What we want is to see the child in pursuit of knowledge, and not knowledge in pursuit of the child.
George Bernard ShawRead
Beauty is all very well at first sight; but who ever looks at it when it has been in the house three days?
Interpretation
Beauty may capture our attention initially, but its allure often fades with time.
George Bernard Shaw suggests that while beauty can be captivating at first glance, its appeal diminishes as familiarity sets in. This quote invites reflection on the fleeting nature of aesthetic admiration and the importance of substance over superficial charm.
In practice
In a speech on art appreciation, one could use this quote to emphasize the importance of deeper engagement with artistic works.
What we want is to see the child in pursuit of knowledge, and not knowledge in pursuit of the child.
Marriage is good enough for the lower classes: they have facilities for desertion that are denied to us.
Forgive him, for he believes that the customs of his tribe are the laws of nature!
Those who talk most about the blessings of marriage and the constancy of its vows are the very people who declare that if the chain were broken and the prisoners left free to choose, the whole social fabric would fly asunder. You cannot have the argument both ways. If the prisoner is happy, why lock him in? If he is not, why pretend that he is?
Treat a friend as a person who may someday become your enemy; an enemy as a person who may someday become your friend.
The happiness of credulity is a cheap and dangerous quality.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
I belong to this notebook and this pencil.
After playing Chopin, I feel as if I had been weeping over sins that I had never committed, and mourning over tragedies that were not my own. Music always seems to me to produce that effect. It creates for one a past of which one has been ignorant, and fills one with a sense of sorrows that have been hidden from oneβs tears.
I have not seen a film as powerful, surreal, and frightening in at least a decade unprecedented in the history of cinema.
In writing, I apply my feminine side and respect the mystery involved in creation.
And I want to rise up, throw my arms open for a vast embrace, address an ample, luminous discourse to the invisible crowds. I would start like this: "O rainbow-colored gods. . .
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