Traditional Influence Quotes

Man is an extraordinarily fixed and limited animal whose nature is absolutely constant. It is only by tradition and organisation that anything decent can be got out of him.

Mine is not a traditional music, but it comes from a tradition.

I think prejudice and tradition count for three-quarters in matters of religion.

It will startle you to see what slaves we are to by-gone times-to Death, if we give the matter the right word! ... We read in Dead Men's books! We laugh at Dead Men's jokes, and cry at Dead Men's pathos! . . . Whatever we seek to do, of our own free motion, a Dead Man's icy hand obstructs us!

We try to make our own BTS context. Maybe it's risky to bring some inspiration from novels from so long ago, but I think it paid off more. It comes through like a gift box for our fans. That's something you can't find easily from American artists.

What is literary tradition? What is a classic? What is a canonical view of tradition? How are canons of accepted classics formed,and how are they unformed? I think that all these quite traditional questions can take one simplistic but still dialectical question as their summing up: do we choose tradition or does it choose us, and why is it necessary that a choosing take place, or a being chosen? What happens if one tries to write, or to teach, or to think, or even to read without the sense of a tradition? Why, nothing at all happens, just nothing.

The epic poet has behind him a tradition of matter and a tradition of style; and that is what every other poet has behind him too; only, for the epic poet, tradition is rather narrower, rather more strictly compelling.

If only America would realize that the art of Europe is finished - dead - and that America is the country of the art of the future, instead of trying to base everything she does on European traditions!

In many ways I'm an experimental and new music composer that comes from a rural tradition rather than an urban one.

One of the strongest and most persistent elements in national development has been that inheritance of political traditions and usages which the new settlers brought with them.

There is a crucial distinction to be made between innovation and originality. The second, unlike the first, can never break with what preceded it: to be original, an artist must also belong to the tradition from which he departs. To put it another way, he must violate the expectations of his audience, but he must also, in countless ways, uphold and endorse them.

I like using traditional beliefs in my fantasies, even though I always end up warping them to suit my purpose: it somehow makes everything feel more 'solid' if it's got a long history behind it.

A contemporary artist like Grayson Perry is brilliant partly because of his expert knowledge of art history, not despite it.

The fact that tradition hinders the individual savage from thinking logically by no means proves that he cannot think logically.

I have a deep rooted folk sensibility that I can't get away from completely.

I think my writing has an old-fashioned feel to it for whatever reason. I'm just so influenced by the music that I listened to growing up, a lot of it out of the '60s, so it has a natural tendency to feel like it's from another era.

Having a tradition is a great thing to work within, and maybe today [it] is the only way to really land musically dramatic work.

In every revolution there intrude, at the side of its true agents, men of a different stamp; some of them survivors of and devotees to past revolutions, without insight into the present movement, but preserving popular influence by their known honesty and courage, or by the sheer force of tradition; others mere brawlers, who, by dint of repeating year after year the same set of stereotyped declamations against the government of the day, have sneaked into the reputation of revolutionists of the first water They are an unavoidable evil: with time they are shaken off.