Emulate Famous Quotes

We lived in a me-first world obsessed with morally inconsequential celebrities of dubious motivations and shallow character. How or why these people had become famous, or why they would be emulated and their every word newsworthy, no one of common sense could explain. The world had seemingly gone mad, and anyone pointing this out was reviled and mocked.

It has been noted in various quarters that the half-illiterate Italian violin maker Antonio Stradivari never recorded the exact plans or dimensions for how to make one of his famous instruments. This might have been a commercial decision (during the earliest years of the 1700s, Stradivari’s violins were in high demand and open to being copied by other luthiers). But it might also have been because, well, Stradivari didn’t know exactly how to record its dimensions, its weight, and its balance. I mean, he knew how to create a violin with his hands and his fingers but maybe not in figures he kept in his head. Today, those violins, named after the Latinized form of his name, Stradivarius, are considered priceless. It is believed there are only around five hundred of them still in existence, some of which have been submitted to the most intense scientific examination in an attempt to reproduce their extraordinary sound quality. But no one has been able to replicate Stradivari’s craftsmanship. They’ve worked out that he used spruce for the top, willow for the internal blocks and linings, and maple for the back, ribs, and neck. They’ve figured out that he also treated the wood with several types of minerals, including potassium borate, sodium and potassium silicate, as well as a handmade varnish that appears to have been composed of gum arabic, honey, and egg white. But they still can’t replicate a Stradivarius. The genius craftsman never once recorded his technique for posterity. Instead, he passed on his knowledge to a number of his apprentices through what the philosopher Michael Polyani called “elbow learning.” This is the process where a protégé is trained in a new art or skill by sitting at the elbow of a master and by learning the craft through doing it, copying it, not simply by reading about it. The apprentices of the great Stradivari didn’t learn their craft from books or manuals but by sitting at his elbow and feeling the wood as he felt it to assess its length, its balance, and its timbre right there in their fingertips. All the learning happened at his elbow, and all the knowledge was contained in his fingers. In his book Personal Knowledge, Polyani wrote, “Practical wisdom is more truly embodied in action than expressed in rules of action.”1 By that he meant that we learn as Stradivari’s protégés did, by feeling the weight of a piece of wood, not by reading the prescribed measurements in a manual. Polyani continues, To learn by example is to submit to authority. You follow your master because you trust his manner of doing things even when you cannot analyze and account in detail for its effectiveness. By watching the master and emulating his efforts in the presence of his example, the apprentice unconsciously picks up the rules of the art, including those which are not explicitly known to the master himself. These hidden rules can be assimilated only by a person who surrenders himself to that extent uncritically to the imitation of another.

If you want to be famous forever, emulate Jesus's character, picture it in your mind, and never show off.

While we teach knowledge, we are losing that teaching which is the most important one for human development: the teaching which can only be given by the simple presence of a mature, loving person. In previous epochs of our own culture, or in China and India, the man most highly valued was the person with outstanding spiritual qualities. Even the teacher was not only, or even primarily, a source of information, but his function was to convey certain human attitudes. In contemporary capitalistic society -and the same holds true for Russian Communism- the men suggested for admiration and emulation are everything but bearers of significant spiritual qualities. Those are essentially in the public eye who give the average man a sense of vicarious satisfaction. Movie stars, radio entertainers, columnists, important business or government figures -these are the models for emulation. Their main qualification for this function is often that they have succeeded in making the news. Yet, the situation does not seem to be altogether hopeless. If one considers the fact that a man like Albert Schweitzer could become famous in the United States, if one visualizes the many possibilities to make our youth familiar with living and historical personalities who show what human beings can achieve as human beings, and not as entertainers (in the broad sense of the word), if one thinks of the great works of literature and art of all ages, there seems to be a chance of creating a vision of good human functioning, and hence of sensitivity to malfunctioning. If we should not succeed in keeping alive a vision of mature life, then indeed we are confronted with the probability that our whole cultural tradition will break down. This tradition is not primarily based on the transmission of certain kinds of knowledge, but of certain kinds of human traits. If the coming generations will not see these traits any more, a five-thousand-year-old culture will break down, even if its knowledge is transmitted and further developed.

armour, in emulation of Caesar. The famous opening lines of Pushkin’s epic poem The Bronze Horseman (1833) (which every Russian schoolchild knows by heart) crystallized the myth of Petersburg’s creation by a providential man: On a shore by the desolate waves He stood, with lofty thoughts, And gazed into the distance …5

If you wish to know what men seek in this land [the Arctic regions], or why men journey thither in so great danger of their lives, then it is the threefold nature of man that draws him thither. One part of him is emulation and desire of fame, for it is a man's nature to go where there is likelihood of great danger, and to make himself famous thereby. Another part is the desire of knowledge, for it is man's nature to wish to know and see those parts of which he has heard, and to find out whether they are as it was told him or not. The third part is the desire of gain, seeing that men seek after riches in every place where they learn that profit is to be had, even though there is great danger in it." Fridjtof Nansen, citing an old Norse saga