No one is more dangerously insane than one who is sane all the time: he is like a steel bridge without flexibility, and the order of his life is rigid and brittle.
If you understood a business perfectly and the future of the business, you would need very little in the way of a margin of safety. So, the more vulnerable the business is, assuming you still want to invest in it, the larger margin of safety you'd need. If you're driving a truck across a bridge that says it holds 10,000 pounds and you've got a 9,800 pound vehicle, if the bridge is 6 inches above the crevice it covers, you may feel okay, but if it's over the Grand Canyon, you may feel you want a little larger margin of safety.
There are people who are so presumptuous that they know no other way to praise a greatness that they publicly admire than by representing it as a preliminary stage and bridge leading to themselves.
If you were successful, somebody along the line gave you some help... Somebody helped to create this unbelievable American system that we have that allowed you to thrive. Somebody invested in roads and bridges. If you’ve got a business - you didn’t build that. Somebody else made that happen.
To go out of your mind once a day is tremendously important, because by going out of your mind you come to your senses. And if you stay in your mind all of the time, you are over rational, in other words you are like a very rigid bridge which because it has no give; no craziness in it, is going to be blown down by the first hurricane.
To go out of your mind once a day is tremendously important, because by going out of your mind you come to your senses. And if you stay in your mind all of the time, you are over rational, in other words you are like a very rigid bridge which because it has no give; no craziness in it, is going to be blown down by the first hurricane.
Twenty bridges from Tower to Kew — (Twenty bridges or twenty two) — Wanted to know what the River knew, For they were young, and the Thames was old And this is the tale that River told.
I am always interested in the ways of scoring the sound of the poem, especially a poem with long lines. Spaces within a line, double colons, slashes, are indications of pause, of breath, of urgency, they are not metrically exact as in a musical notation but they serve (I hope) to make the reader think about the sound of the poem - just as traffic symbols, when driving, make us almost unconsciously aware of a steep hill, an intersection, an icy bridge etc.
There is nothing in machinery, there is nothing in embankments and railways and iron bridges and engineering devices to oblige them to be ugly. Ugliness is the measure of imperfection.
Oscar Wilde said the rich and the poor are equal - they can both sleep under the bridge. Right? Do they have a right? You're damn right they have a right!
Faith—is the Pierless Bridge Supporting what We see Unto the Scene that We do not— Too slender for the eye It bears the Soul as bold As it were rocked in Steel With Arms of Steel at either side— It joins—behind the Veil To what, could We presume The Bridge would cease to be To Our far, vacillating Feet A first Necessity.
To go out of your mind once a day is tremendously important, because by going out of your mind you come to your senses. And if you stay in your mind all of the time, you are over rational, in other words you are like a very rigid bridge which because it has no give; no craziness in it, is going to be blown down by the first hurricane.