“Existence has little repose, and the cultivation and love of poetry require a detached spirit and a certain amount of leisure.”

Source: The Short Stories of F. Scott Fitzgerald

Source: Discipleship (1937), The Disciple and Unbelievers, p. 184.

The Critic as Artist (1891), Part II

De Abaitua interview (1998)
Context: There is a certain amount of sham in. There is a certain amount of theatre. It’s as loosely knit as that. We’re sort of coming out of the closet a bit more over the next couple of years. We’re going to be bringing out – manifesto’s too pushy a word – if it’s a theatre of marvels, we’re bringing out a theatre programme in the next couple of years. We’re working on it at the moment – our unified field theory of spookiness where we try to explain everything from language, consciousness, grey aliens to Rosicrucianism or whatever. It is a grand, mad theory which I’m working my best on at the moment to make it rational. It is an anti-rationalistic theory but I’m trying to couch it in rational terms so that it is not as insular as a lot of magic stuff.

Source: A Season in Hell/The Drunken Boat

On his style of filming The Hunger Games, as quoted in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/
Context: I’m trying to capture what was visceral in the books, which is your first-person present tense narrative, and that’s gonna require a certain amount of subjectivity. In order to be in Katniss’ point of view and in her shoes — what being in a character’s point of view is, is restricting the information that the audience has to what that character has, and not being writer omniscient. I’m not cutting from place-to-place, I’m moving in this serpentine, destabilized path as Katniss wanders through this world. That’s not only true in the shooting style, it’s also true in the editing style. … This was a very conscious decision to create a very subjective style because the books are so subjective, they’re first-person and they’re urgent and you see the world as she sees the world, so that was the reason for it.

Martí : Thoughts/Pensamientos (1994)
Context: There are men who live contented though they live without decorum. Others suffer as if in agony when they see around them people living without decorum. There must be a certain amount of decorum in the world, just as there must be a certain amount of light. When there are many men without decorum, there are always others who themselves possess the decorum of many men. These are the ones who rebel with terrible strength against those who rob nations of their liberty, which is to rob men of their decorum. Embodied in those men are thousands of men, a whole people, human dignity.

Source: 1900s, Up From Slavery (1901), Chapter XI: Making Their Beds Before They Could Lie On Them
Source: Up from Slavery

1860s, Reply to Charles Kingsley (1860)