Quotes about play

page 43

As paraphrased and quoted in "Sidelight on Sports: A Baseball Star is Born" https://news.google.com/newspapers?id=d5dRAAAAIBAJ&sjid=52sDAAAAIBAJ&pg=1293%2C4057980 by Al Abrams, in The Pittsburgh Post-Gazette (Tuesday, June 7, 1955), p. 20
Baseball-related, <big><big>1950s</big></big>, <big>1955</big>
Context: Four years ago he was playing amateur softball in Puerto Rico. "I peetch and play shortstop," he said of his early days. "I no play outfield until pro ball." Roberto turned pro in 1952 with Santurce and last year played winter ball for that team with Willie Mays. Herman Franks, Giant coach, was the manager. "Wee-lee May and Herm Frank help me," he answered when I asked him if he had been given special instruction in the game by anyone. "May show me how to field and throw," he added. Did Mays or anyone show him how to hit? "No," he replied, pride in his voice. "I learn to heet myself. Nobody show me."

Dedication (1960)

Source: Discipline and Punish (1977), Chapter Two, Generalized Punishment, pp. 101

Deeds Rather Than Words (1963)
Context: Deeds rather than words express my concept of the part religion should play in everyday life. I have watched constantly that in our movie work the highest moral and spiritual standards are upheld, whether it deals with fable or with stories of living action.

New Theories of Everything (2007)

I see Vincent Lecavalier play all the time. He gives it his all, but it comes down to your teammates,
Quoted in Andrew Podnieks, "One on One with Phil Esposito," http://www.legendsofhockey.net/html/spot_oneononep198401.htm Legends of Hockey.net (2002-02-18).
Esposito refers to his playing years.

The Pathway of Peace (1923)
Context: We may gain something in our quest for peace if we recognize at once that war is not an abnormality. In the truest sense, it is not the mere play of brute force. It is the expression of the insistent human will, inflexible in its purpose.
When we consider the inability to maintain a just peace attests to the failure of civilization itself, we may be less confident of the success of any artificial contrivances to prevent war. We must recognize that we are dealing with the very woof and warp of human nature. The war to end war has left its curse of hate, its lasting injuries, its breeding grounds of strife, and to secure an abiding peace appears to be more difficult than ever. There is no advantage to shutting our eyes to the facts; nor should we turn in disgust of panaceas to the counsel of despair. The pathway of peace is the longest and most beset with obstacles the human race has to tread; the goal may be distant, but we must press on.

Source: Dracula (1897), Chapter XIV, Dr. Seward's Diary entry for 22 September
Context: Van Helsing and I came on here. The moment we were alone in the carriage he gave way to a regular fit of hysterics. He has denied to me since that it was hysterics, and insisted that it was only his sense of humour asserting itself under very terrible conditions. He laughed till he cried, and I had to draw down the blinds lest any one should see us and misjudge; and then he cried, till he laughed again; and laughed and cried together, just as a woman does. I tried to be stern with him, as one is to a woman under the circumstances; but it had no effect. Men and women are so different in manifestations of nervous strength or weakness! Then when his face grew grave and stern again I asked him why his mirth, and why at such a time. His reply was in a way characteristic of him, for it was logical and forceful and mysterious. He said:—
“Ah, you don't comprehend, friend John. Do not think that I am not sad, though I laugh. See, I have cried even when the laugh did choke me. But no more think that I am all sorry when I cry, for the laugh he come just the same. Keep it always with you that laughter who knock at your door and say, ‘May I come in?’ is not the true laughter. No! he is a king, and he come when and how he like. He ask no person; he choose no time of suitability. He say, ‘I am here.’ Behold, in example I grieve my heart out for that so sweet young girl; I give my blood for her, though I am old and worn; I give my time, my skill, my sleep; I let my other sufferers want that so she may have all. And yet I can laugh at her very grave — laugh when the clay from the spade of the sexton drop upon her coffin and say ‘Thud, thud!’ to my heart, till it send back the blood from my cheek. My heart bleed for that poor boy — that dear boy, so of the age of mine own boy had I been so blessed that he live, and with his hair and eyes the same. There, you know now why I love him so. And yet when he say things that touch my husband-heart to the quick, and make my father-heart yearn to him as to no other man — not even you, friend John, for we are more level in experiences than father and son — yet even at such a moment King Laugh he come to me and shout and bellow in my ear, ‘Here I am! here I am!’ till the blood come dance back and bring some of the sunshine that he carry with him to my cheek. Oh, friend John, it is a strange world, a sad world, a world full of miseries, and woes, and troubles; and yet when King Laugh come, he make them all dance to the tune he play. Bleeding hearts, and dry bones of the churchyard, and tears that burn as they fall — all dance together to the music that he make with that smileless mouth of him. And believe me, friend John, that he is good to come, and kind. Ah, we men and women are like ropes drawn tight with strain that pull us different ways. Then tears come; and, like the rain on the ropes, they brace us up, until perhaps the strain become too great, and we break. But King Laugh he come like the sunshine, and he ease off the strain again; and we bear to go on with our labour, what it may be.”

"The Black Boy Looks at the White Boy" in Esquire (May 1961)
Context: The roles that we construct are constructed because we feel that they will help us to survive and also, of course, because they fulfill something in our personalities; and one does not, therefore, cease playing a role simply because one has begun to understand it. All roles are dangerous. The world tends to trap you in the role you play and it is always extremely hard to maintain a watchful, mocking distance between oneself as one appears to be and oneself as one actually is.

Answer to a survey written by the French mathematician Jaques Hadamard, from Hadamard's An Essay on the Psychology of Invention in the Mathematical Field (1945). Reprinted in Ideas and Opinions (1954). His full set of answers to the questions can be read on p. 3 here http://www.pitt.edu/~jdnorton/Goodies/Einstein_think/index.html.
1940s
Context: The words or the language, as they are written or spoken, do not seem to play any role in my mechanism of thought. The psychical entities which seem to serve as elements in thoughts are certain signs and more or less clear images which can be "voluntarily" reproduced and combined. There is, of course, a certain connection between those elements and relevant logical concepts. It is also clear that the desire to arrive finally at logically connected concepts is the emotional basis of this rather vague play with the above-mentioned elements.... The above-mentioned elements are, in my case, of visual and some muscular type. Conventional words or other signs have to be sought for laboriously only in a secondary stage, when the mentioned associative play is sufficiently established and can be reproduced at will.

Junkie (1953)
Context: A lot of people made quick easy money during the War and for several years after. Any business was good, just as any stock is good on a rising market. People thought they were sharp operators, when actually they were just riding a lucky streak. Now the Valley is in a losing streak and only the big operators can ride it out. In the Valley economic laws work out like a formula in high school algebra, since there is no human element to interfere. The very rich are getting richer and all the others are going broke. The big holders are not shrewd or ruthless or enterprising. They don't have to say or think anything. All they have to do is sit and the money comes pouring in. You have to get up with the Big Holders or drop out and take any job they hand you. The middle class is getting the squeeze, and only one in a thousand will go up. The Big Holders are the house, and the small farmers are the players. The player goes broke if he keeps on playing, and the farmer has to play or lose to the Government by default.

"To Lucasta on Going to the War — For the Fourth Time"
Fairies and Fusiliers (1917)
Context: Let statesmen bluster, bark and bray,
And so decide who started
This bloody war, and who's to pay,
But he must be stout-hearted,
Must sit and stake with quiet breath,
Playing at cards with Death.
Don't plume yourself he fights for you;
It is no courage, love, or hate,
But let us do the things we do;
It's pride that makes the heart be great;
It is not anger, no, nor fear —
Lucasta he's a Fusilier,
And his pride keeps him here.

Black Boy (1945)

On women playing guitar, Pitchfork (1 May 2014)
2014–2017
Context: If I see a chick playing guitar, I’m drawn to that band immediately. I want to know everything, even if it’s completely electronic. But you have to really get my attention if you’re male. I can’t help it. It’s part of my nature.

Address to the Society for Psychical Research (1897)
Context: The clock runs down. I lift the weight by exerting the proper amount of energy, and in this action the law of conservation of energy is strictly obeyed. But now I have the choice of either letting the weight fall free in a fraction of a second, or, constrained by the wheelwork, in twenty-four hours. I can do which I like, and whichever way I decide, no more energy is developed in the fall of the weight. I strike a match; I can use it to light a cigarette or to set fire to a house. I write a telegram; it may be simply to say I shall be late for dinner, or it may produce fluctuations on the stock exchange that will ruin thousands. In these cases the actual force required in striking the match or in writing the telegram is governed by the law or conservation of energy; but the vastly more momentous part, which determines the words I use or the material I ignite, is beyond such a law. It is probable that no expenditure of energy need be used in the determination of direction one way more than another. Intelligence and free will here come into play, and these mystic forces are outside the law of conservation of energy as understood by physicists.

KNAC interview (2005)
Context: In the early days when I was drinking... I had a very blurry line about where those two were... but I mean, that happens when you drink twenty-two hours a day. I would just sit and drink. I didn’t know whether or not I was supposed to be Alice when I went out for dinner and was a little lit. Then there was the question about whether or not I should wear the make up because I didn’t really want to disappoint anyone. Was I supposed to get into trouble? Was I supposed to get arrested that night? All of those questions went through my mind. You have to remember though who my older brothers and sisters were though--guys like Jim Morrison and Keith Moon and all the people who were living that life. After they all died, I just sat there and went, “if one generation is going to learn from the next the truth is going to have to be that you don’t have to die to be your character.” I figured then that I had better be able to separate the two. When I go onstage as Alice to this day, I play Alice to the hilt — I play him for everything he is worth, but when I’m offstage, I never think about Alice Cooper. He never occurs to me... I walk off stage though and I turn away from the audience, I go back to being me again. Whenever I see an audience, that’s when I turn into Alice. If there was no audience there, there would be no reason to be Alice.. If I tried to be Alice Cooper all the time — I’d either be in an insane asylum or in jail or dead. Alice is just too intense, and you just can’t be Alice all the time. Jim Morrison couldn’t be Jim Morrison, so he died. Jimi Hendrix couldn’t be Jimi Hendrix, so he died. That’s really what killed Janis Joplin, Keith Moon and all the way down the line. They were all animated characters who couldn’t live up to their lifestyle, so I said that I needed to be able to separate the two — that’s why I’m still here.

As paraphrased and quoted in "The Scoreboard: Clemente's Only Regret? One Pennant" by Les Biederman, in The Pittsburgh Press (Sunday, March 31, 1968), Sec. 4, Pg. 3
Baseball-related, <big><big>1960s</big></big>, <big>1968</big>
Context: The best advice and most help he ever received came from Buster Clarkson, an American player, when he was in Puerto Rico."I played for his team and I was just a kid," Clemente recalled. "He insisted the other players allow me to take batting practice and he helped me. He put a bat behind my foot and made sure I didn't drag my foot. Willie Mays also helped me. He told me not to allow the pitchers to show me up. He suggested I get mean and if the pitchers knocked me down, get up and hit the ball. Show them."

Source: Goodbye, Columbus (1959), Chapter 2
Context: We came back to the chairs now and then and sang hesitant, clever, nervous, gentle dithyrambs about how we were beginning to feel towards one another. Actually we did not have the feelings we said we had until we spoke them-at least I didn't; to phrase them was to invent them and own them. We whipped our strangeness and newness into a froth that resembled love, and we dared not play too long with it, talk too much of it, or it would flatten and fizzle away. So we moved back and forth from chairs to water, from talk to silence, and considering my unshakable edginess with Brenda, and the high walls of ego that rose, buttresses and all, between her and her knowledge of herself, we managed pretty well.

Source: Analysis Patterns: Reusable Object Models, 1997, p. 6

Aston Villa 1-2 Arsenal (1 December 2007) http://www.soccerway.com/news/2007/December/01/premiership-rivals-will-struggle-against-us-says-wenger/
Interviews

I. Introduction : Struggle of Spirits.
Parsifal and the Secret of the Graal Unveiled (1914)
Context: Contemporaneous with the awakening of the interest of the great masses of the German people in Parsifal, a flood of newspaper articles about Parsifal have begun, of which, most have no trace of a hint of the deep deep mystical meaning of the plot and the symbology of the play is lost. The great masses of the Parsifal-critics and Parsifal-commentators, who have not a trace of a hint of the deep mystical meaning of the secret of the graal, are not even the worst enemies of Wagner and the Idea of Parsifal. The real worst, by which I mean here, the dangerous enemies of Wagner's are those people — columnists, critics, interpreters etc. — who surely have no clue of deep mystical meaning of Parsifal — and the idea of the Graal, but go against the recognized meaning, or purposely change the true and only really deep meaning of the Parsifal idea into its exact opposite meaning. The worst of the last category are the sexual-ascetics. For they understand the meaning of the Parsifal-Symbology very well, but they reverse Wagners idea into its exact opposite. They are those, who on the basis of the plot of the play Parsifal and on the false understanding of its underlying mystery, proclaim sexual abstinence to the German people, far and wide as the gospel of renunciation, and they knowingly lay the foundation for the decline of the virulent German people. If it has not yet succeeded, it is high time to pull the carpet out from under the feet of these false prophets.

It isn't something that you can experience by reading a book, or by listening to a talk, or by sitting together, or by retiring into a wood or a monastery. I am afraid none of these things will bring about this silence. This silence demands intense psychological work. You have to be burningly aware of your snobbishness, aware of your fears, your anxieties, your sense of guilt. And when you die to all that, then out of that dying comes the beauty of silence.
Sixth talk in London (17 June 1962), published in The Collected Works of J. Krishnamurti : Vol. XIII, 1962-1963: A Psychological Revolution (1992)
1960s

3rd Part
The Book of the New Moral World (1836-1844)
Context: Where are these rational practices to be taught and acquired? Not within the four walls of a bare building, in which formality predominates... But in the nursery, play-ground, fields, gardens, workshops, manufactures, museums and class-rooms. …The facts collected from all these sources will be concentrated, explained, discussed, made obvious to all, and shown in their direct application to practice in all the business of life.

From the Vintage paperback (1973), p. xvii
Propaganda: The Formation of Men's Attitudes (1965)
Context: Again I want to emphasize that the study of propaganda must be conducted within the context of a technological society. Propaganda is called upon to solve problems created by technology, to play on maladjustments, and to integrate the individual into a technological world.

Context: As I see it, Greenberg and I are simply playing different games and the contrast in our approaches reflects that basic difference. … I play one game and am intrigued by the other but I do keep wondering whether that other game has any rules or whether a computerized robot might not be rather better at it all. But long live both games!

The End (1946)
Context: I knew it would soon be the end, so I played the part, you know, the part of — how shall I say, I don’t know.

"Oxford from Without"
All Things Considered (1908)
Context: It is not only possible to say a great deal in praise of play; it is really possible to say the highest things in praise of it. It might reasonably be maintained that the true object of all human life is play. Earth is a task garden; heaven is a playground. To be at last in such secure innocence that one can juggle with the universe and the stars, to be so good that one can treat everything as a joke — that may be, perhaps, the real end and final holiday of human souls.

PENN Address (2004)
Context: I know idealism is not playing on the radio right now, you don't see it on TV, irony is on heavy rotation, the knowingness, the smirk, the tired joke. I've tried them all out but I'll tell you this, outside this campus — and even inside it — idealism is under siege beset by materialism, narcissism and all the other isms of indifference. Baggism, Shaggism. Raggism. Notism, graduationism, chismism, I don't know. Where's John Lennon when you need him?

Source: Empire of the Sun (1984), p. 201
Context: He waited for the roll-call to end, reflecting on the likely booty attached to a dead American pilot. Soon enough, one of the Americans would be shot down into Lunghua Camp. Jim tried to decide which of the ruined buildings would best conceal his body. Carefully eked out, the kit and equipment could be bartered with Basie for extra sweet potatoes for months to come, and even perhaps a warm coat for the winter. There would be sweet potatoes for Dr. Ransome, whom Jim was determined to keep alive. He rocked on his heels and listened to an old woman crying in the nearby ward. Through the window was the pagoda at Lunghua Airfield. Already the flak tower appeared in a new light. For another hour Jim stood in line with the missionary widows, watched by the sentry. Dr. Ransome and Dr. Bowen had set off with Sergeant Nagata to the commandant's office, perhaps to be interrogated. The guards moved around the silent camp with their roster boards, carrying out repeated roll-calls. The war was about to end and yet the Japanese were obsessed with knowing exactly how many prisoners they held. Jim closed his eyes to calm his mind, but the sentry barked at him, suspecting that Jim was about to play some private game of which Sergeant Nagata would disapprove.

Source: Flashbacks, An Autobiography (1983), p. 388
Context: While sitting in my prison cell, I was astonished to hear the local rock station play a new song by the Beatles entitled "Come Together." Although the new version was certainly a musical and lyrical improvement on my campaign song, I was a bit miffed that Lennon had passed me over this way. (I must explain that even the most good-natured persons tend to be a bit touchy about social neglect while in prison). When I sent a mild protest to John, he replied with typical Lennon charm and wit: that he was a tailor and I was a customer who had ordered a suit and never returned. So he sold it to someone else.

Native Son (1940)

Opening lines
The Napoleon of Notting Hill (1904)
Context: The human race, to which so many of my readers belong, has been playing at children’s games from the beginning, and will probably do it till the end, which is a nuisance for the few people who grow up. And one of the games to which it is most attached is called “Keep to-morrow dark,” and which is also named (by the rustics in Shropshire, I have no doubt) “Cheat the Prophet.” The players listen very carefully and respectfully to all that the clever men have to say about what is to happen in the next generation. The players then wait until all the clever men are dead, and bury them nicely. They then go and do something else. That is all. For a race of simple tastes, however, it is great fun.
For human beings, being children, have the childish wilfulness and the childish secrecy. And they never have from the beginning of the world done what the wise men have seen to be inevitable.

1970s, Remarks on Being Reelected (1972)
Context: The important thing in our process, however, is to play the game, and in the great game of life, and particularly the game of politics, what is important is that on either side more Americans voted this year than ever before, and the fact that you won or you lost must not keep you from keeping in the great game of politics in the years ahead, because the better competition we have between the two parties, between the two men running for office, whatever office that may be, means that we get the better people and the better programs for our country.

The Exemplar, The Life of the Servant

Nobel interview http://nobelprize.org/mediaplayer/index.php?id=425 with Professor Georges Charpak by Joanna Rose, science writer, 6 December 2001.
Context: History of science played a very important role for me. Before I knew well how to do an experiment, I knew why Joliot has missed the neutron, why his wife missed the fission, why they succeeded in having artificial radioactivity, and even why they almost missed the other things, by doing very nice experiments, but didn't come to the conclusion. That is science. Science is doubt, is research. It is not something which is – and that is the danger of teaching – which is too academic and which the people explain you it is like the logic thing that comes out of the computer, which is not true. You have intuition, you have passion.

canular refers to hoaxes, humorous deceptions.
The Paris Review interview (1984)
Context: You know, the Cathars believed that the world was not created by God but by a demon who had stolen a few technological secrets from Him and made this world — which is why it doesn’t work. I don’t share this heresy. I’m too afraid! But I put it in a play called This Extraordinary Brothel, in which the protagonist doesn’t talk at all. There is a revolution, everybody kills everybody else, and he doesn’t understand. But at the very end, he speaks for the first time. He points his finger towards the sky and shakes it at God, saying, “You rogue! You little rogue!” and he bursts out laughing. He understands that the world is an enormous farce, a canular played by God against man, and that he has to play God’s game and laugh about it.

8 November 1852
Journal Intime (1882), Journal entries
Context: My privilege is to be spectator of my life drama, to be fully conscious of the tragi-comedy of my own destiny, and, more than that, to be in the secret of the tragi-comic itself, that is to say, to be unable to take my illusions seriously, to see myself, so to speak, from the theater on the stage, or to be like a man looking from beyond the tomb into existence. I feel myself forced to feign a particular interest in my individual part, while all the time I am living in the confidence of the poet who is playing with all these agents which seem so important, and knows all that they are ignorant of. It is a strange position, and one which becomes painful as soon as grief obliges me to betake myself once more to my own little rôle, binding me closely to it, and warning me that I am going too far in imagining myself, because of my conversations with the poet, dispensed from taking up again my modest part of valet in the piece. Shakespeare must have experienced this feeling often, and Hamlet, I think, must express it somewhere. It is a Doppelgängerei, quite German in character, and which explains the disgust with reality and the repugnance to public life, so common among the thinkers of Germany. There is, as it were, a degradation a gnostic fall, in thus folding one's wings and going back again into the vulgar shell of one's own individuality. Without grief, which is the string of this venturesome kite, man would soar too quickly and too high, and the chosen souls would be lost for the race, like balloons which, save for gravitation, would never return from the empyrean.

On the House of Lords' debate on Lord Ross's Divorce Bill (1610), as quoted in King Charles the Second (1931) by Arthur Bryant

For one swallow does not make a summer, nor does one day; and so too one day, or a short time, does not make a man blessed and happy.
Book I, 1098a; §7 as translated by W. D. Ross
Variants:
One swallow does not a summer make.
As quoted in A History of Ancient Philosophy: From the Beginning to Augustine (1998) by Karsten Friis Johansen, p. 382
One swallow (they say) no Sommer doth make.
John Davies, in The Scourge of Folly (1611)
One swallow yet did never summer make.
As rendered by William Painter in Chaucer Newly Painted (1623)
One swallow does not make a spring, nor does one sunny day; similarly, one day or a short time does not make a man blessed and happy.
As translated in Philosophical Grounds of Rationality: Intentions, Categories, Ends (1988), by Richard E. Grandy and ‎Richard Warner, p. 483
Nicomachean Ethics

A Conversation with Martin de Maat (1998)
Context: The beginning of this work is just how to get people to remember how to play, to be in play. Once you're in play, you're in the moment. You're not judgmental, you're enjoying each other, you're accepting of everything that goes on; you're trusting yourself and just doing the game as best as you can. Your critical mind is gone, your analytical mind is not involved. Really, it's just the flow that goes on between human beings, the group the power of the ensemble.
As with any ensemble, it is the team effort or the group effort that makes the individual grow or look good. That's what the center of this work is all about, what these games and exercises are all about... breaking down barriers between people, empowering the individual to believe in their own associations and ideas, uncovering the courage to create, the courage to communicate.

Republican Party Reptile (1987)

Alternately reported as: "That is my thunder, by God; the villains will play my thunder, but not my play." Reported in Bartlett's Familiar Quotations, 10th ed. (1919).
Note: Dennis had written a tragedy, Appius and Virginia, for which he had invented a new technique for creating the sound of thunder, which the actors favored and which remained in use for centuries thereafter. The play itself was poorly received despite this innovation, and the management of the Drury Lane Theatre withdrew it. A few nights later, Dennis was in the pit at a performance of Macbeth, and heard his own thunder used; upon which he rose in a violent passion, and exclaimed with an oath, that it was his thunder. In Biographia Britannica, vol. v. p. 103. Conflicting reports exist as to whether Dennis actually used the phrase "steal my thunder", although it is undisputed that his experience is the origin of the idiom.
Context: See how the rascals use me! They will not let my play run; and yet they steal my thunder.

Young Men and Fire (1992)
Context: It shouldn't be hard to imagine just what most of the crew must have thought when they first looked across the open hill-side and saw their boss seemingly playing with a matchbook in dry grass. Although the Mann Gulch fire occurred early in the history of the Smokejumpers, it is still their special tragedy, the one in which their crew suffered almost a total loss and the only one in which their loss came from the fire itself. It is also the only fire any member of the Forest Service had ever seen or heard of in which the foreman got out ahead of his crew only to light a fire in advance of the fire he and his crew were trying to escape. In case I hadn't understood him the first time, Sallee repeated, "We thought he must have gone nuts." A few minutes later his fire became more spectacular still, when Sallee, having reached the top of the ridge, looked back and saw the foreman enter his own fire and lie down in its hot ashes to let the main fire pass over him.

From Here to Eternity (1951)

Source: Psychotherapy, East and West (1961), p. 9

Address to Grand Jury (1885)
Variant: I believed that I had a mission, I believe that I had a mission at this very moment.
The Queen Vs. Louis Riel : Accused and Convicted of the Crime of High Treason. Report of Trial at Regina (1886), p. 147 http://books.google.com/books?id=jLANAAAAQAAJ&output=text
Context: It is true, gentlemen, I believed for years I had a mission, and when I speak of a mission you will understand me not as trying to play the role of insane before the grand jury so as to have a verdict of acquittal upon that ground. I believe that I have a mission, I believe I had a mission at this very time. What encourages me to speak to you with more confidence in all the imperfections of my English way of speaking, it is that I have yet and still that mission, and with the help of God, who is in this box with me, and He is on the side of my lawyers, even with the honorable court, the Crown and the jury, to help me, and to prove by the extraordinary help that there is a Providence to-day in my trial, as there was a Providence in the battles of the Saskatchewan.

Interview with Tony Schwartz in Playboy (February 1984) p. 166
Context: I write from instinct, from inexplicable sparkle. I don't know why I'm writing what I'm writing. Usually, I sit and I let my hands wander on my guitar. And I sing anything. I play anything. And I wait till I come across a pleasing accident. Then I start to develop it. Once you take a piece of musical information, there are certain implications that it automatically contains — the implication of that phrase elongated, contracted, or inverted or in another time signature. So you start with an impulse and go to what your ear likes.

The "Camelot" interview (29 November 1963)
Context: But there's this one thing I wanted to say... I'm so ashamed of myself... When Jack quoted something, it was usually classical... no, don't protect me now... I kept saying to Bobby, I've got to talk to somebody, I've got to see somebody, I want to say this one thing, it's been almost an obsession with me, all I keep thinking of is this line from a musical comedy, it's been an obsession with me... At night before we'd go to sleep... we had an old Victrola. Jack liked to play some records. His back hurt, the floor was so cold. I'd get out of bed at night and play it for him, when it was so cold getting out of bed... on a Victrola ten years old — and the song he loved most came at the very end of this record, the last side of Camelot, sad Camelot... "Don't let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot."... There'll never be another Camelot again...

"Gurdjieff" in Man, Myth and Magic : Encyclopedia of the Supernatural (1970) http://www.gurdjieff.org/travers1.htm
Context: It is clear from Gurdjieff's writings that hypnotism, mesmerism and various arcane methods of expanding consciousness must have played a large part in the studies of the Seekers of Truth. None of these processes, however, is to be thought of as having any bearing on what is called Black Magic, which, according to Gurdjieff, "has always one definite characteristic. It is the tendency to use people for some, even the best of aims, without their knowledge and understanding, either by producing in them faith and infatuation or by acting upon them through fear. There is, in fact, neither red, green nor yellow magic. There is "doing." Only "doing" is magic." Properly to realise the scale of what Gurdjieff meant by magic, one has to remember his continually repeated aphorism, "Only he who can be can do," and its corollary that, lacking this fundamental verb, nothing is "done," things simply "happen."

A Pluralistic Universe (1909) http://www.gutenberg.org/files/11984/11984-8.txt, Lecture I
1900s
Context: Reduced to their most pregnant difference, empiricism means the habit of explaining wholes by parts, and rationalism means the habit of explaining parts by wholes. Rationalism thus preserves affinities with monism, since wholeness goes with union, while empiricism inclines to pluralistic views. No philosophy can ever be anything but a summary sketch, a picture of the world in abridgment, a foreshortened bird's-eye view of the perspective of events. And the first thing to notice is this, that the only material we have at our disposal for making a picture of the whole world is supplied by the various portions of that world of which we have already had experience. We can invent no new forms of conception, applicable to the whole exclusively, and not suggested originally by the parts. All philosophers, accordingly, have conceived of the whole world after the analogy of some particular feature of it which has particularly captivated their attention. Thus, the theists take their cue from manufacture, the pantheists from growth. For one man, the world is like a thought or a grammatical sentence in which a thought is expressed. For such a philosopher, the whole must logically be prior to the parts; for letters would never have been invented without syllables to spell, or syllables without words to utter.
Another man, struck by the disconnectedness and mutual accidentality of so many of the world's details, takes the universe as a whole to have been such a disconnectedness originally, and supposes order to have been superinduced upon it in the second instance, possibly by attrition and the gradual wearing away by internal friction of portions that originally interfered.
Another will conceive the order as only a statistical appearance, and the universe will be for him like a vast grab-bag with black and white balls in it, of which we guess the quantities only probably, by the frequency with which we experience their egress.
For another, again, there is no really inherent order, but it is we who project order into the world by selecting objects and tracing relations so as to gratify our intellectual interests. We carve out order by leaving the disorderly parts out; and the world is conceived thus after the analogy of a forest or a block of marble from which parks or statues may be produced by eliminating irrelevant trees or chips of stone.
Some thinkers follow suggestions from human life, and treat the universe as if it were essentially a place in which ideals are realized. Others are more struck by its lower features, and for them, brute necessities express its character better.
All follow one analogy or another; and all the analogies are with some one or other of the universe's subdivisions. Every one is nevertheless prone to claim that his conclusions are the only logical ones, that they are necessities of universal reason, they being all the while, at bottom, accidents more or less of personal vision which had far better be avowed as such; for one man's vision may be much more valuable than another's, and our visions are usually not only our most interesting but our most respectable contributions to the world in which we play our part. What was reason given to men for, said some eighteenth century writer, except to enable them to find reasons for what they want to think and do?—and I think the history of philosophy largely bears him out, "The aim of knowledge," says Hegel, "is to divest the objective world of its strangeness, and to make us more at home in it." Different men find their minds more at home in very different fragments of the world.

As quoted in Conversations with Edward Albee (1988) by Philip C. Kolin, p. 176
Context: I survive almost any onslaught with a shrug, which must appear as arrogance, but really isn't because I'm not an arrogant person. When you write a play, you make a set of assumptions — that you have something to say, that you know how to say it, that its worth saying, and that maybe someone will come along for the ride. That's all. And then you go about your business, assuming you'd be the first to know if your talent has collapsed.
I don't think I've been a commercial playwright ever. By some curious mischance, a couple of my plays managed to hit an area where commercial success was feasible. But it's wrong to think I'm a commercial playwright who has somehow ceased his proper function. I have always been the same thing — which is not a commercial playwright. I'm not after the brass ring. I very seldom get it anyway, and then it's accidental when I do. … So I write those things that interest me.

Section 4.21 <!-- p. 244 - 245 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: Chronology, the time which changes things, makes them grow older, wears them out, and manages to dispose of them, chronologically, forever.
Thank God there is kairos too: again the Greeks were wiser than we are. They had two words for time: chronos and kairos.
Kairos is not measurable. Kairos is ontological. In kairos we are, we are fully in isness, not negatively, as Sartre saw the isness of the oak tree, but fully, wholly, positively. Kairos can sometimes enter, penetrate, break through chronos: the child at play, the painter at his easel, Serkin playing the Appassionata are in kairos. The saint in prayer, friends around the dinner table, the mother reaching out her arms for her newborn baby are in kairos. The bush, the burning bush, is in kairos, not any burning bush, but the particular burning bush before which Moses removed his shoes; the bush I pass by on my way to the brook. In kairos that part of us which is not consumed in the burning is wholly awake.

Polanski : His Life and Films (1982)
Context: People like Truffaut, Lelouch and Godard are like little kids playing at being revolutionaries. I've passed through this stage. I lived in a country where these things happened seriously.

Improvisation for the Theater 1963), page 4

"Childhood".
Silex Scintillans (1655)
Context: Dear, harmless age! the short, swift span
Where weeping Virtue parts with man;
Where love without lust dwells, and bends
What way we please without self-ends. An age of mysteries! which he
Must live that would God's face see
Which angels guard, and with it play,
Angels! which foul men drive away.

Section 1.3 <!-- p. 10 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: The concentration of a small child at play is analogous to the concentration of the artist of any discipline. In real play, which is real concentration, the child is not only outside time, he is outside himself. He has thrown himself completely into whatever it is he is doing. A child playing a game, building a sand castle, painting a picture, is completely in what he is doing. His self-consciousness is gone; his consciousness is wholly focused outside himself.

The New York Times interview (2017)
Context: My politics are private, but many of my feminist politics cross over into my professional life. Because I portray female characters — so I have the opportunity to change the way people look at them. Even if I wasn’t consciously doing that, it would happen anyway, just because of how I present as a woman, or as a person. I present in a way that’s not stereotypical, even if I’m playing a stereotypical role. … I can’t subtract that from myself anymore. I could when I was younger. … That’s another great thing about getting older. Your life is written on your face.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 92

The Rights of Man, or what are we fighting for? (1940)
Context: Throughout the whole world we see variations of this same subordination of the individual to the organisation of power. Phase by phase these ill-adapted governments are becoming uncontrolled absolutisms; they are killing that free play of the individual mind which is the preservative of human efficiency and happiness. The populations under their sway, after a phase of servile discipline, are plainly doomed to relapse into disorder and violence. Everywhere war and monstrous economic exploitation break out, so that those very same increments of power and opportunity which have brought mankind within sight of an age of limitless plenty, seem likely to be lost again, it may be lost forever, in an ultimate social collapse.

On his reasoning in developing the nuclear arsenal of the US and on the prospects of nuclear war. Testimony to Congress (28 January 1982); published in Economics of Defense Policy: Hearing before the Joint Economic Committee, Congress of the United States, 97th Cong., 2nd sess., Pt. 1 (1982)
Context: I am not proud of the part I played in it. I did it because it was necessary for the safety of this country. That's why I am such a great exponent of stopping this whole nonsense of war. Unfortunately limits — attempts to limit war have always failed. The lesson of history is when a war starts every nation will ultimately use whatever weapon it has available.... Therefore, we must expect that if another war — a serious war — breaks out, we will use nuclear energy in some form.

From Walt Disney World: Then, Now, & Forever: Too many people grow up. That's the real trouble with the world, too many people grow up. They forget. They don't remember what it's like to be 12 years old. They patronize, they treat children as inferiors. Well, I won't do that. I won't do that. I'll temper a story, yes. But I won't play down, and I won't patronize.
The Quotable Walt Disney (2001)
Context: That's the real trouble with the world, too many people grow up. They forget. They don't remember what it's like to be twelve years old. They patronize; they treat children as inferiors. I won't do that. I'll temper a story, yes. But I won't play down, and I won't patronize.

Propaganda: The Formation of Men's Attitudes (1965)
Context: Propaganda tries to surround man by all possible routes in the realm of feelings as well as ideas, by playing on his will or on his needs, through his conscious and his unconscious, assailing him in both his private and his public life. It furnishes him with a complete system for explaining the world, and provides immediate incentives to action. We are here in the presence of an organized myth that tries to take hold of the entire person. Through the myth it creates, propaganda imposes a complete range of intuitive knowledge, susceptible of only one interpretation, unique and one-sided, and precluding any divergence. This myth becomes so powerful that it invades every arena of consciousness, leaving no faculty or motivation intact. It stimulates in the individual a feeling of exclusiveness, and produces a biased attitude.

Liquidation (2003)
Context: He himself had said near enough exactly what was in the play. The only snag was that by the time that scene was played out in reality, almost word for word, the person who had written the play, and that scene in it, was no longer alive.
He had committed suicide.

Four Screenplays of Ingmar Bergman (1960).
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres.
Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation.
The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other.
We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts.
Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.

The History of Freedom in Antiquity (1877)
Context: It is bad to be oppressed by a minority, but it is worse to be oppressed by a majority. For there is a reserve of latent power in the masses which, if it is called into play, the minority can seldom resist. But from the absolute will of an entire people there is no appeal, no redemption, no refuge but treason.

Sesame and Lilies.
Context: When men are rightly occupied, their amusement grows out of their work, as the colour-petals out of a fruitful flower;—when they are faithfully helpful and compassionate, all their emotions become steady, deep, perpetual, and vivifying to the soul as the natural pulse to the body. But now, having no true business, we pour our whole masculine energy into the false business of money-making; and having no true emotion, we must have false emotions dressed up for us to play with, not innocently, as children with dolls, but guiltily and darkly.

Concerning a Person whom he treated with Disregard, Chap. xxiv.
Bartlett's Familiar Quotations, 10th ed. (1919)

Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 17. How the Sphere, Having in Vain Tried Words, Resorted to Deeds
Context: "Now I shall come back to you. And, as a crowning proof, what do you say to my giving you a touch, just the least touch, in your stomach? It will not seriously injure you, and the slight pain you may suffer cannot be compared with the mental benefit you will receive."Before I could utter a word of remonstrance, I felt a shooting pain in my inside, and a demoniacal laugh seemed to issue from within me. A moment afterwards the sharp agony had ceased, leaving nothing but a dull ache behind, and the Stranger began to reappear, saying, as he gradually increased in size, "There, I have not hurt you much, have I? If you are not convinced now, I don't know what will convince you. What say you?"My resolution was taken. It seemed intolerable that I should endure existence subject to the arbitrary visitations of a Magician who could thus play tricks with one's very stomach. If only I could in any way manage to pin him against the wall till help came!

Source: The Ordeal of Change (1963), Ch. 12: "Concerning Individual Freedom" [In this passage "transforms the prosaic achievements of society into Promethean tasks, glorious defeats, tragic epics" is a quotation of Raymond Aron from The Opium of the Intellectuals (1957), p. xiv]
Context: In exceptional cases, like Puerto Rico and Israel, where capital and skills are available, rapid modernization is not incompatible with a considerable measure of individual freedom.
To some extent, the present dominant role of the intellectual in the modernization of backward countries also militates against the prevalence of individual freedom. Not only does the intellectual's penchant for tutoring, directing, and regulating promote a regimented social pattern, but his craving for the momentous is bound to foster an austere seriousness inhospitable to the full play of freedom. The intellectual "transforms the prosaic achievements of society into Promethean tasks, glorious defeats, tragic epics." The strained atmosphere of an eternal drama working up toward a climax and a crisis is optimal for heroes and saints but not for the autonomous individual shaping his life to the best of his ability. The chances are that should an advanced country come into the keeping of the intellectual it would begin to show many of the hectic traits which seem to us characteristic of a backward country in the throes of awakening.

Peace and the Public Mind (1935)
Context: To shut our eyes to the part that John Smith plays in the perpetuation of unworkable policies, in building up the forces of which he becomes the victim, is to perpetuate his victimization. The only means by which he can be liberated from the evil power of organized minorities is by making him aware of the nature of the impulses and motives to which the exploiters so successfully appeal. If such phenomena as nationalism, for instance, can assume forms that are gravely dangerous, it is because the nationalist appeal finds response in deep human impulses, instincts, in psychological facts which we must face.

Narrator
A Child is Born (1942)
Context: I'm your narrator. It's my task to say
Just where and how things happen in our play,
Set the bare stage with words instead of props
And keep on talking till the curtain drops. …
It's an old task — old as the human heart,
Old as those bygone players and their art
Who, in old days when faith was nearer earth,
Played out the mystery of Jesus' birth
In hall or village green or market square
For all who chose to come and see them there,
And, if they knew that King Herod, in his crown,
Was really Wat, the cobbler of the town,
And Tom, the fool, played Abraham the Wise,
They did not care. They saw with other eyes.
The story was their own — not far away,
As real as if it happened yesterday,
Full of all awe and wonder yet so near,
A marvelous thing that could have happened here
In their own town — a star that could have blazed
On their own shepherds, leaving them amazed,
Frightened and questioning and following still
To the bare stable — and the miracle.

[O] : Introduction, 0.7
Semiotics and the Philosophy of Language (1984)
Context: A philosophy does not play its role as an actor during a recital; it interacts with other philosophies and with other facts, and it cannot know the results of the interaction between itself and other world visions. World visions can conceive of everything, except alternative world visions, if not in order to criticize them and to show their inconsistency. Affected as they are by a constitutive solipsism, philosophies can say everything about the world they design and very little about the world they help to construct.

The Abolition of Work (1985)
Context: No one can say what would result from unleashing the creative power stultified by work. Anything can happen. The tiresome debater's problem of freedom vs. necessity, with its theological overtones, resolves itself practically once the production of use-values is co-extensive with the consumption of delightful play activity. Life will become a game, or rather many games, but not—as it is now — a zero/sum game. An optimal sexual encounter is the paradigm of productive play. The participants potentiate each other's pleasures, nobody keeps score, and everybody wins. The more you give, the more you get. In the ludic life, the best of sex will diffuse into the better part of daily life. Generalized play leads to the libidinization of life. Sex, in turn, can become less urgent and desperate, more playful.
If we play our cards right, we can all get more out of life than we put into it; but only if we play for keeps.
No one should ever work.
Workers of the world... relax! </center

Source: Gertrude (1910), p. 236
Context: It was no different with my own life, and with Gertrude's and that of many others. Fate was not kind, life was capricious and terrible, and there was no good or reason in nature. But there is good and reason in us, in human beings, with whom fortune plays, and we can be stronger than nature and fate, if only for a few hours. And we can draw close to one another in times of need, understand and love one another, and live to comfort each other. And sometimes, when the black depths are silent, we can do even more. We can then be gods for moments, stretch out a commanding hand and create things which were not there before and which, when they are created, continue to live without us. Out of sounds, words, and other frail and worthless things, we can construct playthings — songs and poems full of meaning, consolation and goodness, more beautiful and enduring than the grim sport of fortune and destiny. We can keep the spirit of God in our hearts and, at times, when we are full of Him, He can appear in our eyes and our words, and also talk to others who do no know or do not wish to know Him. We cannot evade life's course, but we can school ourselves to be superior to fortune and also to look unflinchingly upon the most painful things.

2010s, 2014 FIFA World Cup, Brazil v. Germany (2014)
Context: It's hard to decipher this game. It's been a very good German performance, but Ian? You cannot underestimate how bad Brazil have been today, it's like? It's like amateur hour watching them. But, their attitude has just been appalling. I know, I keep saying appalling. Because, I'm running out words. They've just given in. They've just completely given in, actually trying to run around and play football.

Casting, p. 69
Catching the Big Fish (2006)
Context: On Blue Velvet, I worked with a casting director, Johanna Ray. And we had all brought up Dennis Hopper. But everybody said, 'No, no; you can't work with Dennis. He's really in bad shape, and you'll have nothing but trouble.' So we continued looking for people. But one day, Dennis' agent called and said that Dennis was clean and sober and had already done another picture, and I could talk to that director to verify it. Then Dennis called and said, 'I have to play Frank, because I am Frank.' That thrilled me, and scared me.

Source: Letters and Papers from Prison (1967; 1997), Who Stands Fast?, p. 4.
Context: The great masquerade of evil has played havoc with all our ethical concepts. For evil to appear disguised as light, charity, historical necessity or social justice is quite bewildering to anyone brought up on our traditional ethical concepts, while for the Christian who bases his life on the Bible, it merely confirms the fundamental wickedness of evil. The "reasonable" people's failure is obvious. With the best intentions and a naive lack of realism, they think that with a little reason they can bend back into position the framework that has got out of joint. In their lack of vision they want to do justice to all sides, and so the conflicting forces wear them down with nothing achieved. Disappointed by the world's unreasonableness, they see themselves condemned to ineffectiveness; they step aside in resignation or collapse before the stronger party.
Still more pathetic is the total collapse of moral fanaticism. Fanatics think that their single-minded principles qualify them to do battle with the powers of evil; but like a bull they rush at the red cloak instead of the person who is holding it; they exhaust themselves and are beaten. They get entangled in non-essentials and fall into the trap set by cleverer people.

One of his most famous lines.

Rogers Commission Report (1986)
Context: The acceptance and success of these flights is taken as evidence of safety. But erosion and blow-by are not what the design expected. They are warnings that something is wrong. The equipment is not operating as expected, and therefore there is a danger that it can operate with even wider deviations in this unexpected and not thoroughly understood way. The fact that this danger did not lead to a catastrophe before is no guarantee that it will not the next time, unless it is completely understood. When playing Russian roulette the fact that the first shot got off safely is little comfort for the next. The origin and consequences of the erosion and blow-by were not understood. They did not occur equally on all flights and all joints; sometimes more, and sometimes less. Why not sometime, when whatever conditions determined it were right, still more leading to catastrophe?
In spite of these variations from case to case, officials behaved as if they understood it, giving apparently logical arguments to each other often depending on the "success" of previous flights.

Deeds Rather Than Words (1963)
Context: I don't believe in playing down to children, either in life or in motion pictures. I didn't treat my own youngsters like fragile flowers, and I think no parent should.
Children are people, and they should have to reach to learn about things, to understand things, just as adults have to reach if they want to grow in mental stature. Life is composed of lights and shadows, and we would be untruthful, insincere, and saccharine if we tried to pretend there were no shadows. Most things are good, and they are the strongest things; but there are evil things too, and you are not doing a child a favor by trying to shield him from reality. The important thing is to teach a child that good can always triumph over evil, and that is what our pictures attempt to do.

As quoted and paraphrased in "The Scoreboard" https://news.google.com/newspapers?id=bkEqAAAAIBAJ&sjid=000EAAAAIBAJ&pg=4731,2918286 by Les Biederman, in The Pittsburgh Press (Friday, June 10, 1955), p. 30
Baseball-related, <big><big>1950s</big></big>, <big>1955</big>
Context: "I no play so gut yet," the Puerto Rican star tried to explain yesterday. "Me like hot weather, veree hot. I no run fast cold weather. No get warm in cold. No get warm, no play gut. You see." Clemente likes Forbes Field and Connie Mack Stadium the best of all the parks he's played in but has a strong dislike for Ebbets Field and the Polo Grounds because of the crazy bounces the balls take as they ricochet off the walls.

Preface; Extermination
Ignoring the satirical elements of Shaw's rhetoric, and that he is presenting many arguments of sometimes questionable sincerity for the "humane" execution of criminals, the last sentence here has sometimes been misquoted as if it as part of an argument for exterminations for the sake of eugenics, by preceding it with a selected portion of a statement later in the essay: "If we desire a certain type of civilization, we must exterminate the sort of people who do not fit into it … Extermination must be put on a scientific basis if it is ever to be carried out humanely and apologetically as well as thoroughly".
1930s, On the Rocks (1933)
Context: In this play a reference is made by a Chief of Police to the political necessity for killing people: a necessity so distressing to the statesmen and so terrifying to the common citizen that nobody except myself (as far as I know) has ventured to examine it directly on its own merits, although every Government is obliged to practise it on a scale varying from the execution of a single murderer to the slaughter of millions of quite innocent persons. Whilst assenting to these proceedings, and even acclaiming and celebrating them, we dare not tell ourselves what we are doing or why we are doing it; and so we call it justice or capital punishment or our duty to king and country or any other convenient verbal whitewash for what we instinctively recoil from as from a dirty job. These childish evasions are revolting. We must strip off the whitewash and find out what is really beneath it. Extermination must be put on a scientific basis if it is ever to be carried out humanely and apologetically as well as thoroughly.

"The Federal Prosecutor" (1940)

In "Who was Lucifer and how did he become the Devil?" (2007) http://www.lucifereffect.com/lucifer.htm

Pg 48
Against Method (1975)
Context: Progress was often achieved by a "criticism from the past"… After Aristotle and Ptolemy, the idea that the earth moves - that strange, ancient, and "entirely ridiculous", Pythagorean view was thrown on the rubbish heap of history, only to be revived by Copernicus and to be forged by him into a weapon for the defeat of its defeaters. The Hermetic writings played an important part in this revival, which is still not sufficiently understood, and they were studied with care by the great Newton himself. Such developments are not surprising. No idea is ever examined in all its ramifications and no view is ever given all the chances it deserves. Theories are abandoned and superseded by more fashionable accounts long before they have had an opportunity to show their virtues. Besides, ancient doctrines and "primitive" myths appear strange and nonsensical only because their scientific content is either not known, or is distorted by philologists or anthropologists unfamiliar with the simplest physical, medical or astronomical knowledge.

"Prayer For The Dying"
Seal (1994)
Context: Crossing that bridge,
With lessons I've learned.
Playing with fire,
And not getting burned.
I may not know what you're going through.
But time is the space,
Between me and you.
Life carries on... it goes on.

page 170
Your Job-Hunt Ltd – Advice from an Award-Winning Asian Headhunter (2003), Successful Recruitment in a Week (2012) https://books.google.ae/books?idp24GkAsgjGEC&printsecfrontcover&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIGjAA#vonepage&qnigel%20cumberland&ffalse, Managing Teams in a Week (2013) https://books.google.ae/books?idqZjO9_ov74EC&printsecfrontcover&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIIDAB#vonepage&qnigel%20cumberland&ffalse, Secrets of Success at Work – 50 techniques to excel (2014) https://books.google.ae/books?id4S7vAgAAQBAJ&printsecfrontcover&dqnigel+cumberland&hlen&saX&ved0ahUKEwjF75Xw0IHNAhULLcAKHazACBMQ6AEIJjAC#vonepage&qnigel%20cumberland&ffalse
Context: Good decision-making is like playing chess and you must avoid making hasty decisions without thinking of how that particular decision will impact on different aspects of your work and organization. The worst kind of decision-making is to decide to delay a difficult decision until later or to pass it to someone else to have to make. You will never excel and be valued by your colleagues if you get into these habits of procrastination and passing responsibility to others.

This is the Truth! (1949)
Context: I went out and played my heart out against Cincinnati. I set a record that stills stands for the most hits in a Series, though it has been tied, I think. I made 13 hits, but after all the trouble came out they took one away from me. Maurice Rath went over in the hole and knocked down a hot grounder, but he couldn't make a throw on it. They scored it a hit then, but changed it later. I led both teams in hitting with.375. I hit the only home run of the Series, off Hod Eller in the last game. I came all the way home from first on a single and scored the winning run in that 5-4 game. I handled 30 balls in the outfield and never made an error or allowed a man to take an extra base.

Jupiter to Electra, Act 3
The Flies (1943)
Context: You are a tiny little girl, Electra. Other little girls dreamed of being the richest or the most beautiful women of all. And you, fascinated by the horrid destiny of your people, you wished to become the most pained and the most criminal … At your age, children still play with dolls and they play hopscotch. You, poor child, without toys or playmates, you played murder, because it is a game that one can play alone.

Acceptance speech as "best actress" at the 69th Annual Academy Awards (24 March 1997) https://www.youtube.com/watch?v=Phno8FKSl48, for her performance in Fargo · Full text online at the Academy Awards Acceptance Speech Database http://aaspeechesdb.oscars.org/link/069-3/
Context: It is impossible to maintain one's composure in this situation. What am I doing here? — especially considering the extraordinary group of women with whom I was nominated. We five women were fortunate to have the choice, not just the opportunity but the choice, to play such rich, complex female characters. And I congratulate producers like Working Title and Polygram for allowing directors to make autonomous casting decisions based on qualifications and not just market value. And I encourage writers and directors to keep these really interesting female roles coming — and while you're at it you can throw in a few for the men as well.

The Saviors of God (1923)
Context: I will not accept boundaries; appearances cannot contain me; I choke! To bleed in this agony, and to live it profoundly, is the second duty.
The mind is patient and adjusts itself, it likes to play; but the heart grows savage and will not condescend to play; it stifles and rushes to tear apart the nets of necessity.

"The Federal Prosecutor" (1940)

A Vindication of Natural Society (1756)
Context: You are, my Lord, but just entering into the world; I am going out of it. I have played long enough to be heartily tired of the drama. Whether I have acted my part in it well or ill, posterity will judge with more candour than I, or than the present age, with our present passions, can possibly pretend to. For my part, I quit it without a sigh, and submit to the sovereign order without murmuring. The nearer we approach to the goal of life, the better we begin to understand the true value of our existence, and the real weight of our opinions. We set out much in love with both; but we leave much behind us as we advance. We first throw away the tales along with the rattles of our nurses; those of the priest keep their hold a little longer; those of our governors the longest of all. But the passions which prop these opinions are withdrawn one after another; and the cool light of reason, at the setting of our life, shows us what a false splendour played upon these objects during our more sanguine seasons. Happy, my Lord, if, instructed by my experience, and even by my errors, you come early to make such an estimate of things, as may give freedom and ease to your life. I am happy that such an estimate promises me comfort at my death.

"Yesterday", from Help! (1965)
Lyrics, The Beatles
Context: Yesterday, love was such an easy game to play
Now I need a place to hide away.
Oh, I believe in yesterday.

On Chopin's Preludes in Histoire de Ma Vie (1902-04), Vo. IV, p. 439
Context: It was there he composed these most beautiful of short pages which he modestly entitled the Preludes. They are masterpieces. Several bring to mind visions of deceased monks and the sound of funeral chants; others are melancholy and fragrant; they came to him in times of sun and health, in the clamor of laughing children under he window, the faraway sound of guitars, birdsongs from the moist leaves, in the sight of the small pale roses coming in bloom on the snow. … Still others are of a mournful sadness, and while charming your ear, they break your heart. There is one that came to him through an evening of dismal rain — it casts the soul into a terrible dejection. Maurice and I had left him in good health one morning to go shopping in Palma for things we needed at out "encampment." The rain came in overflowing torrents. We made three leagues in six hours, only to return in the middle of a flood. We got back in absolute dark, shoeless, having been abandoned by our driver to cross unheard of perils. We hurried, knowing how our sick one would worry. Indeed he had, but now was as though congealed in a kind of quiet desperation, and, weeping, he was playing his wonderful Prelude. Seeing us come in, he got up with a cry, then said with a bewildered air and a strange tone, "Ah, I was sure that you were dead." When he recovered his spirits and saw the state we were in, he was ill, picturing the dangers we had been through, but he confessed to me that while waiting for us he had seen it all in a dream, and no longer distinguished the dream from reality, he became calm and drowsy while playing the piano, persuaded that he was dead himself. He saw himself drowned in a lake. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. He was even angry that I should intepret this in terms of imitative sounds. He protested with all his might — and he was right to — against the childishness of such aural imitations. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky. … The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.

A Gossip on Romance, printed in Longman's Magazine (November 1882).
Context: Fiction is to the grown man what play is to the child; it is there that he changes the atmosphere and tenor of his life.

St. 1
The Forsaken Merman (1849)
Context: Come, dear children, let us away;
Down and away below.
Now my brothers call from the bay;
Now the great winds shoreward blow;
Now the salt tides seaward flow;
Now the wild white horses play,
Champ and chafe and toss in the spray.
Children dear, let us away.
This way, this way!

"On the Sufferings of the World"
Parerga and Paralipomena (1851), Studies in Pessimism
Context: In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin. It is a blessing that we do not know what is really going to happen. Could we foresee it, there are times when children might seem like innocent prisoners, condemned, not to death, but to life, and as yet all unconscious of what their sentence means.

Farewell to Hollywood's Great White House Romance (2016)
Context: Nancy Reagan became first lady during the height of the feminist movement, and women who were battling for their rights in a male-dominated world saw her as an anachronism. Reagan said her life began when she met her husband. The adoring look she focused on her Ronnie when they were in public became known as "the gaze," adding to the caricature of her as a rich Hollywood socialite who did not understand the concerns of a generation of women coming into their own as professionals and seeking equality.
What her detractors failed to understand (and I was among them) was the substantive role she played behind the scenes at the White House in keeping her husband's presidency on track. She took the long view in looking after his legacy, intervening through favored surrogates to keep conservative ideologues from driving the agenda. Her insistence that no president could be considered great without reaching out to Soviet leaders trumped resistance from the right wing of the GOP.
She was fiercely protective of her husband's image, less so of her own, and she paid the price. When some of her interventions became known, particularly in the personnel department, she was cast as Lady Macbeth — even though the firings she engineered won praise. … Years later, with the benefit of hindsight and after watching Hillary Clinton's failed effort to achieve health-care reform, I came to believe Nancy Reagan deserved a fairer assessment. I wrote an op-ed piece that appeared in The Washington Post on Jan. 8, 1995, with the headline "Nancy with the centrist face: Derided as an elitist, Mrs. Reagan's impact was unequaled." I made the point that unlike Clinton, who took an office in the West Wing and was upfront about wanting to be a player, Reagan operated undercover, usually through a surrogate, and that she was a force for good. She rarely left fingerprints, but she got the job done, and her job was to play up her husband's strengths and cover for his weaknesses. She did both very well.
The piece concluded with this line: "She is without doubt an effective First Lady, and she may yet win our hearts." Soon after I received a handwritten note from Mrs. Reagan saying, "I don't really know how to say this but when something very nice comes from an unexpected source, it's really appreciated — and if you see me in a different light now, I'm happy. I can only hope one day 'to win the heart.' " Later that same year, she cooperated with a NEWSWEEK cover about her reconciliation with daughter Patti Davis, and how the president's Alzheimer's disease had brought the family together after literally decades of turmoil. Another handwritten note arrived shortly after with the lighthearted comment, "We've got to stop meeting like this!" After sharing her thoughts and emotions on her family's difficult times, Reagan said, "Hopefully I'm close to 'winning the heart.' "
In looking back at these notes, I realize how much it meant to her to gain a measure of affection after being treated so harshly in the public eye.