Tradition And Individual Talent Quotes

The poet's mind is in fact a receptacle for seizing and storing up numberless feelings, phrases, images, which remain there until all the particles which can unite to form a new compound are present together.

The progress of an artist is a continual self-sacrifice, a continual extinction of personality.

The difference between the present and the past is that the conscious present is an awareness of the past in a way and to an extent which the past’s awareness of itself cannot show.

but we might remind ourselves that criticism is as inevitable as breathing, and that we should be none the worse for articulating what passes in our minds when we read a book and feel an emotion about it, for criticizing our own minds in their work of criticism.

But the very question of whether photography is or is not an art is essentially a misleading one. Although photography generates works that can be called art --it requires subjectivity, it can lie, it gives aesthetic pleasure-- photography is not, to begin with, an art form at all. Like language, it is a medium in which works of art (among other things) are made. Out of language, one can make scientific discourse, bureaucratic memoranda, love letters, grocery lists, and Balzac's Paris. Out of photography, one can make passport pictures, weather photographs, pornographic pictures, X-rays, wedding pictures, and Atget's Paris. Photography is not an art like, say, painting and poetry. Although the activities of some photographers conform to the traditional notion of a fine art, the activity of exceptionally talented individuals producing discrete objects that have value in themselves, form the beginning photography has also lent itself to that notion of art which says that art is obsolete. The power of photography --and its centrality in present aesthetic concerns-- is that it confirms both ideas of art. But the way in which photography renders art obsolete is, in the long run, stronger.

QUALITY leadership is neither the product of one great individual nor the result of odd historical accidents. Rather, it comes from deeply bred traditions and communities that shape and mold talented and gifted persons. Without a vibrant tradition of resistance passed on to new generations, there can be no nurturing of a collective and critical consciousness—only professional conscientiousness survives.

Investing is a special thing. In terms of functionality, almost anyone can invest. But in terms of achieving the results of long-term profit and sustainable growth, only some people have the talent or skill sets for that. It’s like baseball for example… anyone can swing a bat at a ball. But only a few people make it to the big league, and even fewer become world champs. These days there are so many apps and platforms for individual investing, but that doesn’t mean everyone is achieving good results or ROI. There are great investors, good investors, and bad investors. A professional investor can achieve exponential growth and profit. A professional investor understands markets and industries and can account for both the traditional and the new.

Investing is a special thing. In terms of functionality, almost anyone invest. But in terms of achieving the results of long-term profit and sustainable growth, only some people have the talent or skill sets for that. It’s like baseball for example… anyone can swing a bat at a ball. But only a few guys make it to the big league, and even fewer become world champs. These days there are so many apps and platforms for individual investing, but that doesn’t mean everyone is achieving the same results. There are great investors, good investors, and bad investors. A professional investor can achieve exponential growth and profit. A professional investor understands markets and industries and can account for both the traditional and the new.

One error, in fact, of eccentricity in poetry is to seek for new human emotions to express; and in this search for novelty in the wrong place it discovers the perverse. The business of the poet is not to find new emotions, but to use the ordinary ones and, in working them up into poetry, to express feelings which are not in actual emotions at all.

No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must see him, for contrast and comparison, among the dead. I mean this as a principle of aesthetic, not merely historical criticism...What happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it...The poet who is aware of this will be aware of great difficulties and responsibilities.

Shakespeare acquired more essential history from Plutarch than most men could from the whole British Museum. What is to be insisted upon is that the poet must develop or procure the consciousness of the past and that he should continue to develop this consciousness throughout his career. 8 What happens is a continual surrender of himself as he is at the moment to something which is more valuable. The progress of an artist is a continual self-sacrifice, a continual extinction of personality. 9 There remains to define this process of depersonalization and its relation to the sense of tradition. It is in this depersonalization that art may be said to approach the condition of science.

will not find it preposterous that the past should be altered by the present as much as the present is directed by the past. And the poet who is aware of this will be aware of great difficulties and responsibilities.

One such individual was Amos Tutuola, who was a talented writer. His most famous novels, The Palm-Wine Drinkard, published in 1946, and My Life in the Bush of Ghosts, in 1954, explore Yoruba traditions and folklore. He received a great deal of criticism from Nigerian literary critics for his use of “broken or Pidgin English.” Luckily for all of us, Dylan Thomas, the Welsh poet and writer, was enthralled by Tutuola’s “bewitching literary prose” and wrote glowing reviews that helped Tutuola’s work attain international acclaim. I still believe that Tutuola’s critics in Nigeria missed the point. The beauty of his tales was fantastical expression of a form of an indigenous Yoruba, therefore African, magical realism. It is important to note that his books came out several decades before the brilliant Gabriel García Márquez published his own masterpieces of Latin American literature, such as One Hundred Years of Solitude.

As the Big Shift takes hold, companies are no longer places that exist to drive down costs by getting increasingly bigger. They’re places that support and organize talented individuals to get better faster by working with others. The rationale of the firm shifts from scalable efficiency to scalable learning—the ability to improve performance more rapidly and learn faster by effectively integrating more and more participants distributed across traditional institutional boundaries.

Yet if the only form of tradition, of handing down, consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes, “tradition” should positively be discouraged. We have seen many such simple currents soon lost in the sand; and novelty is better than repetition. Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour...the historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporaneity.

The idols of modern culture have had a profound influence on the shape of our work today. In traditional societies people found their meaning and sense of value by submitting their interests and sacrificing their desires to serve higher causes like God, family, and other people. In modern societies there is often no higher cause than individual interests and desires. This shift powerfully changed the role of work in people’s lives—it now became the way we defined ourselves. Traditional cultures tended to see people’s place on the social ladder as assigned by nature or convention, each family having its “proper place.” That view had put too little stock in the role of individual talent, ambition, and hard work for determining the outcome of one’s life. But modern society responded by putting too much stock in the autonomous person.

The world celebrates money, the universe celebrates generosity. The world celebrates position, the universe celebrates humility. The world celebrates titles, the universe celebrates dignity. The world celebrates fame, the universe celebrates modesty. The world celebrates success, the universe celebrates mastery. The world celebrates wealth, the universe celebrates charity. The world celebrates strength, the universe celebrates industry. The world celebrates might, the universe celebrates adaptability. The world celebrates power, the universe celebrates energy. The world celebrates lust, the universe celebrates chastity. The world celebrates ambition, the universe celebrates agility. The world celebrates passion, the universe celebrates efficiency. The world celebrates education, the universe celebrates ingenuity. The world celebrates scholars, the universe celebrates sagacity. The world celebrates talent, the universe celebrates creativity. The world celebrates culture, the universe celebrates civility. The world celebrates class, the universe celebrates equality. The world celebrates tradition, the universe celebrates individuality. The world celebrates gender, the universe celebrates impartiality. The world celebrates race, the universe celebrates humanity. The world celebrates tradition, the universe celebrates spirituality. The world celebrates religion, the universe celebrates divinity. The world celebrates pleasure, the universe celebrates purity. The world celebrates darkness, the universe celebrates piety. The world celebrates time, the universe celebrates continuity. The world celebrates chance, the universe celebrates destiny. The world celebrates life, the universe celebrates eternity.

This fear of the upheld mirror in the hand of genius extends to the teaching profession and perhaps to the primary and secondary school teacher most of all. The teacher occupies a particularly anomalous and exposed position in a society subject to rapid change or threatened by exterior enemies. Society is never totally sure of what it wants of its educators. It wants, first of all, the inculcation of custom, tradition, and all that socializes the child into the good citizen. In the lower grades the demand for conformity is likely to be intense. The child himself, as well as the teacher, is frequently under the surveillance of critical, if not opinionated, parents. Secondly, however, society wants the child to absorb new learning which will simultaneously benefit that society and enhance the individual's prospects of success. Thus the teacher, in some degree, stands as interpreter and disseminator of the cultural mutations introduced by the individual genius into society. Some of the fear, the projected guilt feelings, of those who do not wish to look into the mirrors held up to them by men of the Hawthorne stamp of genius, falls upon us. Moving among innovators of ideas as we do, sifting and judging them daily, something of the suspicion with which the mass of mankind still tends to regard its own cultural creators falls upon the teacher who plays a role of great significance in this process of cultural diffusion. He is, to a degree, placed in a paradoxical position. He is expected both to be the guardian of stability and the exponent of societal change. Since all persons do not accept new ideas at the same rate, it is impossible for the educator to please the entire society even if he remains abjectly servile. This is particularly true in a dynamic and rapidly changing era like the present. Moreover, the true teacher has another allegiance than that to parents alone. More than any other class· in society, teachers mold the future in the minds of the young. They transmit to them the aspirations of great thinkers of which their parents may have only the faintest notions. The teacher is often the first to discover the talented and unusual scholar. How he handles and encourages, or discourages, such a child may make all the difference in the world to that child's future- and to the world. Perhaps he can induce in stubborn parents the conviction that their child is unusual and should be encouraged in his studies. If the teacher is sufficiently judicious, he may even be able to help a child over the teetering planks of a broken home and a bad neighborhood. It is just here, however--in our search for what we might call the able, all-purpose, success-modeled student--that I feel it so necessary not to lose sight of those darker, more uncertain, late-maturing, sometimes painfully abstracted youths who may represent the Darwins, Thoreaus, and Hawthornes of the next generation.

A wedding is a celebration of love, a union of souls, and a promise of a lifetime together. In the heart of Hyderabad, a city known for its rich cultural heritage, vibrant traditions, and opulent celebrations, wedding photography has emerged as an art form that beautifully encapsulates these moments of love and union. Hyderabad, often referred to as the "City of Pearls," has seen a burgeoning community of talented wedding photographers who skillfully document the essence of love, the grandeur of ceremonies, and the rich cultural tapestry that defines weddings in this city. Wedding photography hyderabad is more than just taking pictures; it's about storytelling. It's the art of capturing emotions, traditions, and the love that binds two individuals. In Hyderabad, where tradition and modernity coexist harmoniously, wedding photographers have honed their craft to capture the essence of cultural rituals and ceremonies. They do not merely take photographs; they create narratives that tell the story of a couple's special day.

The historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional.

Truman had been able to govern the country with the cooperation of a relatively small number of Wall Street lawyers and bankers.' Huntington concludes (regretfully) this was no longer possible by the late sixties. Why not? Presidential authority was eroded. There was a broad reappraisal of governmental action and 'morality' in the post-Vietnam/post-Watergate era among political leaders who, like the general public, openly questioned 'the legitimacy of hierarchy, coercion, discipline, secrecy, and deception—all of which are, in some measure,' according to Huntington, 'inescapable attributes of the process of government.' Congressional power became more decentralized and party allegiances to the administration weakened. Traditional forms of public and private authority were undermined as 'people no longer felt the same compulsion to obey those whom they had previously considered superior to themselves in age, rank, status, expertise, character, or talents.' ¶ Throughout the sixties and into the seventies, too many people participated too much: 'Previously passive or unorganized groups in the population, blacks, Indians, Chicanos, white ethnic groups, students, and women now embarked on concerted efforts to establish their claims to opportunities, positions, rewards, and privileges, which they had not considered themselves entitled [sic] before. [Italics mine.] ¶ Against their will, these 'groups'—the majority of the population—have been denied 'opportunities, positions, rewards and privileges.' More democracy is not the answer: 'applying that cure at the present time could well be adding fuel to the flames.' Huntington concludes that 'some of the problems in governance in the United States today stem from an excess of democracy...Needed, instead, is a greater degree of moderation in democracy.' ¶ '...The effective operation of a democratic political system usually requires some measure of apathy and non-involvement on the part of some individuals and groups. In the past, every democratic society has had a marginal population, of greater or lesser size, which has not actively participated in politics. In itself, this marginality on the part of some groups is inherently undemocratic but it is also one of the factors which has enabled democracy to function effectively. [Italics mine.]' ¶ With a candor which has shocked those trilateralists who are more accustomed to espousing the type of 'symbolic populism' Carter employed so effectively in his campaign, the Governability Report expressed the open secret that effective capitalist democracy is limited democracy! (See Alan Wolfe, 'Capitalism Shows Its Face.')

For the new monastic that is clearly not an option. She is required to do the hard work of bringing her personal philosophy and intellectual framework into the light, working on it and merging it with the wisdom of her heart, stretching it, molding it, and making it explicit so that it can function as a road leading her into a life of continual growth and spiritual maturity, allowing her unique talents to flower as benefactions to the whole. In particular, because the new monastic is often creating an individualized framework for her journey, her responsibility for this task becomes much greater. In a certain sense, when she simply relies on a framework given from a religious tradition, she may have the support and guidance of thousands of years of reflective thought and careful cultivation to lean on. This can be a tremendous support. The new monastic must soberly assess these frameworks and the support and guidance they offer, but must give primal credence to that which is arising in her own heart and the living, synthesizing presence of Sophia. In the next section we show why we believe that this personalizing of spiritual frameworks is a necessary step in bringing forth our unity as a human family.