And thou my minde aspire to higher things;_x000D_ _x000D_ Grow rich in that which never taketh rust.
Philip SidneyRead
Fool," said my muse to me. "Look in thy heart and write.
Interpretation
The quote encourages introspection for creativity.
Philip Sidney's quote emphasizes the importance of looking within oneself to find genuine inspiration for writing and artistic expression. It suggests that true creativity comes from the heart, urging individuals to tap into their emotions and innermost thoughts when creating their art.
In practice
In a writing workshop to encourage participants to explore their emotions.
And thou my minde aspire to higher things;_x000D_ _x000D_ Grow rich in that which never taketh rust.
So, then, the best of the historian is subject to the poet; for whatsoever action or faction, whatsoever counsel, policy, or war-stratagem the historian is bound to recite, that may the poet, if he list, with his imitation make his own, beautifying it both for further teaching and more delighting, as it pleaseth him; having all, from Danteβs Heaven to his Hell, under the authority of his pen.
A true knight is fuller of bravery in the midst, than in the beginning of danger.
Shallow brooks murmur most, deep and silent slide away.
If you have so earth-creeping a mind that it cannot lift itself up to look to the sky of poetry... thus much curse I must send you, in the behalf of all poets, that while you live, you live in love, and never get favour for lacking skill of a sonnet; and, when you die, your memory die from the earth for want of an epitaph.
In forming a judgment, lay your hearts void of foretaken opinions; else, whatsoever is done or said, will be measured by a wrong rule; like them who have jaundice, to whom everything appears yellow.
Art produces ugly things which frequently become more beautiful with time. Fashion, on the other hand, produces beautiful things which always become ugly with time.
You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'
I think literary theory satisfied a deep love I have for big, encompassing narratives about the world and how it works - which are usually, in the end, more creative visions unto themselves than illuminating explanations.
Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.
If you wanted to show a mirror to people that says, 'You've been drunk on money,' they're not going to want to see it. But if you reflected that mirror on another time they'd be willing to. People will need an explanation of where we are and where we've been, and 'The Great Gatsby' can provide that explanation.
I have a way to photograph. You work with space, you have a camera, you have a frame, and then a fraction of a second. It's very instinctive. What you do is a fraction of a second, it's there and it's not there. But in this fraction of a second comes your past, comes your future, comes your relation with people, comes your ideology, comes your hate, comes your love - all together in this fraction of a second, it materializes there.
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