles married his first cousin Emma Wedgwood, daughter of his beloved Uncle Josiah. Darwin's sister Caroline, meanwhile, married Josiah Wedgwood III, Emma's brother and the Darwin siblings' joint first cousin. Another of Emma's brothers, Henry, married not a Darwin but a first cousin from another branch of his own Wedgwood family, adding another strand to the family's wondrously convoluted genetics. Finally, Charles Langton, who was not related to either family, first married Charlotte Wedgwood, another daughter of Josiah and cousin of Charles, and then upon Charlotte's death married Darwin's sister Emily, thus becoming, it seems, his sister-in-law's sister-in-law's husband and raising the possibility that any children of the union would be their own first cousins.
The rite, the becoming-animal of the scapegoat clearly illustrates this: a first expiatory animal is sacrificed, but a second is driven away, sent out into the desert wilderness. In the signifying regime, the scapegoat represents a new form of increasing entropy in the system of signs: it is charged with everything that was "bad" in a given period, that is, everything that resisted signifying signs, everything that eluded the referral from sign to sign through the different circles; it also assumes everything that was unable to recharge the signifier as its center and carries off everything that spills beyond the outermost circle.
In these times there is a powerful demarcation between the surface and the deep currents of human development. Events and upheavals, which seem more profound than they really are, are happening on the surface. But there is another and deeper change in progress. It is of long, steady persistent growth, very little affected and not at all disturbed by surface conditions. The artist of today should be alive to this deeper evolution on which all growth depends, has depended and will depend. On the surface there is the battle of institutions, the illustration of events, the strife between peoples. On the surface there is propaganda and there is the effort to force opinions. The deeper current carries no propaganda. The shock of the surface upheaval does not deflect it from its course. It is in search of fundamental principle; that basic principle of all, which in degree as it is apprehended points the way to beauty and order, and to the law of nature.