Category Archives: Quotations

Life Belongs to the Whole Community; It Is A Sort of Splendid Torch

alex atkins bookshelf quotations“This is the true joy in life, the being used for a purpose recognized by yourself as a mighty one; the being a force of Nature instead of a feverish, selfish little clod of ailments and grievances complaining that the world will not devote itself to making you happy. “

“I am of the opinion that my life belongs to the whole community, and as long as I live it is my privilege to do for it whatever I can. I want to be thoroughly used up when I die, for the harder I work the more I live. I rejoice in life for its own sake. Life is no ‘brief candle’ for me. It is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it onto future generations.”

The first paragraph is from the play Man and Superman (1903) by Irish playwright, critic, and political activist George Bernard Shaw (1856-1950). It appears in the eloquent, thought-provoking (and lengthy: more than 11,400 words!) dedication, “Epistle Dedicatory to Arthur Bingham Walkley,” of the play. The second paragraph comes from one of his speeches (found in George Bernard Shaw: His Life and His Works by Archibald Henderson). Interestingly, as the Internet has a tendency to do, the first and second paragraphs are erroneously combined, as if they were one thought written by Shaw. This cobbled-together quotation, taken from two completely separate works, appears in dozens of books, all — of course — without proper attribution. American actor Jeff Goldblum is quite fond of this quote and often recites it (most recently, for example, on The Late Show with Stephen Colbert, February 15, 2019) as if it were one long paragraph, perpetuating the mistake.

The “brief candle” that appears in the second paragraph is an allusion to the famous soliloquy in William Shakespeare’s The Tragedy of Macbeth (1606) spoken by Macbeth: ““Out, out, brief candle! / Life’s but a walking shadow, a poor player, / that struts and frets his hour upon the stage, /  and is heard no more. It is a tale / told by an idiot, full of sound and fury, / signifying nothing.”

Incidentally, the complete paragraph, from which the first sentence is taken, reads as follows: “This is the true joy in life, the being used for a purpose recognized by yourself as a mighty one; the being a force of Nature instead of a feverish, selfish little clod of ailments and grievances complaining that the world will not devote itself to making you happy. And also the only real tragedy in life is the being used by personally minded men for purposes which you recognize to be base. All the rest is mere misfortune or mortality: this alone is misery, slavery, hell on earth; and the revolt against it is the only force that offers a man’s work to the poor artist, whom our personally minded rich people would so willingly employ as pandas, buffoon, beauty money, sentimentalizer and the like.”

Shaw wrote Man and Superman because Arthur Bingham Walkley, who was the respected theatre critic for The Times, suggested that he write a play based on the theme of Don Juan/Don Giovanni, the archetypical womanizer. Shaw wrote: “My dear Walkley: You once asked me why I did not write a Don Juan play. The levity with which you assumed this frightful responsibility has probably by this time enabled you to forget it; but the day of reckoning has arrived: here is your play! I say your play, because qui facit per alium facit per se [from Latin: “He who acts through another does the act himself”]. Its profits, like its labor, belong to me: its morals, its manners, its philosophy, its influence on the young, are for you to justify. You were of mature age when you made the suggestion; and you knew your man. It is hardly fifteen years since, as twin pioneers of the New Journalism of that time, we two, cradled in the same new sheets, made an epoch in the criticism of the theatre and the opera house by making it a pretext for a propaganda of our own views of life. So you cannot plead ignorance of the character of the force you set in motion. You meant me to épater le bourgeois [from French, “to shock the bourgeoisie”, a rallying cry for French Decadent poets of the late 19th century]; and if he protests, I hereby refer him to you as the accountable party.” The dedication continues for 31 more paragraphs.

Shaw was a prolific playwright — he wrote 60 plays during his lifetime. His best-known works in addition to Man and Superman (1903) are Pygmalion (1912) and Saint Joan (1923). He was awarded the Nobel Prize in Literature in 1925. Some literary critics believe that Shaw was the second most important playwright after Shakespeare in the British theatrical tradition. Shaw created the “intelligent” theatre that required theatergoers to think deeply about the meaning of a play, setting the stage, as it were, for modern playwrights like David Mamet and Harold Pinter.

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For further reading: https://en.wikisource.org/wiki/Man_and_Superman/Dedicatory
https://books.google.com/books?id=g6dEAQAAMAAJ&pg=PA512#v=onepage&q&f=false


The Struggle for Verbal Consciousness is a Great Part of Life

alex atkins bookshelf quotations“Man struggles with his unborn needs and fulfillment. New unfoldings struggle up in torment in him, as buds struggle forth the midst of a plant. Any man of real individuality tries to know and to understand what is happening, even in him­self, as he goes along. This struggle for verbal consciousness should not be left out in art. It is a very great part of life. It is not superimposition of a theory. It is the passionate struggle into conscious being.”

From Women in Love by D. H. Lawrence. In the novel, an introspective school inspector, Rupert Birkin, based on the author himself, attempts to achieve authentic selfhood by reconciling the dualistic struggle for fulfilling his passions and the struggle for self-knowledge (passion vs intellect). Lawrence had written Women in Love as part of a larger novel; however the publisher, Thomas Seltzer, decided to publish them as two separate novels. The first, The Rainbow, was published in 1915; the second, Women in Love, was published in 1920. Due to the sexual content of the novels that upset the delicate sensibilities of the time, both were considered very controversial and banned for several years. Despite that controversy, legendary literary critic Harold Bloom believes that Women in Love is one of the most important and influential in Western culture.


The Secret to a Great Life: Amor Fati

alex atkins bookshelf quotationsThe great Greek Stoic philosopher Epictetus believed that philosophy was not just a theoretical discipline but a way of life. During his life (55 – 135 AD), he endured and saw more than his share of adversity. He was born a slave and was crippled (there are conflicting accounts: he was either born that way or one of his masters crushed his leg). Eventually, after the death of Nero in 68 AD, Epictetus obtained his freedom and traveled to Epirus, Greece to teach philosophy. Fortunately for us, his wisdom and teachings are preserved in the Discourses and Enchiridion. The secret to a great life, according to Epictetus, was what Nietzsche called amor fati, a Latin term meaning “a love of fate” or “love of one’s fate.” Specifically, Epictetus wrote: “Do not seek for things to happen the way you want them to; rather, wish that what happens happen the way it happens: then you will be happy.” In other words, don’t curse your fate: accept it — furthermore: love it. Epictetus and the stoics believed that everything that happens in one’s life — whether good or bad — is fate’s way of reaching its ultimate purpose: shaping you into the person you should be.

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The Greatest Love Letters of All Time

alex atkins bookshelf literatureThe 20-year correspondence between Pierre Abelard (1079-1142), a medieval French scholastic theologian and philosopher, and Heloise d’Argenteuil (c 1090-1164), a French Latin and Greek scholar (and later a nun), are considered some of the greatest love letters of all time. The letters were originally written in Latin and first published in Paris in 1616 (one of very rate first editions is owned by the British Museum). However, it wasn’t until 1722 that the letters were finally published in English. Since then, more than 60 editions have been published. Nevertheless, the important point to make is that long ago, people did not share their affection with fleeting, impulsive texts, tweets, and emojis — they actually took the time to write thoughtful handwritten letters to one another, conveying their love with eloquence, romance, and profound depth of feeling. But you be the judge — compare this stunningly beautiful and eloquent passage from Heloise to Abelard, in which she extols the virtue of letters, with any text or tweets you have ever read:

“If a picture, which is but a mute representation of an object, can give  such pleasure, what cannot letters inspire? They have souls; they can speak; they have in them all that force which expresses the transports of the heart; they have all the fire of our passions, they can raise them as much as if the persons them­selves were present; they have all the tenderness, and the delicacy of speech, and sometimes even a boldness of expression beyond it.

We may write to each other; so innocent a pleasure is not denied us. Let us not lose through negligence the only happiness which is left us, and the only one perhaps which the malice of our enemies can never ravish from us. I shall read that you are my husband and you shall see me sign myself your wife. In spite of all our misfortunes you may be what you please in your letter. Letters were first invented for consoling such solitary wretches as myself. Having lost the substantial pleasures of seeing and possessing you, I shall in some measure compensate this loss by the satisfaction I shall find in your writing. There I shall read your most sacred thoughts; I shall carry them always about with me, I shall kiss them every moment; if you can be capable of any jealousy let it be for the fond caresses I shall bestow upon your letters, and envy only the happi­ness of those rivals. That writing may be no trouble to you, write always to me carelessly and without study; I had rather read the dictates of the heart than of the brain. I cannot live if you will not tell me that you still love me; but that language ought to be so natural to you, that I believe you cannot speak otherwise to me without violence to yourself. And since by this melancholy relation to your friend you have awakened all my sorrows, ‘tis but reasonable you should allay them by some tokens of your unchanging love.” [From Letter II, The Love Letters of Abelard and Heloise edited by Honnor Morten, 1908]”

The remarkable story of forbidden love begins when Abelard and Heloise first met. At that time, Abelard, 37 years old, was the Professor of Logic and Canon at Notre Dame. He was one of the most celebrated men of his day — a brilliant, respected intellectual and teacher. Heloise, 19 years old, was his student, a Latin and Greek scholar. Initially Abelard was her tutor, but they fell deeply in love and continued their affair for some time at the home of her uncle and guardian, Fulbert. Marriage was out of the question since it would have prevented Abelard’s advancement in the Church and caused a scandal at the university. Nevertheless, they consummated their passionate love and had a child out of wedlock (a son, named get this — Astrolabe, after the scientific instrument that measures the altitude of a celestial body). To avoid Fulbert’s wrath, Abelard married Heloise, something she resisted. But she humiliated her uncle when she repeatedly denied the marriage and preferred to be called Abelard’s mistress. To protect her from her uncle, Abelard suggested that Heloise hide at a convent at Argenteuil where she had been brought up (although she lived there, she had not taken vows). Fulbert was incensed and wanted to punish and humiliate the professor. Filbert hired some thugs to storm into Abelard’s chambers and castrate him. Disfigured and fearing for his life, Abelard (now 40) fled the university and became a monk at the Monastery of St. Denis. He also encouraged Heloise to take vows as a nun, so that she was safe and no man could have her. She initially protested but eventually consented, and at the age of 22, took her vows. Fast forward ten years. Heloise received a letter from Abelard in which he discussed his unhappiness. She wrote back, revealing the pent-up passion from a decade of restraint. The lovers subsequently exchanged four letters after that and then, suddenly, the letters stopped. Abelard died of scurvy, at the age of 63, in 1142 at the priory of St. Marcel. Twenty years later Heloise, who had become the head of a convent, died. They were buried next to one another. Almost 600 years later, Josephine Bonaparte was so moved by their story, she ordered that their remains be moved to the Pere Lachiase Cemetery in Paris, where lovers from all over the world come to pay tribute to the famous couple by leaving letters at the tomb. The most passionate and romantic love stories of all time is also immortalized in Alexander Pope’s 1717 poem, “Eloisa to Abelard.”

In the introduction to the 1908 edition, Honnor Morten describes the legacy of Abelard and Heloise this way: “Abelard, the great leader and logician, his treatises are forgotten, his fame as a philosopher is dead — only his love letters live. And Heloise, the beautiful and the learned, who stands second to Sapho, is known merely as an example of the passionate devotion of woman. So they remain to us, the typical lovers; he with man’s mania to master, she with woman’s one desire to submit. No love letters that have ever been written but have contained phrases common to one another and to be found here; but no love letters that have ever been published have equalled these in the old passionate tale of the struggle to forget — to sink the love of the human in the love of the divine.”

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An Artist Must Be Content to Deliver Himself Wholly Up To It

 

alex atkins bookshelf literatureIn a letter written on April 3, 1855, legendary British author Charles Dickens explains to Mrs. Winter that his craft makes huge demands on his time and he must therefore politely decline many social invitations: “A necessity is upon me now — as at most times — of wandering about in my old wild way, to think. I could no more resist this on Sunday or yesterday than a man can dispense with food, or a horse can help himself from being driven. I hold my inventive capacity on the stern condition that it must master my whole life, often have complete possession of me, make its own demands upon me, and sometimes, for months together, put everything else away from me. If I had not known long ago that my place could never be held, unless I were at any moment ready to devote myself to it entirely, I should have dropped out of it very soon. All this I can hardly expect you to understand — or the restlessness and waywardness of an author’s mind. You have never seen it before you, or lived with it, or had occasion to think or care about it, and you cannot have the necessary consideration for it. “It is only half an hour,” —  “It is only an afternoon,” — “It is only an evening,” people say to me over and over again; but they don’t know that it is impossible to command one’s self sometimes to any stipulated and set disposal of five minutes, — or that the mere consciousness of an engagement will sometimes worry a whole day. These are the penalties paid for writing books. Whoever is devoted to an art must be content to deliver himself wholly up to it, and to find his recompense in it. I am grieved if you suspect me of not wanting to see you, but I can’t help it; I must go my way whether or no.”

In short, Dickens believed that a writer had to be very disciplined. In his own case, Dickens not only had to set aside enough time in his schedule to write when the muses inspired him, but he also had to make time to carefully study and ponder human nature. Biographer Fred Kaplan, who has written a highly-regarded biography of Dickens, shares a very illuminating story of when Henry James and Dickens met in Cambridge, Massachusetts in 1867. Although terribly brief, their encounter was an epiphany in James’s life. He observed Dickens alone in a room and noted his aura of authority and discipline; James described the famous author’s look as a “merciless, military gaze.” Kaplan explains: “[James] realized that Dickens could get maximum amount of life out of the smallest experience. That, combined with his talent, was conducive to the creation of great art… James learned that the great artist has to use his energy in the most disciplined and ruthless way.” Like Shakespeare, Dickens had the instinctive ability to place humanity under a microscope — meticulously probing, dissecting, distilling, analyzing  — to collect the fodder for his life’s work.

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The Singer Who Inspired Martin Luther King’s “I Have A Dream” Speech

In his autobiography, King explained that he wrote his speech at the Willard Hotel in Washington the night before the MOW, which was held on August 28, 1963. Prior to going up to his room, he had assembled his aides and asked them for suggestions for the speech. In the past, he had used the dream metaphor. Just two months earlier in June, at a speech delivered at Cobo Hall in Detroit, he said: “I have a dream this afternoon that one day, right here in Detroit, Negroes will be able to buy a house or rent a house anywhere that their money will carry them and they will be able to get a job.” The other metaphor he frequently used as the “bad check’, i.e, that the country wrote blacks a bad check, promising liberty and equality, but failing to honor it. Since speakers at the MOW were told they only had five minutes to speak, King didn’t think he had time to use both metaphors. [Later he was told that he could take whatever time he needed.] So he listened to his aides and said: “My brothers, I understand. I appreciate all the suggestions. Now let me go and counsel with the Lord.”

King spent the evening writing the speech in longhand, editing as he wrote, trying to find the right rhythm of words and phrases. Finally, he completed the speech by 4:00 am and handed the speech to an aid so that it could be typed up and delivered to the press. In the speech, King referenced the Bible, the Declaration of Independence, and the Constitution. But no where in that manuscript were the words “I have a dream.” 

King was the last speaker of the day. He spoke after Mahalia Jackson sang and then a speech by Rabbi Joachim Prinz from the American Jewish Congress. He stepped up to the podium, carrying the manuscript, and read from it. As he reached the conclusion of the speech, he realized that the sentences he had written did not flow. He was supposed to read “go back to our communities as members of the international association for the advancement of creative dissatisfaction” and instead improvised a sentence that employed anaphora: “Go back to Mississippi; go back to Alabama; go back to South Carolina; go back to Georgia; go back to Louisiana; go back to the slums and ghettos of our Northern cities, knowing that somehow this situation can and will be changed.” And this it was exactly at this moment, that Mahalia Jackson changed the course of one of the most famous speeches in history. Sitting near Kind, she yelled out, “Tell them about the dream, Martin!” When he heard that, King instantly turned aside from the manuscript and followed his intuition; and he began: “I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: ‘We hold these truths to be self-evident, that all men are created equal.’ I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood…”

King’s memorable 17-minute speech was powerful, soaring, and emotional. It brough men and women to tears according to eyewitnesses. Half a century later, the speech continues to resonate and inspire; moreover it is considered a rhetorical masterpiece. Political speech analyst, Richard Greene writes: “The speech is perfect in every way. The use of language, the emotional build-up, the penetrating message and the flawless delivery are, plain and simple, perfection.” Today, in a world inundated by tweets, a speech of this calibre is amazingly rare (had it occurred today, thousands would be reducing this remarkable oration to four simple words “I have a dream”) — and it towers above most others because it was delivered with so much conviction and passion. Through the use of repetition (anaphora), rhythm, diction, contrasting metaphors, biblical and historical references, and strong visual images — 70 in all — King crafted a perfect and impassioned speech about racial injustice and the hope for a world of true equality. Greene concludes, “To this day, the emotional impact of this speech reverberates to those who heard it then as well as those who first hear it now. Like the Gettysburg Address, it is a speech with lasting impact.”

So the next time you hear the “I Have a Dream” speech, you can thank Mahalia Jackson for her remark that altered the course of the speech — and of history. And may her act inspire you: when you see that someone needs some encouragement, don’t be afraid to speak out.

SHARE THE LOVE: If you enjoyed this post, please help expand the Bookshelf community by sharing with a friend or with your readers. Cheers.

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For further reading: Words That Shook The World: 100 Years of Unforgettable Speeches and Events by Richard Greene
The Autobiography of Martin Luther King Jr. edited by Clayborne Carson
http://www.nytimes.com/2013/08/28/opinion/mahalia-jackson-and-kings-rhetorical-improvisation.html


The Amazing Healing Power of Love and Compassion

alex atkins bookshelf quotations“If there’s one thing I’ve learned in my extraordinary life, it’s the amazing healing power of love and compassion. For example, I played the concert for 9/11 in New York in Madison Square Garden, which was an extremely moving experience because of the audience. Nobody came there worrying about whether the person next to them voted for another party, was a different color, was a different religion, had a different sexuality. They came there en masse, as a group of people to share love. And I I think we need so much more of that in our sick world, at the moment. Sometimes its hard to believe that we’re in 2019 and what I read in the newspapers — and its not just here– it’s all over the world,  cause I go everywhere. So I truly believe that love is the cure for what ails us at the moment. And this next song is all about that… [Begins to sing “Believe” from the 1995 album, Made in England]: I believe in love, it’s all we got / Love has no boundaries, costs nothing to touch / War makes money, cancer sleeps / Curled up in my father and that means something to me / Churches and dictators, politics and papers / Everything crumbles sooner or later / But love, I believe in love…”

Elton John speaking to the crowd at the SAP Center in San Jose, California, on January 19, 2019 during his Farewell Yellow Brick Road Tour. Remarkably, at the age of 71, John is playing 300 concerts over three years across the globe in this final tour. In his 50 year career, he has played more than 4,000 concerts. As a philanthropist, he established the Elton John Aids Foundation in 1992. To date, the foundation has raised more than $400 million to support innovative HIV prevention, education programs, and care and support services to people living with HIV.


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