Pausing on the Stairs (1957)<!-- also quoted in Bartlett's Familiar Quotations (2014 edition) -->
Context: Useless, of course, to point out that the genesis of good plays is hardly ever abstract; that it tends, on the contrary, to be something as concrete and casual as a glance intercepted, a remark overheard, or an insignificant news item buried at the bottom of page three. Yet it is by trivialities like these that the true playwright's blood is fired. They spur him to story-telling; they bring on the narrative fit that is his glory and his basic credential. Show me a congenital eavesdropper with the instincts of a peeping Tom, and I will show you the makings of a dramatist. Only the makings, of course: curiosity about people is merely the beginning of the road to the masterpiece: but if that curiosity is sustained you will find, when the rules have been mastered and the end has been reached, that a miracle has happened.
“A Pin To See The Peep-Show”
Title of book.
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F. Tennyson Jesse 1
British criminologist 1888–1958Related quotes
“Let the air strike our tune,
Whilst we show reverence to yond peeping moon.”
The Witch (1616), Act v. Sc. 2. "I ’ll charm the air to give a sound, While you perform your antic round", Shakespeare, Macbeth, Act iv. Sc. 1.
“He sees no faces, hears no pitiful cries which will never be answered, only flags, pins on maps.”
For My Country's Freedom, Cap 15 "Trick for Trick"
Context: ‘ A general will say, "Order the 87th to advance." And if they are not enough or are hacked down, he will send in another regiment. He sees no faces, hears no pitiful cries which will never be answered, only flags, pins on maps.’
Vol. II, p. 31
1980s, Letters to the Schools (1981, 1985)
Context: Attention is this hearing and this seeing, and this attention has no limitation, no resistance, so it is limitless. To attend implies this vast energy: it is not pinned down to a point. In this attention there is no repetitive movement; it is not mechanical. There is no question of how to maintain this attention, and when one has learnt the art of seeing and hearing, this attention can focus itself on a page, a word. In this there is no resistance which is the activity of concentration. Inattention cannot be refined into attention. To be aware of inattention is the ending of it: not that it becomes attentive. The ending has no continuity. The past modifying itself is the future — a continuity of what has been — and we find security in continuity, not in ending. So attention has no quality of continuity. Anything that continues is mechanical. The becoming is mechanical and implies time. Attention has no quality of time. All this is a tremendously complicated issue. One must gently, deeply go into it.
Part II, p. 76
Written in Passy (1784), Ch. VI
The Autobiography (1818)