All ultimately intermarried to produce a race of many strains, which may account for the paradox that a people famed for stolid, patient, practical common-sense; a nation as Napoleon said, of "shopkeepers", has produced more adventurers, explorers and poets than probably any other in history.
The word 'paradox' has always had a kind of magic for me, and I think my pictures have a paradoxical quality, a paradox of chaos and order in one.
But I didn't think about this beforehand. I just went ahead and did it, and that's the way it turned out. So I guess there are lots of paradoxes which I'll leave for other people to unscramble.
The paradox in the evolution of French painting from Courbet to Cezanne is how it was brought to the verge of abstraction in and by its very effort to transcribe visual appearance with ever greater fidelity.
It is all, as usual, paradox. I have to use what intellect I have in order to write books, but I write the kind of books I do in order that I may try to set down glimpses of things that are on the other side of the intellect. We do not go around and discard the intellect, but we must go through and beyond it.
One of the paradoxes that makes the internet such a suggestive place is that, on the one hand, we perceive it as perpetually in motion and changing, and, on the other hand, it has this god-like immortality to it: It seems like it won't die and is not subject to decay, and that everything can be unwound, unlike present-tense experience, where you can't archive the present moment, you can't go back and read it over again. That's the fundamental hallmark of the internet.
This, indeed, is one of the eternal paradoxes of both life and literature-that without passion little gets done; yet, without control of that passion, its effects are largely ill or null.
Yet a man may love a paradox, without losing either his wit or his honesty.
If our lives are dominated by a search for happiness, then perhaps few activities reveal as much about the dynamics of this quest - in all its ardour and paradoxes - than our travels.
I do consider even going to prostitutes, or seeing a hooker or an escort, as having an emotional component, even if it's not an emotion necessarily in the relationship. Even if you are paying in order to absolve yourself of any emotional involvement. That's the paradox.
You have to recognise your responsibility to your community for your actions. Liberty doesn't mean that you are not held accountable. Without accountability, there can be no freedom. I know it seems like a paradox.
If there is one word that makes creative people different from others, it is the word complexity. Instead of being an individual, they are a multitude. Like the color white that includes all colors, they tend to bring together the entire range of human possibilities within themselves. Creativity allows for paradox, light, shadow, inconsistency, even chaos -and creative people experience both extremes with equal intensity.
Football is a sport of paradox. It requires reaction, not reflection. Yet you must use your mind to calculate, to anticipate - to think and not think at the same time.
I was always aware, reading Chesterton, that there was someone writing this who rejoiced in words, who deployed them on the page as an artist deploys his paints upon his palette. Behind every Chesterton sentence there was someone painting with words, and it seemed to me that at the end of any particularly good sentence or any perfectly-put paradox, you could hear the author, somewhere behind the scenes, giggling with delight.
It's actually hard for creative people to know themselves because the creative self is more complex than the non-creative self. The things that stand out the most are the paradoxes of the creative self ... Imaginative people have messier minds.
Two identical things do not exist at all, so there is no need to be 'somebody.' You just be yourself, and suddenly you are unique, incomparable. That's why I say that this is a paradox: those who search fail, and those who don't bother, suddenly attain.
Part of the power of Emerson's individualism is his insistence, at crucial moments, that individualism does not mean isolation or self-sufficiency. This is not a paradox, for it is only the strong individual who can frankly concede the sometimes surprising extent of his own dependence.
There is some of the paradox of foreign policy polling. So on Iraq and Syria, the President is pretty much doing what Americans want, he's not very engaged, but they don't like the results, his polling numbers are going down. Americans may be ambivalent and disengaged with the world, they don't want a President who is ambivalent and disengaged with the world.
The ever-present impulse is to push against restriction and, in so doing, to feel intolerably hemmed in. Thus in practice, every liberation increases the sense of oppression. Nor is the paradox merely in the mind: the laws enacted to secure the rights of every person and group, by creating protective boundaries, create new barriers.
Art has arrived at the paradox that tradition itself requires the occurrence of radical attacks on tradition.
I think in a way the great irony or paradox about America is that it makes it so hard for the sensitive person, the artist, the impressionable person, the person whose raison d'etre is to incarnate the creative will, rather than to just make money, and yet that extreme difficulty that the culture poses for us has created some of the best artists in the last hundred years.
A human moment is a term I invented to distinguish in-person communication from electronic. Human moments are exponentially more powerful than electronic ones. I mean face-to-face, in-person contact and communication. I have identified several modern paradoxes and the first is that, for various reasons, we have grown electronically superconnected but we have simultaneously grown emotionally disconnected from each other.
I think writing kind of burns out the flaming question. Sometimes it might feel like when you're living with certain paradoxes and they're unarticulated, you feel pressure to choose. I feel more comfortable living in the paradoxes that I've named and laid out, whereas when I started they might have felt like real agitations. At least I see them more clearly after having sketched them for myself and made a place to stand in relationship to them that felt okay enough to last through the course of a book.
Whether you like it or not, France's history is unique in Europe. Not to put too fine a point on it, France is a country of regicidal monarchists. It is a paradox: The French want to elect a king, but they would like to be able to overthrow him whenever they want. The office of president is not a normal office - that is something one should understand when one occupies it. You have to be prepared to be disparaged, insulted and mocked - that is in the French nature.
I've always felt that the writing I responded to most - the novels and stories that compelled me, that felt like they described the world I live in, with all of its subjectivity, irrationality, and paradox, were those which made free use of myths and symbols, fantastic occurences, florid metaphors, linguistic experiments, etcetera - to depict the experiences of relatively 'realistic' characters - on the level of their emotions and psychology, rather than in terms of what kinds of lives they led or what kind of events they experience.
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