As quoted in "Dalai Lama honours Tintin and Tutu" at BBC News (2 June 2006)
Homecoming saga, The Memory Of Earth (1992)
"Interview with Patrick Warburton" by Josh Bell at AboutDOTcom (2 March 2009)]
Context: It is more inspirational, I’d say, with the Tick. Because once you grasp or realize who this guy is, the fact that you’re inventing a world and an atmosphere and a persona that, really, his past is a mystery. So everything that he looks at or perceives can be brand new, and he can get really, really excited and intrigued by something that’s just a commonality for everybody else, that’s humorous. He’s like a child; everything’s new. So you just bring that attitude to him, a childlike attitude of discovering things.
Yet you’ve got this great writing, where everything’s mixed metaphor, and he’s articulate, and he describes everything in a new way. It’s inspiring as an actor to be able to go to that place. Anything you do is not going to be wrong. All you’ve got to do is just be inventive with this character and have fun. That’s the definition of an ingenious character. To get to step into the shoes of the Tick, I just felt that was an honor. Once again, I will reiterate that Fox apparently didn’t have a clue.
“A lady is a woman who makes a man behave like a gentleman.”
"The Part-Time Lady," http://books.google.com/books?id=0qhKAAAAMAAJ&q=%22A+lady+is+a+woman+who+makes+a+man+behave+like+a+gentleman%22&pg=PA104#v=onepage A Surfeit of Honey (1957)
“Properly speaking, a man has as many social selves as there are individuals who recognise him.”
Source: 1890s, The Principles of Psychology (1890), Ch.10
Part 1.3 Rights of Man
1790s, Rights of Man, Part I (1791)
Quoted as a 1968 statement of Lennon's in Sunday Tasmanian (29 September 1996), and in The Rough Guide to the Beatles (2003) by Chris Ingham, p. 271, this actually derives from a statement which Lennon perhaps had been quoting:
Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness.
José Ortega y Gasset, in "Art a Thing of No Consequence" in The Dehumanization of Art (1925)
Misattributed
"Art a Thing of No Consequence"
The Dehumanization of Art and Ideas about the Novel (1925)
Context: Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness. The symbol of art is seen again in the magic flute of the Great God Pan which makes the young goats frisk at the edge of the grove.
All modern art begins to appear comprehensible and in a way great when it is interpreted as an attempt to instill youthfulness into an ancient world.
