The Art of the Theatre (1925), p. 171
Context: Once the curtain is raised, the actor ceases to belong to himself. He belongs to his character, to his author, to his public. He must do the impossible to identify himself with the first, not to betray the second, and not to disappoint the third. And to this end the actor must forget his personality and throw aside his joys and sorrows. He must present the public with the reality of a being who for him is only a fiction. With his own eyes, he must shed the tears of the other. With his own voice, he must groan the anguish of the other. His own heart beats as if it would burst, for it is the other's heart that beats in his heart. And when he retires from a tragic or dramatic scene, if he has properly rendered his character, he must be panting and exhausted.
As quoted in Conversations of Lord Byron with Thomas Medwin (1832), Preface.
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 77.
Vol. 1, pt. 1, Chapter 2: "Into Italy" Translated by W.P.Dickson.
The History of Rome - Volume 1
Context: The great problem of man, how to live in conscioues harmony with himself, with his neighbor, and with the whole to which he belongs, admits of as many solutions as there are provinces in our Father's kingdom; and it is in this, and not in the material sphere, that individuals and nations display their divergences of character. The exciting causes which gave rise to this intrinsic contrast must have been in the Græco-Italian period as yet wanting; it was not until the Hellenes and Italians separated that deep-seated diversity of mental character became manifest, the effects of which contiue to the present day. The family and the state, religion and art, received in Italy and in Greece respectively a development so peculiar and so thoroughly national, that the common basis, on which in these respects also the two peoples rested, has been so overgrown as to be almost concealed from our view. That Hellenic character, which sacrificed the whole to its individual elements, the nation to the single state, and the single state to the citizen; whose ideal of life was the beautiful and the good; and, only too often, the pleasure of idleness; whose political development consisted in intensifying the original individualism of the several cantons, and subsequently led to the internal dissolution of the authority of the state; whose view of religion first invested its gods with human attributes, and then denied their existence; which gave full play to the limbs in the sports of the naked youth, and gave free scope to thought in all its grandeur and in all its awefulness;- and taht Roman character, which solemnly bound the son to reverence the father, the citizen to reverence the ruler, and all to reverence the gods; which required nothing; and honoured nothing, but the useful act, and compelled every citizen to fill up every moment of his brief life with unceasing work; which made it a duty even in the boy to modestly to cover the body; which deemed every one a bad citizen who wished to be different from his fellows; which viewed the states as all in all, and a desire for the state's extension as the only aspiration not liable to censure,- who can in thought trace back these sharply-marked contrasts to that original unity which embraced them both, prepared the way for their development, and at length produced them?
Friedrich Wilhelm Schelling, On the History of Modern Philosophy (1833) [Translated from the German by Andrew Bowie]
S - Z
The Great Movies II (2005), p. 94
Context: It's said that Chaplin wanted you to like him, but Keaton didn't care. I think he cared, but was too proud to ask. His films avoid the pathos and sentiment of the Chaplin pictures, and usually feature a jaunty young man who sees an objective and goes for it in the face of the most daunting obstacles. Buster survives tornados, waterfalls, avalanches of boulders, and falls from great heights, and never pauses to take a bow: He has his eye on his goal. And his movies, seen as a group, are like a sustained act of optimism in the face of adversity; surprising, how without asking, he earns our admiration and tenderness.
Because he was funny, because he wore a porkpie had, Keaton's physical skills are often undervalued … no silent star did more dangerous stunts than Buster Keaton. Instead of using doubles, he himself doubled for his actors, doing their stunts as well as his own.
Country Living and Country Thinking, Preface, reported in Bartlett's Familiar Quotations, 10th ed. (1919).
Beware of Pity (1939)
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 46.
Source: A Vindication of the Rights of Woman (1792), Ch. 1
