The attentions of others matter to us because we are afflicted by a congenital uncertainty as to our own value, as a result of which affliction we tend to allow others' appraisals to play a determining role in how we see ourselves. Our sense of identity is held captive by the judgements of those we live among.
The Frenchman works until he can play. The American works until he can’t play; and then thanks the devil, his master, that he is donkey enough to die in harness. But the Englishman, as he has since become, works until he can pretend that he never worked at all.
The consciousness of the supreme Purusha remains above, but in the mind there may be a Purusha consciousness which they call the cosmic consciousness - it is wide, all-pervading, one. Outside this goes on the play of Prakriti.
To a professional critic (I have been one myself) theatre-going is the curse of Adam. The play is the evil he is paid to endure in the sweat of his brow; and the sooner it is over, the better.
Is it possible to do something that that makes an audience uncomfortable, challenges them, makes them see things they're not used to? Here in these films [Salome the play and Salomaybe], I have the opportunity to say something about how I feel about things.
I'd lose weight if I was an actress and had to play a role where you're supposed to be 40 lbs lighter, but weight has nothing to do with my career. Even when I was signing a contract, most of the industry knew if anyone ever dared say lose weight to me, they wouldn't be working with me.
In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin.
In foreign affairs we must make up our minds that whether we wish it or not, we are a great people and must play a great part in the world. It is not open to us to choose whether we will play that great part or not.