Style

Propriety of thought and propriety of diction are commonly found together. Obscurity and affection are the two great faults of style. Obscurity of expression generally springs from confusion of ideas; and the same wish to dazzle, at any cost, which produces affection in the manner of a writer, is likely to produce sophistry in his reasoning.

Style is the garb of thought.

Only great minds can afford a simple style...One can acquire everything in solitude-except character.

Style supposes the reunion and the exercise of all the intellectual faculties. The style is the man.

Generally speaking, an author's style is a faithful copy of his mind. If you would write a lucid style, let there first be light in your own mind; and if you would write a grand style, you ought to have a grand character.

One of the characteristics of great drawing is the artist's wholehearted acceptance of his own style and character. It is as if the drawing says for the artist, "Here I am."

In taste and imagination, in the graces of style, in the arts of persuasion, in the magnificence of public works, the ancients were at least our equals.

Obscurity and affection are the two great faults of style. Obscurity of expression generally springs from confusion of ideas; and the same wish to dazzle, at any cost, which produces affection in the manner of a writer, is likely to produce sophistry in his reasoning.

What is most difficult to render from one language to another is the tempo of its style.

Dress covers the mortal body and adorns it, but style is the vehicle of the spirit.

Unconsciousness is one of the most important conditions of a good style in speaking or in writing.

Whatever is pure is also simple. It does not keep the eye on itself. The observer forgets the window in the landscape it displays. A fine style gives the view of fancy--its figures, its trees, or its palaces,--without a spot.

At the bottom, people tend to believe that class is defined by the amount of money you have. In the middle, people grant that money has something to do with it, but think education and the kind of work you do almost equally important. Nearer the top, people perceive that taste, values, ideas, style, and behavior are indispensable criteria of class, regardless of money or occupation or education.

A hero… is not a hero until he is recognized as one. This means that the actualization of the hero is a two-way projection. First the hero must project by way of his deeds, his style, his character. When the projection registers, an imaginative process begins to remake the hero to fit as fully as possible the symbolic weight of his image. Legend and myth take over the historical personage, and through either an oral or a written tradition he is reborn in his heroic apotheosis.

Start with a style and you are in chains, start with an idea and you are free.

Men's manners have improved markedly since Genghis Khan's day. Harems went out of style centuries ago and even despots now disavow pillage and oppression as ideals. At heart, though, we're the same animals we were 800 years ago. Which is to say we are status seekers. We may talk of equality and fraternity. We may strive for classless societies. But we go right on building hierarchies and jockeying for status within them. Can we abandon the tendency? Probably not. For as scientists are now discovering, status seeking is not just a habit or cultural tradition. It's a design of the male psyche - a biological drive that is rooted in the nervous system and regulated by hormones and brain chemicals.

It often happens that the real tragedies of life occur in such an inartistic manner that they hurt us by their crude violence, their absolute incoherence, their absurd want of meaning, their entire lack of style.

Style is the physiognomy of the mind, and a safer index to character than the face.

It is the fashion to style the present moment an extraordinary crisis.