Everything is dangerous, my dear fellow. If it wasn't so, life wouldn't be worth living.
Oscar WildeRead
Popularity is the crown of laurel which the world puts on bad art. Whatever is popular is wrong.
Interpretation
Popularity can often mislead us about the quality of art, suggesting that widely accepted works may not be the best.
This quote by Oscar Wilde critiques the notion that popularity equates to quality in art. Wilde suggests that the acclaim received by certain artworks can often be superficial, indicating that what is widely celebrated may not necessarily embody true artistic merit or integrity; rather, it may simply reflect mass preference, which can sometimes be misguided.
In practice
In a discussion about contemporary art, one might use this quote to emphasize the difference between critical acclaim and mass appeal.
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
Dialogue must appear realistic without being so. Actual realism-the lifting, as it were, of passages from a stenographer's take-down of a 'real life' conversation-would be disruptive. Of what? Of the illusion of the novel. In 'real life' everything is diluted; in the novel everything is condensed.
I can't be alone among fiction writers in regarding the world, so much weirder than anything we could make up, as beating us at our own game or in racking my brains over what could possibly constitute a contribution when novels pale before the newspaper.
If I've done my work well, I vanish completely from the scene. I believe it is invasive of the work when you know too much about the writer.
It's a constant challenge to get your arrangement and musical expression across to a new audience, especially when you're playing live every night like we are.
Aside from keeping the rain out and producing some usable space, architecture is nothing but a special-effects machine that delights and disturbs the senses.
Each writer is born with a repertory company in his head. Shakespeare has perhaps 20 players. ... I have 10 or so, and thats a lot. As you get older, you become more skillful at casting them.
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