Savages and modern artists are alike strangely driven to create something uglier than themselves. but the artists find it harder.
Interpretation
The quote reflects on the struggle of artists to create works that are intentionally flawed or ugly, similar to the primal instincts of savages.
Gilbert K. Chesterton suggests that both savages and modern artists share an inherent drive to produce creations that may not adhere to conventional standards of beauty. However, while savages may produce such work more instinctively, artists grapple with the challenge of crafting something that is intentionally ugly, highlighting the complexity and depth behind artistic expression.
In practice
This quote can be used during an art critique session to provoke discussion about the nature of beauty in art.
Tradition does not mean a dead town; it does not mean that the living are dead but that the dead are alive. It means that it still matters what Penn did two hundred years ago or what Franklin did a hundred years ago; I never could feel in New York that it mattered what anybody did an hour ago.
I owe my success to having listened respectfully to the very best advice, and then going away and doing the exact opposite.
The good Bishop of Assisi expressed a sort of horror at the hard life which the Little Brothers lived at the Portiuncula, without comforts, without possessions, eating anything they could get and sleeping anyhow on the ground. St. Francis answered him with that curious and almost stunning shrewdness which the unworldly can sometimes wield like a club of stone. He said, 'If we had any possessions, we should need weapons and laws to defend them.
The ordinary scientific man is strictly a sentimentalist. He is a sentimentalist in this essential sense, that he is soaked and swept away by mere associations.
I suppose every one must have reflected how primeval and how poetical are the things that one carries in one's pocket; the pocket-knife, for instance, the type of all human tools, the infant of the sword. Once I planned to write a book of poems entirely about things in my pockets. But I found it would be too long; and the age of the great epics is past.
Madness does not come by breaking out, but by giving in; by settling down in some dirty, little, self-repeating circle of ideas; by being tamed.
To create anything β whether a short story or a magazine profile or a film or a sitcom β is to believe, if only momentarily, you are capable of magic. These essays are about that magic β which is sometimes perilous, sometimes infectious, sometimes fragile, sometimes failed, sometimes infuriating, sometimes triumphant, and sometimes tragic. I went up there. I wrote. I tried to see.
Great art is indefinable but that's all right; it exists anyway.
The theater is so endlessly fascinating because it's so accidental. It's so much like life.
It looks like the writer is telling you a story. What the writer is actually doing, however, is using words to evoke a series of micromemories from your own experience that inmix, join, and connect in your mind in an order the writer controls, so that, in effect, you have a sustained memory of something that never happened to you.
There's nothing in the world more silent than the telephone the morning after everybody pans your play. It won't ring from room service; your mother won't be calling you. If the phone has not rung by 8 in the morning, you're dead.
I started out on photography accidentally. A policeman came to a stop at the end of my street, and a guy knifed him at the end of my street. That's how I became a photographer. I photographed the gangs that I went to school with.
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