Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
Oscar WildeRead
For the canons of good society are, or should be, the same as the canons of art. Form is absolutely essential to it.
Interpretation
Art and society should uphold the same standards of beauty and structure, emphasizing the importance of form.
Oscar Wilde suggests that the principles guiding good society should mirror those that govern art, underscoring the significance of form in both realms. This viewpoint posits that just as art requires a strong form to convey meaning and beauty, society too must adhere to these standards to cultivate an environment of aesthetic and moral value.
In practice
In a speech on creativity and society, one might quote Wilde to highlight the interrelation of aesthetics and social values.
Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
London is too full of fogs and serious people. Whether the fogs produce the serious people, or whether the serious people produce the fogs, I don't know.
When one has never heard a man's name in the course of one's life, it speaks volumes for him; he must be quite respectable.
Men always want to be a woman's first love - women like to be a man's last romance.
A truth ceases to be true when more than one person believes in it.
His morality is all sympathy, just what morality should be
I don't own any of my own paintings because a Picasso original costs several thousand dollars and that's a luxury I cannot afford.
For the film maker must come by his convention, as painters and writers and musicians have done before him.
Look, architecture has a lot of places to hide behind, a lot of excuses. "The client made me do this." "The city made me do this." "Oh, the budget." I don't believe that anymore.
OPERA, n. A play representing life in another world, whose inhabitants have no speech but song, no motions but gestures and no postures but attitudes.
I had so much fun doing Django, and I love westerns so much that after I taught myself how to make one, it's like, 'OK, now let me make another one now that I know what I'm doing.'
The sun had, in the meanwhile, sunk behind the Ettersberg. We felt in the wood the chill of the evening, and drove all the quicker to Wiemar, and to Goethe's house. Goethe urged me to go in with him for a while, and I did so. He was in an extremely engaging mood. He talked a great deal about his theory of colors, and of his obstinate opponents; remarking that he was sure that he had done something in this science.
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