“Friendship needs a certain parallelism of life, a community of thought, a rivalry of aim.”

Address to the Senate (22 January 1917)
1910s
Context: The question upon which the whole future peace and policy of the world depends is this: Is the present war a struggle for a just and secure peace, or only for a new balance of power? If it be only a struggle for a new balance of power, who will guarantee, who can guarantee, the stable equilibrium of the new arrangement? Only a tranquil Europe can be a stable Europe. There must be, not a balance of power, but a community of power; not organized rivalries, but an organized common peace.

"Think Little".
A Continuous Harmony (1972)

Source: The Life of Reason: The Phases of Human Progress (1905-1906), Vol. II, Reason in Society, Ch. V: Democracy

Source: Black Studies: Bringing Back The Person (1969), p. 49

We the People interview (1996)
Context: While once friendship in our western tradition was the supreme flower of politics, I think that if community life exists at all today, it is in some way the consequence of friendship cultivated by each one who initiates it. This goes beyond anything which people usually talk about, saying each one of you is responsible for the friendships he/she can develop, because society will only be as good as the political result of these friendships.

Source: Propaganda & The Ethics Of Persuasion (2002), Chapter Two, History Of Propaganda, p. 43

What they set themselves to achieve instead - often not recognizing fully what they were doing - was the construction of new forms of community within which the moral life could be sustained so that both morality and civility might survive the coming ages of barbarism and darkness. If my account of our moral condition is correct, we ought also to conclude that for some time now we too have reached that turning point.
Source: After Virtue (1981), p. 263

In response to the question, "How do you approach your roles?" from Inside the Actors Studio (2007) http://uk.youtube.com/user/pfeifferpfan2
Context: I always look at it as — it's like a treasure map, and each little detail in it, you sort of look at it for information and it points you in the right direction, to tell you where you need to go. You start out with a few choices, obviously — I need to learn the clarinet or I need to learn the cello, or I need to learn how to stay underwater without panicking — but it is like painting in a way, that at a certain point, the painting begins to tell you what to do. And with acting, it's the same — with acting in film, anyway — at a certain point then, what you've already put on screen begins to dictate to you where you need to go, and then it just starts to create itself in a way. And what I try to do is find a strand of myself, as different as I might feel the character is from me, and as removed as it is, I always try to find that one part of me. And then you kind of build on to that, because it's a way to keep you connected. And you never want to lose that connection. There's always some sort of parallel that's going on in my own life, and so you can use it to, you know, bring closure, perhaps, to certain things that you haven't. A healing, a reconnection. And I believe in that. I believe in that.

Commonwealth v. Kennedy, 170 Mass. 18, 20 (1897) (opinion of the Supreme Court of Massachusetts).
1890s