The common idea that success spoils people by making them vain, egotistic and self-complacent is erroneous; on the contrary it makes them, for the most part, humble, tolerant and kind.
W. Somerset MaughamRead
Art should be appreciated with passion and violence, not with a tepid, depreciating elegance that fears the censoriousness of a common room.
Interpretation
Art should be experienced with intense emotion rather than with superficial coolness.
W. Somerset Maugham emphasizes that true appreciation of art requires passion and intensity. He criticizes a detached and overly refined approach to art, which he sees as inadequate, suggesting that art provokes strong feelings and should be embraced wholeheartedly, even if that means confronting criticism or societal norms.
In practice
During an art critique, I shared Maugham's view on appreciating art with passion to inspire my classmates.
The common idea that success spoils people by making them vain, egotistic and self-complacent is erroneous; on the contrary it makes them, for the most part, humble, tolerant and kind.
Cronshaw stopped for a moment to drink. He had pondered for twenty years the problem whether he loved liquor because it made him talk or whether he loved conversation because it made him thirsty.
Are you sure you can prevent yourself from falling in love one of these days? Such things do happen, you know, even to the most prudent men.' Simon gave him a strange, one might even have thought a hostile, look. I should tear it out of my heart as I'd wrench out of my mouth a rotten tooth.
I don't think of the past. The only thing that matters is the everlasting present.
The world is quickly bored by the recital of misfortune, and willing avoids the sight of distress.
There in the mist, enormous, majestic, silent and terrible, stood the Great Wall of China. Solitarily, with the indifference of nature herself, it crept up the mountain side and slipped down to the depth of the valley.
The experimental poetry thing is not my thing. It's a programme of the avant-garde: basically a refusal of the kind of poetry I write.
You want a poem to unsettle something. There's a deep and interesting kind of troubling that poems do, which is to say, 'This is what you think you're certain of, and I'm going to show you how that's not enough. There's something more that might be even more rewarding if you're willing to let go of what you already know.'
I have a feeling, one of those gut feelings, that I'll make pretty good movies the rest of my life.
What I used to do with a passion, foolishly and vainly imagining I would change the world for the better, I no longer tolerate in myself or anyone else. But draw, always draw - and WRITE.
To write tragedy, a man must feel tragedy. To feel tragedy, a man must be aware of the world in which he lives. Not only with his mind, but with his blood and sinews.
It's a fundamental, social attitude that the 1% supports symphonies and operas and doesn't support Johnny learning to program hip-hop beats. When I put it like that, it sounds like, 'Well, yeah,' but you start to think, 'Why not, though?' What makes one more valuable than another?
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