People who originally have no means but are ultimately able to earn a great deal, through whatever talents they may possess, almost always come to think that these are permanent capital and that what they gain through them is interest. Accordingly, they do not put aside part of their earnings to form a permanent capital, but spend their money as fast as they earn it. But they are then often reduced to poverty because their earnings decrease or come to an end after their talent, which was of a transitory nature, is exhausted, as happens, for example, in the case of almost all the fine arts; or because it could be brought to bear only under a particular set of circumstances that has ceased to exist.
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People who are poor think like traders, but the dynamics are quite different. Unlike traders, the poor are not indifferent to the differences between gaining and giving up. Their problem is that all their choices are between losses. Money that is spent on one good is the loss of another good that could have been purchased instead. For the poor, costs are losses.
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They who lack talent expect things to happen without effort. They ascribe failure to a lack of inspiration or ability, or to misfortune, rather than to insufficient application. At the core of every true talent there is an awareness of the difficulties inherent in any achievement, and the confidence that by persistence and patience something worthwhile will be realized. Thus talent is a species of vigor.
No artisan can be expected to give his mind to his calling in the midst of a people who are either wretchedly poor, or who, if rich, assume an appearance of poverty, and who regard not the beauty and excellence but the cheapness of an article; a people whose grandeess pay for a work of art considerably under its value and according to their own caprice… For it should not be inferred that the workman is held in esteem, or arrives at a stage of independence. Nothing but sheer necessity or blows from a cudgel keeps him employed; he never can become rich, and he feels it no trifling matter if he have the means of satisfying the cravings of hunger and of covering his body with the coarsest garment. If money be gained it does not in any measure go into his pocket, but only serves to increase the wealth of the merchant.
There is no bigger lie hurled at discouraged artists by the smug critics than: "Genius will always find its way through the direst poverty." Of course, it has been done, but at what cost to the genius no one else can know. Poverty is stifling, and having too much money can also be stifling, but most paralyzing to the creative faculties is poverty. If it ever acts as an incentive, it is more often destructive.
I have nothing but contempt for the people who despise money. They are hypocrites or fools. Money is like a sixth sense without which you cannot make a complete use of the other five. Without an adequate income half the possibilities of life are shut off. The only thing to be careful about is that you do not pay more than a shilling for the shilling you earn. You will hear people say that poverty is the best spur to the artist. They have never felt the iron of it in their flesh. They do not know how mean it makes you. It exposes you to endless humiliation, it cuts your wings, it eats into your soul like a cancer.
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No matter how well they’ve done or how well they’ve continued to do, they never lose their hunger — the force that unleashes human genius. Most people would think, “If I had all this money, I would just stop. Why keep working?” Because each believes, somewhere in his or her soul, that “to whom much is given, much is expected.” Their labor is their love.
You will hear people say that poverty is the best spur to the artist. They have never felt the iron of it in their flesh. They do not know how mean it makes you. It exposes you to endless humiliation, it cuts your wings, it eats into your soul like a cancer. It is not wealth one asks for, but just enough to preserve one's dignity, to work unhampered, to be generous, frank, and independent.
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