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Theodore Chickering Williams

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Death is an angel with two faces:
To us he turns
A face of terror, blighting all things fair;
The other burns
With glory of the stars, and love is there.
--
A Thanatopsis, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 
Theodore Chickering Williams

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Almost every organization... exhibits two faces — a smiling face which it turns toward its members and a frowning face which it turns to the world outside.

 
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In English the phrase that a person has "a presence" is hard to define. There are people whose being here and now is felt, even though they do not display themselves in action and speech. They have a "presence." … Of a person whose outwardness communicates something of his indwelling power or greatness, whose soul is radiant and conveys itself without words, we say he has presence.
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To the religious man it is as if things stood with their backs to him, their faces turned to God, as if the glory of things consisted in their being an object of divine care.

 
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To the people of New York, Paris, or London, "death" is a word that is never pronounced because it burns the lips. The Mexican, however, frequents it, jokes about it, caresses it, sleeps with it, celebrates it; it is one of his favorite toys and most steadfast love. Of course, in his attitude perhaps there is as much fear as there is in one of the others; at least he does not hide it; he confronts it face to face with patience, disdain, or irony.

 
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All honour and reverence to the divine beauty of form! Let us cultivate it to the utmost in men, women, and children — in our gardens and in our houses. But let us love that other beauty too, which lies in no secret of proportion, but in the secret of deep human sympathy. Paint us an angel, if you can, with a floating violet robe, and a face paled by the celestial light; paint us yet oftener a Madonna, turning her mild face upward and opening her arms to welcome the divine glory; but do not impose on us any aesthetic rules which shall banish from the region of Art those old women scraping carrots with their work-worn hands, those heavy clowns taking holiday in a dingy pot-house, those rounded backs and stupid weather-beaten faces that have bent over the spade and done the rough work of the world — those homes with their tin pans, their brown pitchers, their rough curs, and their clusters of onions. In this world there are so many of these common coarse people, who have no picturesque sentimental wretchedness! It is so needful we should remember their existence, else we may happen to leave them quite out of our religion and philosophy and frame lofty theories which only fit a world of extremes. Therefore, let Art always remind us of them; therefore let us always have men ready to give the loving pains of a life to the faithful representing of commonplace things — men who see beauty in these commonplace things, and delight in showing how kindly the light of heaven falls on them. There are few prophets in the world; few sublimely beautiful women; few heroes. I can't afford to give all my love and reverence to such rarities: I want a great deal of those feelings for my every-day fellow-men, especially for the few in the foreground of the great multitude, whose faces I know, whose hands I touch for whom I have to make way with kindly courtesy.

 
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I'm under the assumption, and maybe this is purely ridiculous, but I'm under the assumption that you don't just take their word at face value. That you actually then go around and try to figure it out. So, I again—you now become the face of this and that is incredibly unfortunate. Because you are not the face of it, you shouldn't be the face of it. You are the person that was I-don't-know-what enough to stand up and go, "Hey, that's wasn't fair!" Which, it's not because this show isn't fair. And you can tell Doucheborough that it's not supposed to be fair. [...] That's not our job.

 
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