R. G. Collingwood Quotes

Perfect freedom is reserved for the man who lives by his own work and in that work does what he wants to do.

Every kind of language is... specialized form of bodily gesture, and in this sense it may be said that the dance is the mother of all languages... an original language of total bodily gesture.

This "original" language of total bodily gesture is thus the one and only real language, which everybody who is in any way expressing himself is using all the time. What we call speech and the other kinds of language are only parts of it which have undergone specialized development.

The only clue to what man can do is what he has done.

العبيد يميلون إلى تعلم الرغبات التي نبذها سادتهم

Lastly, what is history for? This is perhaps a harder question than the others; a man who answers it will have to reflect rather more widely than a man who answers the three we have answered already. He must reflect not only on historical thinking but on other things as well, because to say that something is 'for' something implies a distinction between A and B, where A is good for something and B is that for which something is good. But I will suggest an answer, and express the opinion that no historian would reject it, although the further questions to which it gives rise are numerous and difficult.

The progressive intellectualization of language, its progressive conversion by the work of grammar and logic into a scientific symbolism, ... represents not a progressive drying-up of emotion, but its progressive articulation and specialization. ... We are acquiring new emotions and new means of expressing them.

The essence of this conception is .. the idea of a community as governing itself by fostering the free expression of all political opinions that take shape within it, and finding some means of reducing this multiplicity of opinions to a unity.

Superstitions of all kinds break out on all hands even at this enlightened stage of the world's history, and there is no reason to think that they will soon become extinct.

Language in its original imaginative form maybe said to have expressiveness, but no meaning. About such language we cannot distinguish between what the speaker says and what he means... Language in its intellectualized form has both expressiveness and meaning. As language, it expressed a certain emotion. As symbolism, it refers beyond that emotion to the thought whose emotional charge it is... The progressive intellectualization of language, its progressive conversion by the work of grammar and logic into a scientific symbolism, thus represents not a progressive drying-up of emotion, but its progressive articulation and specialization. We are not getting away from an emotional atmosphere into a dry, rational atmosphere; we are acquiring new emotions and new means of expressing them.

Mengajukan tanya yang, kau tahu, kelak tak berjawab adalah dosa mendasar dalam sains, layaknya memberi perintah yang kau pikir akan diabaikan dalam bidang politik, atau memohon sesuatu yang kau rasa tak 'kan dikabulkan Tuhan dalam agama

All history is art, because to tell a story is art, whereas to tell a true story is history: thus history is art, but a specification of art, art qualified by a condition (truth) which deprives it of a part of its character but not of all.

The only clue to what man can do is what man has done.

Man's life is a becoming: and not only becoming, but self-creation. He does not grow under the direction and control of irresistible forces. The force that shapes him is his own will. All his life is an effort to attain to real human nature. But human nature, since man is at bottom spirit, is only exemplified in the absolute spirit of God. Hence man must shape himself in God's image, or he ceases to be even human and becomes diabolical. This self-creation must also be self-knowledge; not the self-knowledge of introspection, the examination of the self that is, but the knowledge of God, the self that is to be. Knowledge of God is the beginning, the center, and end, of human life.

How is the mind to be at once in change and out of change? Only if the mind originates change in itself. For then, as the source and ground of change, it will not be subject to change; while on the other hand, as undergoing change through its own free act, it will exhibit change. This double aspect of the mind as active and passive is the very heart of philosophy [the distinction between fact and act]. The act is out of time in the sense that it creates time, just as it is supernatural in the sense that it creates nature; the fact is temporal, natural, subject to all those laws which constitute its finiteness. But between the act and the fact there is no division: the distinction is only an ideal distinction. In creating the fact, the act realized itself, and does not live apart in a heaven of its own for which it issues mandates for the creation of facts; it lives in the facts which it creates.

The life of absolute knowledge is thus the conscious self-creation of the mind, no mere discovery of what it is, but the making of itself what it is.

The infinite is not another thing which is best grasped by sweeping the finite out of the way; the infinite is nothing but the unity, or as we sometimes say, the "meaning," of finite things in their diversity and their mutual connections. To look for

Societies may die a violent death, like the Inca and Aztec societies which the Spaniards destroyed with gunpowder in the sixteenth century; and it is sometimes thought by people who have been reading historical thrillers that the Roman Empire died in the same way, at the hands of barbarian invaders. That theory is amusing but untrue. It died of disease, not of violence, and the disease was a long-growing and deep-seated conviction that its own way of life was not worth preserving.

The failure of art is, as we have said, not a complete failure. Substantial truth is revealed to us, we are not cheated of that; but it is revealed only in the equivocal form of beauty, submerged, so to speak, in the flood of aesthetic emotion. It is only because truth is revealed in it that the emotion is aesthetic; but emotional truth, truth in the guise of beauty, is not truth at all in the formal sense Art asserts nothing; and truth as such is matter of assertion. To be itself, it demands logical form. Art fails us because it does not assert. It is pregnant with a message that it cannot deliver.