On Progress: Its Law and Cause
Essays on Education (1861)
Napoleon : In His Own Words (1916)
“Every effect that one produces gives one an enemy. To be popular one must be a mediocrity.”
Source: The Picture of Dorian Gray
Creative Evolution (1907), Chapter I, as translated by Arthur Mitchell (1911), p. 14.; italicized in the original.
The Art of Magic (1891)
Context: No one regards the magician today as other than an ordinary man gifted with no extraordinary powers. The spectators come, not to be impressed with awe, but fully aware that his causes and effects are natural. They come rather as a guessing committee, to spy out the methods with which he mystifies. Hundreds of eyes are upon him. Men with more knowledge of the sciences than he come to trip and expose him, and to baffle their scrutiny is the study of his life. Long years of training and exercise alone will not make a magician. … There must be some natural aptitude for the art; it must be born in a man, and can never be acquired by rule. He must be alert both in body and in mind; cool and calculating to the movement of a muscle under all circumstances; a close student of men and human nature. To these qualifications he must add the rather incongruous quality of a mind turning on contradictions. With a scientific cause he must produce a seemingly opposite effect to that warranted by order and system.
I know of no life requiring such a series of opposite qualities as the magician's. And after the exercise of all these qualities I have named, resulting in the production of the most startling and novel results, the magician has not the satisfaction, like other men, of the enjoyment of his own product. He must be prepared to see it copied by others, or after a short time discovered by the public.
Pt. I, sec. 3, "The Principle of Economy Applied to Sentences"
The Philosophy of Style (1852)
Context: We have a priori reasons for believing that in every sentence there is some one order of words more effective than any other; and that this order is the one which presents the elements of the proposition in the succession in which they may be most readily put together.
As quoted in Cosmopolitan (December 1892).
Context: A so-called magician, more than a poet, must be born with a peculiar aptitude for the calling. He must first of all possess a mind of contrarieties, quick to grasp the possibilities of seemingly producing the most opposite effects from the most natural causes. He must be original and quick-witted, never to be taken unawares. He must possess, in no small degree, a knowledge of the exact sciences, and he must spend a lifetime in practice, for in the profession its emoluments come very slowly. All this is discouraging enough, but this is not all. The magician must expect the exposure of his tricks sooner or later, and see what it has required long months of study and time to perfect dissolved in an hour. The very best illusions of the best magicians of a few years ago are now the common property of traveling showmen at country fairs. I might instance the mirror illusions of Houdin; the cabinet trick of the Davenport Brothers, and the second sight of Heller — all the baffling puzzles of the days in which the respective magicians mentioned lived. All this is not a pleasant prospective picture for the aspirant for the honors of the magician.
“There is more to be gained by producing more opportunities than by optimizing existing ones.”
Out of Control: The New Biology of Machines, Social Systems and the Economic World (1995), New Rules for the New Economy: 10 Radical Strategies for a Connected World (1999)
Interview, "My Afternoon with Frank Zappa", Larry Rogak, (New York writer and attorney) Zappa.com (May 8, 1980) http://www.zappa.com/messageboard/viewtopic.php?f=4&t=11831
