One of the strangest things about life is that the poor, who need the money the most, are the ones that never have it.
The fact that there are so many weak, poor and boring stories and novels written and published in America has been ascribed by our rebels to the horrible squareness of our institutions, the idiocy of power, the debasement of sexual instincts, and the failure of writers to be alienated enough. The poems and novels of these same rebellious spirits, and their theoretical statements, are grimy and gritty and very boring too, besides being nonsensical, and it is evident by now that polymorphous sexuality and vehement declarations of alienation are not going to produce great works of art either.
At man's core there is a voice that wants him never to give in to fear. But if it is true that in general man cannot give in to fear, at the very least he postpones indefinitely the moment when he will have to confront himself with the object of his fear... when he will no longer have the assistance of reason as guaranteed by God, or when he will no longer have the assistance of God such as reason guaranteed. It is necessary to recoil, but it is necessary to leap, and perhaps one only recoils in order to leap better.
A true priest is aware of the presence of the altar during every moment that he is conducting a service. It is exactly the same way that a true artist should react to the stage all the time he is in the theater. An actor who is incapable of this feeling will never be a true artist.
Stage charm guarantees in advance an actor's hold on the audience, it helps him to carry over to large numbers of people his creative purposes. It enhances his roles and his art. Yet it is of utmost importance that he use this precious gift with prudence, wisdom, and modesty. It is a great shame when he does not realize this and goes on to exploit, to play on his ability to charm.
Remember this practical piece of advice: Never come into the theatre with mud on your feet. Leave your dust and dirt outside. Check your little worries, squabbles, petty difficulties with your outside clothing -- all the things that ruin your life and draw your attention away from your art -- at the door.
So farewell to the little good you bear me. Farewell! a long farewell, to all my greatness!This is the state of man: to-day he puts forthThe tender leaves of hopes; to-morrow blossoms,And bears his blushing honours thick upon him;The third day comes a frost, a killing frost,And, when he thinks, good easy man, full surelyHis greatness is a-ripening, nips his root,And then he falls, as I do. I have venturd,Like little wanton boys that swim on bladders,This many summers in a sea of glory,But far beyond my depth. My high-blown prideAt length broke under me, and now has left me,Weary and old with service, to the mercyOf a rude stream that must for ever hide me. Vain pomp and glory of this world, I hate ye!I feel my heart new opend. O, how wretchedIs that poor man that hangs on princes favours!There is, betwixt that smile we would aspire to,That sweet aspect of princes, and their ruin,More pangs and fears than wars or women have;And when he falls, he falls like Lucifer,Never to hope again.