critic

We grow old judging othersAnd ourselvesUntil life humbles usAnd makes scared children of usLonging to hold another__ handTo hear their kind words And witness their kind deeds done on our behalf.But like children,We sabotage everythingFor nothing satisfies usUntil life crumbles usAnd we are no more.

The critic is to art what the limp penis is to sex.

The cruelest thing you can do to an artist is tell them their work is flawless when it isn't

I don__ want to be a critic of the world. I want to encourage it.

The best incentive for an artist are the harshest criticism

The simplest way to silence your critics as a leader is to do what they claim you can__ do. However, be careful they don__ set you up to take fatal risks to please their criticisms.

Leaders look out for people who can criticize them constructively and rebuke them reasonably.

A bitter critic is the sweetest corrector.

You should praise, criticize and flirt with people right to their face, only then it will make a difference.

I'm open to everything. When you start to criticize the times you live in, your time is over.

Pick a leader who will make their citizens proud. One who will stir the hearts of the people, so that the sons and daughters of a given nation strive to emulate their leader's greatness. Only then will a nation be truly great, when a leader inspires and produces citizens worthy of becoming future leaders, honorable decision makers and peacemakers. And in these times, a great leader must be extremely brave. Their leadership must be steered only by their conscience, not a bribe.

Painting, n.: The art of protecting flat surfaces from the weather, and exposing them to the critic.

Never trust the artist. Trust the tale. The proper function of the critic is to save the tale from the artist who created it.

Any critic is entitled to wrong judgments, of course. But certain lapses of judgment indicate the radical failure of an entire sensibility.

A critic is a legless man who teaches other people to run

The critic leaves at curtain fall To find, in starting to review it, He scarcely saw the play at all For starting to review it.

Psychoanalysis has suffered the accusation of being __nscientific_ from its very beginnings (Schwartz, 1999). In recent years, the Berkeley literary critic Frederick Crews has renewed the assault on the talking cure in verbose, unreadable articles in the New York Review of Books (Crews, 1990), inevitably concluding, because nothing else really persuades, that psychoanalysis fails because it is unscientific. The chorus was joined by philosopher of science, Adolf Grunbaum (1985), who played both ends against the middle: to the philosophers he professed specialist knowledge of psychoanalysis; to the psychoanalysts he professed specialist knowledge of science, particularly physics. Neither was true (Schwartz, 1995a,b, 1996a,b, 2000). The problem that mental health clinicians always face is that we deal with human subjectivity in a culture that is deeply invested in denying the importance of human subjectivity. Freud__ great invention of the analytic hour allows us to explore, with our clients, their inner worlds. Can such a subjective instrument be trusted? Not by very many. It is so dangerously close to women__ intuition. Socalled objectivity is the name of the game in our culture. Nevertheless, 100 years of clinical practice have shown psychoanalysis and psychotherapy not only to be effective, but to yield real understandings of the dynamics of human relationships, particularly the reality of transference__ountertransference re-enactments now reformulated by our neuroscientists as right brain to right brain communication (Schore, 1999).

The composition of Shakespeare is a forest, in which oaks extend in the air, interspersed sometimes with weeds and brambles, and sometimes giving shelting to myrtles and to roses; filling the eye with awful pomp, and gratifying the mind with endless diversity.