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[The poll tax] was a classic case of a good idea being entrusted to Chris Patten and becoming a terrible failure.
--
On the BBC (16 November, 2000).

 

Norman Tebbit

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It is ordinarily only a single work, or a single suite of works, which stamps the individual artist as a classic poet, artist, and so on. The same individual may have produces a great many different things, none of which stands in any relation to the classic. Homer has, for example, written a Batrachomyomachia, but this poem has not made him classic or immortal. To say that this is due to the insignificance of the subject is foolish, since the classic depends on perfect balance. If everything that determines a production as classic were to be found solely in the creative artist, then everything produced by him would have to be a classic, in a since similar to, though higher than, that in which bees always produce uniform kind of cells. To explain this by saying that he was more successful on the one case than the other, would be to explain exactly nothing. For, partly, it would be only a pretentious tautology, which only too often in life enjoys the honor of being regarded as an answer; partly, considered as an answer, it lies in another relativity than the one concerning which our question was asked. For it tells us nothing about the relation between form and content, and at best could be taken into account in connection with an inquiry into the formative activity alone.

 

Homer

 

The sword and the purse, all the external relations, and no inconsiderable portion of the industry of the nation, are entrusted to its government. It can never be pretended that these vast powers draw after them others of inferior importance, merely because they are inferior. Such an idea can never be advanced. But it may with great reason be contended, that a government, entrusted with such ample powers, on the due execution of which the happiness and prosperity of the nation so vitally depends, must also be entrusted with ample means for their execution. The power being given, it is the interest of the nation to facilitate its execution. It can never be their interest, and cannot be presumed to have been their intention, to clog and embarrass its execution by withholding the most appropriate means.

 

John Marshall

 

Chris Matthews: Let me ask you this: the '64 civil rights bill. Do you think a [em]ployer, a guy runs his shop down in Texas has a right to say, "If you're black, you don't come in my store". That was the libertarian right before '64. Was it the balanced society?
Ron Paul: I believe that property rights should be protected. Your right to be on TV is protected by property rights because somebody owns that station. I can't walk into your station. So right of freedom of speech is protected by property. The right of your church is protected by property. So people should honor and protect it. This gimmick, Chris, it's off the wall when you say I'm for property rights and states' rights, therefore I'm a racist. I mean that's just outlandish. Wait, Chris. Wait, Chris. People who say that if the law was there and you could do that, who's going to do it? What idiot would do that?
Chris Matthews: Everybody in the South. I saw these signs driving through the South in college. Of course they did it. You remember them doing it.
Ron Paul: Yeah, I but also know that the Jim Crow laws were illegal and we got rid of them under that same law, and that's all good. Government —
Chris Matthews: But you would've voted against that law.
Ron Paul: Pardon me?
Chris Matthews: You would've voted against that law. You wouldn't have voted for the '64 civil rights bill.
Ron Paul: Yes, but not in — I wouldn’t vote against getting rid of the Jim Crow laws.
Chris Matthews: But you would have voted for the — you know you — oh, come on. Honestly, Congressman, you were not for the '64 civil rights bill.
Ron Paul: Because — because of the property rights element, not because it got rid of the Jim Crow law.

 

Ron Paul

 

We must grant the artist his subject, his idea, what the French call his donnée; our criticism is applied only to what he makes of it. Naturally I do not mean that we are bound to like it or find it interesting: in case we do not our course is perfectly simple — to let it alone. We may believe that of a certain idea even the most sincere novelist can make nothing at all, and the event may perfectly justify our belief; but the failure will have been a failure to execute, and it is in the execution that the fatal weakness is recorded. If we pretend to respect the artist at all we must allow him his freedom of choice, in the face, in particular cases, of innumerable presumptions that the choice will not fructify. Art derives a considerable part of its beneficial exercise from flying in the face of presumptions, and some of the most interesting experiments of which it is capable are hidden in the bosom of common things.

 

Henry James

 

A classic is classic not because it conforms to certain structural rules, or fits certain definitions (of which its author had quite probably never heard). It is classic because of a certain eternal and irrepressible freshness.

 

Edith Wharton