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What dire offence from amorous causes springs,
What mighty contests rise from trivial things!
--
Canto I, line 1.

 

Alexander Pope

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"The reason all of this is so horrible," McVries said, "is because it's just trivial. You know? We've sold ourselves and traded our souls on trivialities. Olson, he was trivial. He was magnificent, too, but those things aren't mutually exclusive. He was magnificent and trivial. Either way, or both, he died like a bug under a microscope."

 

Stephen King

 

For dire was Alfred in his hour
The pale scribe witnesseth,
More mighty in defeat was he
Than all men else in victory,
And behind, his men came murderously,
Dry-throated, drinking death.

 

Alfred the Great

 

There are no contests in the Art of Peace. A true warrior is invincible because he or she contests with nothing. Defeat means to defeat the mind of contention that we harbor within.

 

Morihei Ueshiba

 

As you get all this money out there, there’s a tendency for more conservatism and sequelization. So we’re doing ‘Madden 38,’ but now the shoelaces have shadows! And when you step on the turf, the grass is just pressed a little bit, and springs back in just a couple of seconds. Unfortunately, it’s kind of the death of creativity when you make a big deal about really trivial features.

 

Eugene Jarvis

 

The novelist with a prudent prodigality may employ descriptions, dialogues, and episodes, which would be fatal in a drama. Characters may be introduced and dismissed without having any important connection with the plot; it is enough if they serve the purpose of the chapter in which they appear. Although as a matter of fine art no character should have a place in a novel unless it form an integral element of the story, and no episode should be introduced unless it reflects some strong light on the characters or incidents, this is a critical demand which only fine artists think of satisfying, and only delicate tastes appreciate. For the mass of readers it is enough if they are mused; and indeed all readers, no matter how critical their taste, would rather be pleased by a transgression of the law than wearied by prescription. Delight condones offence. The only question for the writer is, whether the offence is so trivial as to be submerged in the delight. And he will do well to remember that the greater flexibility belonging to the novel by no means removes the novel from the laws which rule the drama.

 

George Henry Lewes