But once an original book has been written-and no more than one or two appear in a century-men of letters imitate it, in other words, they copy it so that hundreds of thousands of books are published on exactly the same theme, with slightly different titles and modified phraseology. This should be able to be achieved by apes, who are essentially imitators, provided, of course, that they are able to make use of language.
Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to." #53 - Winter, January 22, 2004 ]
And whenever any one informs us that he has found a man who knows all the arts, and all things else that anybody knows, and every single thing with a higher degree of accuracy than any other man –whoever tells us this, I think that we can only imagine him to be a simple creature who is likely to have been deceived by some wizard or actor whom he met, and whom he thought all-knowing, because he himself was unable to analyze the nature of knowledge and ignorance and imitation.
As a result of his experiments he concluded that imitation was a real evil that had to be broken before real rhetoric teaching could begin. This imitation seemed to be an external compulsion. Little children didn’t have it. It seemed to come later on, possibly as a result of school itself.That sounded right, and the more he thought about it the more right it sounded. Schools teach you to imitate. If you don’t imitate what the teacher wants you get a bad grade. Here, in college, it was more sophisticated, of course; you were supposed to imitate the teacher in such a way as to convince the teacher you were not imitating, but taking the essence of the instruction and going ahead with it on your own. That got you A’s. Originality on the other hand could get you anything – from A to F. The whole grading system cautioned against it.
Of course, if one does not fully trust the promise of God's Kingdom, he will have a hard time taking risks and making sacrifices in this life. A gospel centered around the temporal self - fleeting happiness, earthly success, vain prosperity, things such as these - is the primary ambition of the half-hearted Christian; the one who somewhat believes he is subject to an eternal death; the one who just might believe in men before God, who morbidly fears seeming less than anyone else. The man of this school feels deeply that he has but one life to live, that this must be his only chance, and therefore must have it all in his favor - from glory to comfort to riches - and have it right this instant. He is but hinting that he is overcome because he insists always that he must overcome, that his judgment comes now and by the persons around him. The point is, however, in this sense, that by grace the Christian is indeed free, but only for as long as he wants to be free - the practicality of true freedom: that of God which offers not so much freedom to be like the world as it does freedom from the pressures of having to be like the world. For Divine Law is based solely on love and freedom; whereas secular law, pressure and imitation.
A person who is truly cool is a work of art. And remember, original works of art cost exponentially higher than imitations. Just take a look at the the coolest people in history. They will always be a part of history for being extremely original individuals, not imitations.
To imitate nature involves the verb to do. To copy is merely to reflect something already there, inertly: Shakespeare's mirror is all that is needed for it. But by imitation we enlarge nature itself, we become nature or we discover in ourselves nature's active part.
Your original self is worth more than your imitation of someone else.
The hope is indeed that some will experience and believe: The purpose of a number of spiritual gurus is to demonstrate to God-fearing men faux spirituality.
Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take the
I think the writer is initially set going by literature more than by life. When there are many writers all employing the same idiom, all looking out on more or less the same social scene, the individual writer will have to be more than ever careful that he isn't just doing badly what has already been done to completion. The presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down.
Anybody who is imitating somebody else, no matter who it us, is heading in the wrong direction. It is impossible to become like somebody else. Your only hope is to become more fully yourself.
Most undercover cops are vastly skilled at compartmentalization. It is a talent as valued as lying. They seal off their real feelings and create imitation emotions. Easily torn down when it's time to show the badge, drag someone downtown, and sit across from him in an interrogation cell and tell him how fucked he is now.
Now, it is of course well known that Christ continually uses the expression 'imitators.' He never says that he asks for admirers, adoring admirers, adherents; and when he uses the expression 'follower' he always explains it in such a way that one perceives that 'imitators' is meant by it, that is not adherents of a teaching but imitators of a life....
Contrary to our metaphors, humans are much more imitative than the other apes. For example: if chimps watch a demonstration on how to get food out of a puzzle box, they, in their turn, skip any unnecessary steps, go straight to the treat. Human children overimitate, reproducing each step regardless of its necessity. There is some reason why, now that it’s our behavior, being slavishly imitative is superior to being thoughtful and efficient, but I forget exactly what that reason is.
The imitator dooms himself to hopeless mediocrity. The inventor did it, because it was natural to him, and so in him it has a charm. In the imitator, something else is natural, and he bereaves himself of his own beauty, to come short of another man's.
Any local music scene at any point in time can be referred to as derivative of more well-known acts. The line separating influence from imitation is a blurry one. Very few artists are completely original; even great artists build upon what has occurred before, and add their personality and talent to create their own original expression.
The necessity, then, of those “lesser breeds without the law”—those wogs, barbarians, niggers—is this: one must not become more free, not become more base than they: must not be used as they are used, nor yet use them as their abandonment allows one to use them: therefore, they must be civilized. But, when they are civilized, they may simply “spuriously imitate [the civilizer] back again,” leaving the civilizer with no satisfaction on which to rest.
In Paris, Julien’s position with regard to Madame de Renal would very soon have been simplified; but in Paris love is the child of the novels. The young tutor and his timid mistress would have found in three or four novels, and even in the lyrics of the Gymnase, a clear statement of their situation. The novels would have outlined for them the part to be played, shown them the model to copy; and this model, sooner or later, albeit without the slightest pleasure, and perhaps with reluctance, vanity would have compelled Julien to follow.In a small town of the Aveyron or the Pyrenees, the slightest incident would have been made decisive by the ardour of the climate. Beneath our more sombre skies, a penniless young man, who is ambitious only because the refinement of his nature puts him in need of some of those pleasures which money provides, is in daily contact with a woman of thirty who is sincerely virtuous, occupied with her children, and never looks to novels for examples of conduct. Everything goes slowly, everything happens by degrees in the provinces: life is more natural.
Another great mistake is this; another understandable error is this: living to live the footprints of others when you have your own foot! Live your footprints! You were born unique! If possible, put the shoes of others, (they must fit you however) but don't walk as they walked and as much as possible, don't leave the same footprints they left except you were born to be like them or you can change the face of their footprints into a unique artifact!