Source: Terre des Hommes (1939), Ch. IX Barcelona and Madrid (1936)
Context: Human drama does not show itself on the surface of life. It is not played out in the visible world, but in the hearts of men. … One man in misery can disrupt the peace of a city. It is another of the miraculous things about mankind that there is no pain nor passion that does not radiate to the ends of the earth. Let a man in a garret but burn with enough intensity and he will set fire to the world.
“I must own your calculations & comparisons betwixt our different professions to be just, provided you remember that in mine a Man may do great things and starve in a garret if he does not conquer his Passions.”
Quote in: Undated letters to Jackson, in The Letters of Thomas Gainsborough, ed. Mary Woodall, 1961
undated, Undated letters to William Jackson
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Thomas Gainsborough 28
English portrait and landscape painter 1727–1788Related quotes
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The Eighth Revelation, Chapter 18
Context: Here saw I a great oneing betwixt Christ and us, to mine understanding: for when He was in pain, we were in pain.
And all creatures that might suffer pain, suffered with Him: that is to say, all creatures that God hath made to our service. The firmament, the earth, failed for sorrow in their Nature in the time of Christ’s dying. For it belongeth naturally to their property to know Him for their God, in whom all their virtue standeth: when He failed, then behoved it needs to them, because of kindness, to fail with Him, as much as they might, for sorrow of His pains.
The Notebooks of Leonardo da Vinci (1883), XIX Philosophical Maxims. Morals. Polemics and Speculations.
Quoted from The World’s Famous Orations, Vol. VIII., Red Jacket on the Religion of the White Man and the Red https://www.bartleby.com/268/8/3.html, Speech delivered at a council of chiefs of the Six Nations in the summer of 1805 after Mr. Cram, a missionary, had spoken of the work he proposed to do among them.
From a letter to H. P. Lovecraft (c. July 1933)
Letters
Context: It seems to me that many writers, by virtue of environments of culture, art and education, slip into writing because of their environments. I became a writer in spite of my environments. Understand, I am not criticizing those environments. They were good, solid and worthy. The fact that they were not inducive to literature and art is nothing in their disfavor. Never the less, it is no light thing to enter into a profession absolutely foreign and alien to the people among which one's lot is cast; a profession which seems as dim and faraway and unreal as the shores of Europe. The people among which I lived — and yet live, mainly — made their living from cotton, wheat, cattle, oil, with the usual percentage of business men and professional men. That is most certainly not in their disfavor. But the idea of a man making his living by writing seemed, in that hardy environment, so fantastic that even today I am sometimes myself assailed by a feeling of unreality. Never the less, at the age of fifteen, having never seen a writer, a poet, a publisher or a magazine editor, and having only the vaguest ideas of procedure, I began working on the profession I had chosen. I have accomplished little enough, but such as it is, it is the result of my own efforts. I had neither expert aid nor advice. I studied no courses in writing; until a year or so ago, I never read a book by anybody advising writers how to write. Ordinarily I had no access to public libraries, and when I did, it was to no such libraries as exist in the cities. Until recently — a few weeks ago in fact — I employed no agent. I have not been a success, and probably never will be. But whatever my failure, I have this thing to remember — that I was a pioneer in my profession, just as my grandfathers were in theirs, in that I was the first man in this section to earn his living as a writer.