Our business in life is not to succeed, but to continue to fail in good spirits.
Robert Louis StevensonRead
This profusion of eccentricities, this dream in masonry and living rock is not a drop scene in a theatre, but a city in the world of reality.
Interpretation
The quote emphasizes that the unique and imaginative aspects of a city are real and not simply theatrical illusions.
In this quote, Robert Louis Stevenson highlights the distinctive and vivid characteristics of a city, suggesting that its creativity and eccentricities are a genuine part of the real world rather than mere pretensions or false representations. He encourages us to appreciate the authenticity and richness of urban life, recognizing it as a true manifestation of human artistry and expression.
In practice
In a speech about urban development, one could use this quote to emphasize the importance of creativity in city planning.
Our business in life is not to succeed, but to continue to fail in good spirits.
Like a bird singing in the rain, let grateful memories survive in time of sorrow.
That man is a success who has lived well, laughed often and loved much.
His past was fairly blameless; few men could read the rolls of their life with less apprehension; yet he was humbled to the dust by the many ill things he had done, and raised up again into sober and fearful gratitude by the many he had come so near to doing, yet avoided.
The habit of being happy enables one to be freed, or largely freed, from the domination of outward conditions.
It is the history of our kindnesses that alone make this world tolerable. If it were not for that, for the effect of kind words, kind looks, kind letters . . . I should be inclined to think our life a practical jest in the worst possible spirit.
The moment always dictates in my work. What I feel, I do. This is the most important thing for me. Everybody can look, but they don't necessarily see. I never calculate or consider; I see a situation and I know that it's right, even if I have to go back to get the proper lighting.
I wanted to write the kind of poetry that people read and remembered, that they lived by - the kinds of lines that I carried with me from moment to moment on a given day without even having chosen to.
I don't torture myself. And I do the work because of the pleasure involved. I'm satisfying a compulsion I find nigh-on irresistible. It's not necessarily because of the work itself. I just feel the need for a period of regeneration afterwards. Like leaving a field fallow when you've grazed too much on it. I feel depleted.
A friend of mine who is in the publishing business knew I was writing a book, and he said, 'Have you said anything yet about the good guy? Because I know you spend so much time with the bad guys.' Because they're fun. So then you have to make the good guy fun, in order to compete. That's the challenge.
I sort of recognize it, as opposed to shaping it. Oh, that's a good idea, that's a good line. I wonder where I can use that. And when you get into a rhyme group like 'not,' you got a lot of rhymes, you got a lot of choices. The more you do it, the luckier you get.
For myself and my own experience now, I don't really need any music. I have enough to listen to with just the sounds of the environment. I listen to the sounds of 6th avenue.
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