Quotes about picture
page 2
Schwitters (1921) in: Abstract Art, Anna Moszynska, Thames and Hudson, London 1990, p. 68-69.
1920s
remark by Monet – between 1900 and 1920 – on his 'Water lilies' paintings; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 131-132
1900 - 1920
Picasso (1937), quote in: William Rowlandson (2007), Reading Lezama's Paradiso. p. 115.
Reply by Picasso when he was asked to explain the symbolism in the Guernica.
1930s
1990s, Letter to the Union-Sun & Journal (1992)
Quote in a letter from Pourville c. 1882, to his art-dealer Durand-Ruel; as cited in: K.E. Sullivan. Monet: Discovering Art, Brockhampton press, London (2004), p. 50
1870 - 1890
Source: 1920s, Sceptical Essays (1928), Ch. 2: Dreams and Facts
Talk titled "U.S. Foreign Policy in a Globalized World" at Johns Hopkins University, Maryland, March 13, 2000 https://web.archive.org/web/20021220030406/http://www.gseis.ucla.edu/faculty/kellner/ed270/multimedia.html.
Quotes 2000s, 2000
Family Business
Lyrics, The College Dropout (2004)
Letter to Frank Belknap Long (27 February 1931), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 307
Non-Fiction, Letters, to Frank Belknap Long
Picture to Burn, written by Taylor Swift and Liz Rose.
Song lyrics, Taylor Swift (2006)
Source: Das Ressentiment im Aufbau der Moralen (1912), L. Coser, trans. (1961), pp. 85-88
From a Just for Laughs appearance in a parody of the popular Molson "I Am Canadian" commercials (21 July 2007) http://video.google.com/videoplay?docid=-1648058156561008324&q=i+am+canadian.
Herschel Browning Chip (1968, p. 267).
(another and longer version:) What a sad fate for a painter who loves blondes, but who refrains from putting them in his picture because they don’t go with the basket of fruit! What misery for a painter who hates apples to be obliged to use them all the time because they go with the cloth! I put everything I love in my paintings. So much the worse for the things, they have only to arrange themselves with one another
Richard Friendenthal (1963, p. 256).
1930s, "Conversations avec Picasso," 1934–35
On a phallic dream he had as a young child. p. 14
Memories, Dreams, Reflections (1963)
Perennial fashion — Jazz, as quoted in The Sociology of Rock (1978) by Simon Frith
Boisgeloup, winter 1934
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Quotes, 1930's, "Conversations avec Picasso," 1934–35
Source: Culture and Value (1980), p. 17e
Robert Burns Woodward, "Art and Science in the Synthesis of Organic Compounds: Retrospect and Prospect," in Pointers and Pathways in Research (Bombay:CIBA of India, 1963).
Boisgeloup, winter 1934
Richard Friedenthal, (1963, p. 256).
Quotes, 1930's, "Conversations avec Picasso," 1934–35
Quote by old Picasso (1960's); as quoted in 'Matisse & Picasso', Paul Trachtman, Smithsonian Magazine, February 2003, p 1
1960s
Herschel Browning Chip (1968, p. 271).
1930s, "Conversations avec Picasso," 1934–35
written in Saint Cloud, 1889
Quotes from his text: 'Saint Cloud Manifesto', Munch (1889): as quoted in Edvard Much – behind the scream, Sue Prideaux; Yale University Press, New Haven and London, 2007, pp. 120 -121
1880 - 1895
Galen, Exhortation to Study the Arts, Coxe (1846), p. 479; cf. Diogenes Laërtius, vi. 32.
"The Day They Signed the Treaty" (1979), p. 224
It All Adds Up (1994)
On the Wardenclyffe Tower, in "The Future of the Wireless Art" in Wireless Telegraphy and Telephony (1908)
Boisgeloup, winter 1934
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008
Quotes, 1930's, "Conversations avec Picasso," 1934–35
“The human body is the best picture of the human soul.”
Pt II, p. 178
Philosophical Investigations (1953)
"Recollections of an Exciting Era," three lectures given at Varenna, 5 August 1972, quoted in Peter Galison, "The Suppressed Drawing: Paul Dirac's Hidden Geometry", Representations, No. 72 (Autumn, 2000)
He said, "You've got a point."
At a rally in Londonberry, New Hampshire (16 October 2008) http://transcripts.cnn.com/TRANSCRIPTS/0810/16/cnr.04.html
2008
Speech on the 24th Anniversary of the Revolution http://www.youtube.com/watch?v=8IGbjPqFFvA (7 November 1941)
Stalin's speeches, writings and authorised interviews
As quoted in Nicky Woolf, "'PUAhate' and 'ForeverAlone': inside Elliot Rodger's online life", The Guardian (May 30, 2014)
Bodybuilding.com, PUAhate and ForeverAlone posts
in his letter to Lugné-Poë, End of 1890; as quoted in Pierre Bonnard, by John Rewald; MoMA - distribution, Simon & Schuster, New York, 1918, p. 17 - note 11
Lugné-Poe was just called then in the French army; Bonnard had left the army already, c. one year ago
Source: 1930s-1951, Philosophical Occasions 1912-1951 (1993), Ch. 7 : Remarks on Frazer's Golden Bough, p. 123
“My first Hollywood picture wasn't released, it escaped.”
Insurance Newsweek, volume 45 (1944), page 60
"Some Notes on Interplanetary Fiction", Californian 3, No. 3 (Winter 1935): 39-42. Published in Collected Essays, Volume 2: Literary Criticism edited by S. T. Joshi, p. 178
Non-Fiction
Of his film "The Brotherhood".
Interview, 1969 http://www.rogerebert.com/interviews/interview-with-kirk-douglas
Letter to a round-robin letter-writing group called "the Coryciani" (14 July 1936), quoted in Lord of a Visible World: An Autobiography in Letters edited by S.T. Joshi, p. 339
Non-Fiction, Letters
“People who try to explain pictures are usually barking up the wrong tree.”
Quoted in Picasso on Art (1988), ed. Dore Ashton.
Attributed from posthumous publications
Quoted in Variety (December 2005).
Variant: It's like anything in life, visualizing the old man you're going to become: As long as you have a clear picture of that — the life you want to lead — eventually you'll probably get there.
During an interview with H. R. Knickerbocker, first published in Hearst's International Cosmopolitan (January 1939), in which Jung was asked to diagnose Adolf Hitler, Benito Mussolini, and Joseph Stalin, later published in Is Tomorrow Hitler's? (1941), by H. R. Knickerbocker, also published in The Seduction of Unreason : The Intellectual Romance with Fascism (2004) by Richard Wolin, Ch. 2 : Prometheus Unhinged : C. G. Jung and the Temptations of Aryan Religion, p. 75
Herschel Browning Chip (1968, p. 267)
Other translation:
Formerly pictures used to move towards completion in progressive stages. Each day would bring something new. A picture was a sum of additions. With me, picture is a sum of destructions. I do a picture, then I destroy it. But in the long run nothing is lost; the red that I took away from one place turns up somewhere else.
Richard Friedenthal (1968, p. 256); Also quoted in: John Bowker (1988), Is anybody out there?: religions and belief in God in the contemporary world. p. 57.
1930s, "Conversations avec Picasso," 1934–35
“Take My Picture, Hollywood! I Wanna Be a Star!”
52nd Grammy Awards.
Source: 1956 - 1967, Art-as-Art Dogma' part II, (1964), pp. 156-157
The last line is about having to take up a job
My Inventions (1919)
in a letter to Frédéric Bazille; as cited in: Edward B. Henning, Cleveland Museum of Art. Creativity in art and science, 1860-1960. (1987), p. 95
1850 - 1870
Faces in the Fire (1860), st. 13
Three Sunsets and Other Poems (1898)
The Notebooks of Leonardo Da Vinci (1938), XXIX Precepts of the Painter
Two Essays on Analytical Psychology, CW 7 (1957). "The Relations between the Ego and the Unconscious" P.309
Source: Player Piano (1952), Chapter 21 (p. 212)
Laura, Scene Two
The Glass Menagerie (1944)
Richard Friedenthal, (1963, p. 260).
1930s, "Conversations avec Picasso," 1934–35
Keith (1968) PhotoplayMagazine.com
Brian Keith on starring in his own movies
The True Story of My Life http://www.public.asu.edu/~bruce/Taylor57.txt (November 8 - December 13, 1924)
Twenty-Four Hours in the Life of a Woman (1927)
Source: 1910s, Mysticism and Logic and Other Essays http://archive.org/stream/mysticism00russuoft/mysticism00russuoft_djvu.txt (1918), Ch. 1: Mysticism and Logic
1920s, Viereck interview (1929)
Quote from Otto Dix, 1891-1969, p. 280; as cited in 'Portfolios', Alexander Dückers; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 80
Quote from his writings Thoughts on Art, Caspar David Friedrich; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 33-34
undated
As quoted in "Kate and Deborah Disagree" https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=SBS19821031.1.97&srpos=1&e=31-10-1982-31-10-1982--en--20--1--txt-txIN-%22I+usually+take+no+notice+of+reviews%22-------1
On how he started doing westerns, as quoted in "Innocent Revisited" in TIME magazine (29 June 1970) http://www.time.com/time/magazine/article/0,9171,878861,00.html
Boisgeloup, winter 1934
Richard Friendenthal (1963, p. 256).
Quotes, 1930's, "Conversations avec Picasso," 1934–35
In his application for a grant given by the Guggenheim Foundation 1944; as quoted in Abstract expressionism, Barbara Hess, Taschen Köln, 2006, p. 9
1940's
Who would believe that? But it's true!
Alejandro Jodorowsky reveals how his Dune inspired alien challanges to get the script published http://blogs.indiewire.com/theplaylist/alejandro-jodorowsky-reveals-how-his-dune-inspired-alien-challenges-to-get-the-script-published-20140321
Quote from his writings Thoughts on Art, Caspar David Friedrich; as cited in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 33
undated
Letter to M. K.
The Road to Revolution (2008)
Letter to James F. Morton (6 November 1930), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 207
Non-Fiction, Letters, to James Ferdinand Morton, Jr.
“The logical picture of the facts is the thought.”
3
Original German: Das logische Bild der Tatsachen ist der Gedanke.
1920s, Tractatus Logico-Philosophicus (1922)
Response to observations made in In A Minor Key by Charles D. Isaacson, in The Conservative, Vol. I, No. 2, (1915), p. 4
Non-Fiction
Statement made in 1937 or earlier, as quoted in Personality and Life : A Practical Guide to Personality Improvement (1941) by Jay N. Holliday
Context: Hold a picture of yourself long and steadily enough in your mind's eye and you will be drawn toward it. Picture yourself vividly as defeated and that alone will make victory impossible. Picture yourself vividly as winning, and that alone will contribute immeasurably to success. Do not picture yourself as anything and you will drift like a derelict.
Referring to the lack of established culture and the established institution of slavery in the United States, in "Review of Seybert’s Annals of the United States", published in The Edinburgh Review (1820)
Context: In the four quarters of the globe, who reads an American book? Or goes to an American play? or looks at an American picture or statue? What does the world yet owe to American physicians or surgeons? What new substances have their chemists discovered? Or what old ones have they advanced? What new constellations have been discovered by the telescopes of Americans? Who drinks out of American glasses? Or eats from American plates? Or wears American coats or gowns? or sleeps in American blankets? Finally, under which of the old tyrannical governments of Europe is every sixth man a slave, whom his fellow-creatures may buy and sell and torture?
Ch III : The Tool
Terre des Hommes (1939)
Context: Transport of the mails, transport of the human voice, transport of flickering pictures — in this century, as in others, our highest accomplishments still have the single aim of bringing men together. Do our dreamers hold that the invention of writing, of printing, of the sailing ship, degraded the human spirit?
It seems to me that those who complain of man's progress confuse ends with means. True, that man who struggles in the unique hope of material gain will harvest nothing worth while. But how can anyone conceive that the machine is an end? It is a tool. As much a tool as is the plough. The microscope is a tool. What disservice do we do the life of the spirit when we analyze the universe through a tool created by the science of optics, or seek to bring together those who love one another and are parted in space?
Letter to August Derleth (21 November 1930), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 220
Non-Fiction, Letters, to August Derleth
Context: Time, space, and natural law hold for me suggestions of intolerable bondage, and I can form no picture of emotional satisfaction which does not involve their defeat—especially the defeat of time, so that one may merge oneself with the whole historic stream and be wholly emancipated from the transient and the ephemeral. Yet I can assure you that this point of view is joined to one of the plainest, naivest, and most unobtrusively old-fashioned of personalities—a retiring old hermit and ascetic who does not even know what your contemporary round of activities and "parties" is like, and who during the coming winter will probably not address two consecutive sentences to any living person—tradesmen apart—save a pair of elderly aunts! Some people—a very few, perhaps—are naturally cosmic in outlook, just as others are naturally 'of and for the earth'. I am myself less exclusively cosmic than Klarkash-Ton and Wandrei... I begin with the individual and the soil and think outward—appreciating the sensation of spatial and temporal liberation only when I can scale it against the known terrestrial scene. They, on the other hand, are able to think of wholly non-human abysses of ultimate space—without reference-points—as realities neither irrelevant nor less significant than immediate human life. With me, the very quality of being cosmically sensitive breeds an exaggerated attachment to the familiar and the immediate—Old Providence, the woods and hills, the ancient ways and thoughts of New England—whilst with them it seems to have the opposite effect of alienating them from immediate anchorages. They despise the immediate as trivial; I know that it is trivial, but cherish rather than despise it—because everything, including infinity itself, is trivial. In reality I am the profoundest cynic of them all, for I recognize no absolute values whatever.
On the style of the film Rashomon, as quoted in The Films of Akira Kurosawa (1998) by Donald Richie, 3rd edition, p. 79
Context: I like silent pictures and I always have. They are often so much more beautiful than sound pictures are. Perhaps they had to be. At any rate I wanted to restore some of this beauty. I thought of it, I remember in this way: one of techniques of modern art is simplification, and that I must therefore simplify this film.
Beautiful Minds (2010)
Context: Science doesn't always go forwards. It's a bit like doing a Rubik's cube. You sometimes have to make more of a mess with a Rubik's cube before you can get it to go right. You build up this picture of what there is and you believe it to be true and you work with this picture and you refine it but sometimes you have to abandon the picture. Sometimes you discover the picture you thought you had, that everybody thought we had, actually turns out to be wrong.
“Life is painting a picture, not doing a sum.”
Address to the Harvard Alumni Association to the Class of '61, in Speeches (1913), p. 96.
1910s
Nature and the Greeks (1954)
Context: The scientific world-picture vouchsafes a very complete understanding of all that happens — it makes it just a little too understandable. It allows you to imagine the total display as that of a mechanical clockwork which, for all that science knows, could go on just the same as it does, without there being consciousness, will, endeavor, pain and delight and responsibility connected with it — though they actually are. And the reason for this disconcerting situation is just this: that for the purpose of constructing the picture of the external world, we have used the greatly simplifying device of cutting our own personality out, removing it; hence it is gone, it has evaporated, it is ostensibly not needed.
The Notebooks of Leonardo da Vinci (1883), IX The Practice of Painting
Context: A picture or representation of human figures, ought to be done in such a way as that the spectator may easily recognise, by means of their attitudes, the purpose in their minds. Thus, if you have to represent a man of noble character in the act of speaking, let his gestures be such as naturally accompany good words; and, in the same way, if you wish to depict a man of a brutal nature, give him fierce movements; as with his arms flung out towards the listener, and his head and breast thrust forward beyond his feet, as if following the speaker's hands. Thus it is with a deaf and dumb person who, when he sees two men in conversation — although he is deprived of hearing — can nevertheless understand, from the attitudes and gestures of the speakers, the nature of their discussion.
Source: Alone (1938), Ch. 6
Context: When a man achieves a fair measure of harmony within himself and his family circle, he achieves peace; and a nation made up of such individuals and groups is a happy nation. As the harmony of a star in its course is expressed by rhythm and grace, so the harmony of a man's life-course is expressed by happiness; this, I believe, is the prime desire of mankind.
"The universe is an almost untouched reservoir of significance and value," and man need not be discouraged because he cannot fathom it. His view of life is no more than a flash in time. The details and distractions are infinite. It is only natural, therefore, that we should never see the picture whole. But the universal goal — the attainment of harmony — is apparent. The very act of perceiving this goal and striving constantly toward it does much in itself to bring us closer, and therefore, becomes an end in itself.
Black Elk Speaks (1961)
Context: They told me I had been sick twelve days, lying like dead all the while, and that Whirlwind Chaser, who was Standing Bear's uncle and a medicine man, had brought me back to life. I knew it was the Grandfathers in the Flaming Rainbow Tepee who had cured me; but I felt afraid to say so. My father gave Whirlwind Chaser the best horse he had for making me well, and many people came to look at me, and there was much talk about the great power of Whirlwind Chaser who had made me well all at once when I was almost the same as dead.
Everybody was glad that I was living; but as I lay there thinking about the wonderful place where I had been and all that I had seen, I was very sad; for it seemed to me that everybody ought to know about it, but I was afraid to tell, because I knew that nobody would believe me, little as I was, for I was only nine years old. Also, as I lay there thinking of my vision, I could see it all again and feel the meaning with a part of me like a strange power glowing in my body; but when the part of me that talks would try to make words for the meaning, it would be like fog and get away from me.
I am sure now that I was then too young to understand it all, and that I only felt it. It was the pictures I remembered and the words that went with them; for nothing I have ever seen with my eyes was so clear and bright as what my vision showed me; and no words that I have ever heard with my ears were like the words I heard. I did not have to remember these things; they have remembered themselves all these years. It was as I grew older that the meanings came clearer and clearer out of the pictures and the words; and even now I know that more was shown to me than I can tell.
“Close your bodily eye, so that you may see your picture first with the spiritual eye.”
Variant translation: Close your bodily eye, that you may see your picture first with the eye of the spirit. Then bring to light what you have seen in the darkness, that its effect may work back, from without to within.
Quoted in The Romantic Imagination: Literature and Art in England and Germany (1996) by Fredrick Berwick and Jürgn Klein, and in "Culture: Caspar D. Friedrich and the Wasteland" by Gjermund E. Jansen in Bits of News (3 March 2005) http://www.bitsofnews.com/content/view/154/42/
undated
Context: Close your bodily eye, so that you may see your picture first with the spiritual eye. Then bring to the light of day that which you have seen in the darkness so that it may react upon others from the outside inwards. A picture must not be invented but felt. Observe the form exactly, both the smallest and the large and do not separate the small from the large, but rather the trivial from the important.
quote in a letter to Frédéric Bazille, September 25, 1869; as cited in: Bonafoux (1986, 72), cited in Michael P. Farrell (2003) Collaborative Circles: Friendship Dynamics and Creative Work. p. 42
1850 - 1870
Context: [Chopping wood] is harder than you think, and I'll bet that you would not split much wood... All the same, I have probably not reached the end of my troubles. Here is winter at hand, a season not very pleasant for the wretched. Then comes the Salon. Alas! I still won't be in it, for I shall have done nothing. I have a dream a picture of the bathing spot at the Grenouillere, for which I've made a few poor sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this painting.
Close of the address, as quoted in Rise of the Spanish-American Republics as Told in the Lives of their Liberators (1918) by William Spence Robertson, p. 239
The Angostura Address (1819)
Context: When I contemplate this immense reunited country, my soul mounts to that height demanded by the colossal perspective of a picture so wonderful. My imagination takes flight toward future ages and admiringly observes from them the prosperity, the splendor, and the life which will exist within this vast territory. I am carried away; and I seem to behold it in the heart of the universe, stretching along its extensive coasts between two oceans which nature has separated; but which our fatherland has united by long and wide canals. I see it serve as the bond, as the center, as the emporium of the human race. I see it sending to the ends of the earth the treasures of gold and silver which its mountains contain. I see it, through the healing virtue of its plants, dispensing health and life to afflicted men of the Old World. I see it disclosing its precious secrets to the sages who know that the store of knowledge is more valuable than the store of riches which nature has so prodigally bestowed upon us. I see it seated upon the throne of liberty, the scepter of justice in its hand, crowned by glory, showing to the Old World the majesty of the New World.
As A Man Thinketh (1902), Effect of Thought on Circumstances
Context: The world is your kaleidoscope, and the varying combinations of colours, which at every succeeding moment it presents to you are the exquisitely adjusted pictures of your ever-moving thoughts.
You will be, what you "will" to be.
Let failure find its false content,
In that poor word "environment,"
But spirit scorns it and is free.
“A bad play folds and is forgotten, but in pictures we don't bury our dead.”
As quoted in Culture and Commitment, 1929-1945 (1973) by Warren Susman, p. 180
Context: A bad play folds and is forgotten, but in pictures we don't bury our dead. When you think it's out of your system, your daughter sees it on television and says, My father is an idiot.
Literature and Revolution (1924), edited by William Keach (2005), Ch. 4 : Futurism, p. 120
Variants:
Art is not a mirror to hold up to society, but a hammer with which to shape it.
Remarks apparently derived from Trotsky's observations, or those he implies preceded his own, this is attributed to Bertolt Brecht in Paulo Freire : A Critical Encounter (1993) by Peter McLaren and Peter Leonard, p. 80, and to Vladimir Mayakovsky in The Political Psyche (1993) by Andrew Samuels, p. 9
Art is not a mirror held up to society, but a hammer with which to shape it.
Context: Art, it is said, is not a mirror, but a hammer: it does not reflect, it shapes. But at present even the handling of a hammer is taught with the help of a mirror, a sensitive film that records all the movements. Photography and motion-picture photography, owing to their passive accuracy of depiction, are becoming important educational instruments in the field of labor. If one cannot get along without a mirror, even in shaving oneself, how can one reconstruct oneself or one's life, without seeing oneself in the "mirror" of literature? Of course no one speaks about an exact mirror. No one even thinks of asking the new literature to have mirror-like impassivity. The deeper literature is, and the more it is imbued with the desire to shape life, the more significantly and dynamically it will be able to "picture" life.
Know Thyself (1881)
Context: Clever though be the many thoughts expressed by mouth or pen about the invention of money and its enormous value as a civiliser, against such praises should be set the curse to which it has always been doomed in song and legend. If gold here figures as the demon strangling manhood's innocence, our greatest poet shews at last the goblin's game of paper money. The Nibelung's fateful ring become a pocket-book, might well complete the eerie picture of the spectral world-controller. By the advocates of our Progressive Civilisation this rulership is indeed regarded as a spiritual, nay, a moral power; for vanished Faith is now replaced by "Credit," that fiction of our mutual honesty kept upright by the most elaborate safeguards against loss and trickery. What comes to pass beneath the benedictions of this Credit we now are witnessing, and seem inclined to lay all blame upon the Jews. They certainly are virtuosi in an art which we but bungle: only, the coinage of money out of nil was invented by our Civilisation itself; or if the Jews are blamable for that, it is because our entire civilisation is a barbaro-judaic medley, in nowise a Christian creation.
Remarks after the Solvay Conference (1927)
Context: In mathematics we can take our inner distance from the content of our statements. In the final analysis mathematics is a mental game that we can play or not play as we choose. Religion, on the other hand, deals with ourselves, with our life and death; its promises are meant to govern our actions and thus, at least indirectly, our very existence. We cannot just look at them impassively from the outside. Moreover, our attitude to religious questions cannot be separated from our attitude to society. Even if religion arose as the spiritual structure of a particular human society, it is arguable whether it has remained the strongest social molding force through history, or whether society, once formed, develops new spiritual structures and adapts them to its particular level of knowledge. Nowadays, the individual seems to be able to choose the spiritual framework of his thoughts and actions quite freely, and this freedom reflects the fact that the boundaries between the various cultures and societies are beginning to become more fluid. But even when an individual tries to attain the greatest possible degree of independence, he will still be swayed by the existing spiritual structures — consciously or unconsciously. For he, too, must be able to speak of life and death and the human condition to other members of the society in which he's chosen to live; he must educate his children according to the norms of that society, fit into its life. Epistemological sophistries cannot possibly help him attain these ends. Here, too, the relationship between critical thought about the spiritual content of a given religion and action based on the deliberate acceptance of that content is complementary. And such acceptance, if consciously arrived at, fills the individual with strength of purpose, helps him to overcome doubts and, if he has to suffer, provides him with the kind of solace that only a sense of being sheltered under an all-embracing roof can grant. In that sense, religion helps to make social life more harmonious; its most important task is to remind us, in the language of pictures and parables, of the wider framework within which our life is set.
