Jacques Barzun Quotes

Many of us affect a tone of irony about gadgets, as if we lived always in realms above and dealt with trifles only during rare descents from sublime thoughts. The truth is that more and more of the important things in life turn on pinpoints. Our frustrations begin in trivialities — a telephone out of order, a car that will not start, a claim check whose number has been misread. The thing in cellophane that cannot be got at — plain to the sight but sealed like an egg — is the modern version of the torture of Tantalus. Catastrophes we will deal with like heroes, but the bottle top that defies us saps our morale, like the tiny arrows of the Lilliputians that maddened Gulliver and set his strength at naught.

A student under my care owes his first allegiance to himself and not to my specialty; and must not be burdened with my work as if he followed no other and had contracted no obligation under heaven but that of satisfying my requirements.

If they leave college thinking, as they usually do, that science offers a full, accurate, and literal description of man and Nature; if they think scientific research by itself yields final answers to social problems; if they think scientists are the only honest, patient, and careful workers in the world; if they think that Copernicus, Galileo, Newton, Lavoisier, and Faraday were unimaginative plodders like their own instructors; if they think theories spring from facts and that scientific authority at any time is infallible; if they think that the ability to write down symbols and read manometers is fair grounds for superiority and pride, and if they think that science steadily and automatically makes for a better world — then they have wasted their time in the science lecture room; they live in an Ivory Laboratory more isolated than the poet's tower, and they are a plain menace to the society they belong to. They are a menace whether they believe all this by virtue of being engaged in scientific work themselves or of being disqualified from it by felt or fancied incapacity.'''

In seventeenth- and eighteenth-century France, race was already a weapon in the struggle between absolutism, aristocracy, and the middle class. The warfare spread to the arts and philosophy in the nineteenth century, by which time independent shoots in other cultures had also borne fruit, leaving the grand harvesting on a world-wide scale to our generation. Viewed in the light of such facts, the race question appears a much bigger affair than a trumped-up excuse for local persecution. It becomes rather a mode of thought endemic in Western civilization. It defaces every type of mental activity — history, art, politics, science and social reform.

Among the words that can be all things to all men, the word "race" has a fair claim to being the most common, most ambiguous and most explosive. No one today would deny that it is one of the great catchwords about which ink and blood are spilled in reckless quantities. Yet no agreement seems to exist about what race means.

"Unfortunately, the combatants on both sides keep arguing whether the modern mind is harmed - some say victimized - by "too much reason," the attackers holding that science and numbers are not the only truth; the defenders retorting that if reason is given up, intellectual anarchy and wild superstition will reign. The latter are right about reason as an activity - reasoning; the former are right about Rationalism, the dominance of a particular form of reason and its encroachment where it does not belong."

The Modern Era was to be one of plans and proposals, which is to say futurist to the point of bigotry.

A curious leveling takes place: the common people learn words and ideas hitherto not familiar and not interesting and discuss them like intellectuals while others neglect their usual concerns - art, philosophy, scholarship - because there is only one compelling topic, the revolutionary Idea.

The notion that talent and personality in women were suppressed at all times during our half millennium except the last fifty years is an illusion. Nor were all women previously denied an education or opportunities for self-development. Wealth and position were prerequisite, to be sure, and they still tend to be. The truth is that matters of freedom can never be settled in all-or-nothing fashion and any judgment must be comparative. Individual cases moreover show that what happens in a culture always differs in some degree from what is supposed to happen; possibilities are always greater than custom would dictate.

When nothing is revered, irreverence ceases to indicate critical thought.

"if one consults reason alone, one cannot assent to the articles of our faith" it was full of mysteries; "we are fools to try to explain them." This makes preaching Christianity not only a hard task but also dangerous. "Had I know, I should never have been a preacher."

Society hardly ever follows its blueprint, a fact that makes comparisons extremely difficult and judgments more than usually fallible.

Now, analysis, the breaking of the wholes into parts, is fundamental to science, but for judging works of art, the procedure is more uncertain: what are the natural parts of a story, a sonnet, a painting? The maker's aim is to project his vision by creating not a machine made up of parts but the impression of seamless unity that belongs to a living thing. Looking at an early example of systematic criticism by analysis — say, Dante's comments on his sonnet sequence La Vita Nuova — one sees that the best he can do is to tell again in prose what the first two lines mean, then the next three, and so on in little chunks through the entire work. We may understand somewhat better his intention here and there, but at the same time we vaguely feel that the exercise was superfluous and inappropriate. Reflection tells us why: those notations taken together do not add up to the meaning of the several poems. In three words: analysis is reductive. Since its patent success in natural sciences, analysis has become a universal mode of dealing not merely with what is unknown or difficult, but also with all interesting things as if they were difficult. Accordingly, analysis is a theme. Depending on the particulars of its effect, it can also be designated reductivism.

If it were possible to talk to the unborn, one could never explain to them how it feels to be alive, for life is washed in the speechless real.