The right to discuss freely and openly, by speech, by the pen, by the press, all political questions, and to examine and animadvert (speak out) upon all political institutions, is a right so clear and certain, so interwoven with our other liberties, so necessary, in fact to their existence, that without it we must fall at once into depression or anarchy. To say that he who holds unpopular opinions must hold them at the peril of his life, and that, if he expresses them in public, he has only himself to blame if they who disagree with him should rise and put him to death, is to strike at all rights, all liberties, all protection of the laws, and to justify and extenuate all crimes.
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The stage is a concrete physical place which asks to be filled, and to be given its own concrete language to speak. I say that this concrete language, intended for the senses and independent of speech, has first to satisfy the senses, that there is a poetry of the senses as there is a poetry of language, and that this concrete physical language to which I refer is truly theatrical only to the degree that the thoughts it expresses are beyond the reach of the spoken language. These thoughts are what words cannot express and which, far more than words, would find their ideal expression in the concrete physical language of the stage. It consists of everything that occupies the stage, everything that can be manifested and expressed materially on a stage and that is addressed first of all to the senses instead of being addressed primarily to the mind as is the language of words...creating beneath language a subterranean current of impressions, correspondences, and analogies. This poetry of language, poetry in space will be resolved precisely in the domain which does not belong strictly to words...Means of expression utilizable on the stage, such as music, dance, plastic art, pantomime, mimicry, gesticulation, intonation, architecture, lighting, and scenery...The physical possibilities of the stage offers, in order to substitute, for fixed forms of art, living and intimidating forms by which the sense of old ceremonial magic can find a new reality in the theater; to the degree that they yield to what might be called the physical temptation of the stage. Each of these means has its own intrinsic poetry.
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Every act of rebellion expresses a nostalgia for innocence and an appeal to the essence of being.
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It is the American vice, the democratic disease which expresses its tyranny by reducing everything unique to the level of the herd.
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The myth holds us, therefore, not through its romantic flavor, not the remembrance of beauty of some bygone age, not through the possibilities of fantasy, but because it expresses to us something real and existing in ourselves, as it was to those who first stumbled upon the symbols to give them life.
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The primary function of myth is to validate an existing social order. Myth enshrines conservative social values, raising tradition on a pedestal. It expresses and confirms, rather than explains or questions, the sources of cultural attitudes and values. Because myth anchors the present in the past it is a sociological charter for a future society which is an exact replica of the present one.
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Addiction, obesity, starvation (anorexia nervosa) are political problems, not psychiatric: each condenses and expresses a contest between the individual and some other person or persons in his environment over the control of the individual's body.
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Elizabeth Taylor is pre-feminist woman. This is the source of her continuing greatness and relevance. She wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like Delilah, Salome, and Helen of Troy. Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary clich?. But the femme fatale expresses women's ancient and eternal control of the sexual realm. The specter of the femme fatale stalks all men's relations with women.
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The popularity of disaster movies expresses a collective perception of a world threatened by irresistible and unforeseen forces which nevertheless are thwarted at the last moment. Their thinly veiled symbolic meaning might be translated thus: We are innocent of wrongdoing. We are attacked by unforeseeable forces come to harm us. We are, thus, innocent even of negligence. Though those forces are insuperable, chance will come to our aid and we shall emerge victorious.
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The liar at any rate recognizes that recreation, not instruction, is the aim of conversation, and is a far more civilized being than the blockhead who loudly expresses his disbelief in a story which is told simply for the amusement of the company.
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Any reviewer who expresses rage and loathing for a novel is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae.
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It is said an eastern monarch once charged his wise men to invent a sentence, to be ever in view, and which should be true and appropriate in all times and situations. They presented him with the words, 'And this, too, shall pass away.' How much it expresses How chastening in the hour of pride How consoling in the depths of affliction
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Any reviewer who expresses rage and loathing for a novel is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae
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Quotation ... A writer expresses himself in words that have been used before because they give his meaning better than he can give it himself, or because they are beautiful or witty, or because he expects them to touch a cord of association in his reader, or because he wishes to show that he is learned and well read. Quotations due to the last motive are invariably ill-advised; the discerning reader detects it and is contemptuous; the undiscerning is perhaps impressed, but even then is at the same time repelled, pretentious quotations being the surest road to tedium.
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Quotation... A writer expresses himself in words that have been used before because they give his meaning better than he can give it himself, or because they are beautiful or witty, or because he expects them to touch a cord of association in his reader, or because he wishes to show that he is learned and well read. Quotations due to the last motive are invariably ill-advised; the discerning reader detects it and is contemptuous; the undiscerning is perhaps impressed, but even then is at the same time repelled, pretentious quotations being the surest road to tedium.
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Quotation ... A writer expresses himself in words that have been used before because they give his meaning better than he can give it himself, or because they are beautiful or witty, or because he expects them to touch a cord of association in his reader, or because he wishes to show that he is learned and well read. Quotations due to the last motive are invariably ill-advised the discerning reader detects it and is contemptuous the undiscerning is perhaps impressed, but even then is at the same time repelled, pretentious quotations being the surest road to tedium.
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The hard-core intentionalist expresses only the most remote concern for consequences - usually, some vague, distant utopia. But this is, in most cases, a rationalization. His real satisfaction comes from a sense of doing the right thing - even when right has, in his mind, no clear connection with reality.
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No good poem, however confessional is may be, is just a self-expression. Who on earth would claim that the pearl expresses the oyster?
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It seems to me monstrous that anyone should believe that the jazz rhythm expresses America. Jazz rhythm expresses the primitive savage.
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Our attitude toward our own culture has recently been characterized by two qualities, braggadocio and petulance. Braggadocio -- empty boasting of American power, American virtue, American know-how -- has dominated our foreign relations now for some decades. Here at home -- within the family, so to speak -- our attitude to our culture expresses a superficially different spirit, the spirit of petulance. Never before, perhaps, has a culture been so fragmented into groups, each full of its own virtue, each annoyed and irritated at the others.
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Each victim of suicide gives his act a personal stamp which expresses his temperament, the special conditions in which he is involved, and which, consequently, cannot be explained by the social and general causes of the phenomenon.
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Poetry implies the whole truth, philosophy expresses only a particle of it.
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Poetry is finer and more philosophical than history; for poetry expresses the universal, and history only the particular.
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It is said an eastern monarch once charged his wise men to invent a sentence, to be ever in view, and which should be true and appropriate in all times and situations. They presented him with the words, 'And this, too, shall pass away.' How much it expresses! How chastening in the hour of pride! How consoling in the depths of affliction!
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There is a way in which the collective knowledge of mankind expresses itself, for the finite individual, through mere daily living... a way in which life itself is sheer knowing.
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A great photograph is one that fully expresses what one feels, in the deepest sense, about what is being photographed
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Life is too short to be little. Man is never so manly as when he feels deeply, acts boldly, and expresses himself with frankness and with fervor.
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We must realize that the subconscious mind is the law of action and always expresses what the conscious mind has impressed on it. What we regularly entertain in our mind creates a conception of self. What we conceive ourselves to be, we become.
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A technique succeeds in mathematical physics, not by a clever trick, or a happy accident, but because it expresses some aspect of a physical truth.
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Action expresses priorities.
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