He rides in the row at ten o clock in the morning, goes to the Opera three times a week, changes his clothes at least five times a day, and dines out every night of the season. You don't call that leading an idle life, do you?
This surface good-nature which captivates a new acquaintance and is no bar to treachery, which knows no scruple and is never at fault for an excuse, which makes an outcry at the wound which it condones, is one of the most distinctive features of the journalist. This camaraderie (the word is a stroke of genius) corrodes the noblest minds; it eats into their pride like rust, kills the germ of great deeds, and lends a sanction to moral cowardice.
Everything is worth it. The hard work, the times when you're tired, the times where you're a bit sad... In the end, it's all worth it because it really makes me happy. There's nothing better than loving what you do.
I can't deny that Jerry Springer supposedly beating us didn't affect me. There was a point where I felt like, Golly, you work so hard, you try so hard and the people say they want meaningful television and then Jerry Springer ends up beating you. It was disturbing.
My father taught me to work, but not to love it. I never did like to work, and I don't deny it. I'd rather read, tell stories, crack jokes, talk, laugh -- anything but work.
There will be little drudgery in this better ordered world. Natural power harnessed in machines will be the general drudge. What drudgery is inevitable will be done as a service and duty for a few years or months out of each life; it will not consume nor degrade the whole life of anyone.
Man is a shrewd inventor, and is ever taking the hint of a new machine from his own structure, adapting some secret of his own anatomy in iron, wood, and leather, to some required function in the work of the world.
We might remind ourselves that criticism is as inevitable as breathing, and that we should be none the worse for articulating what passes in our minds when we read a book and feel an emotion about it, for criticizing our own minds in their work of criticism.
You are right in demanding that an artist approach his work consciously, but you are confusing two concepts: the solution of a problem and the correct formulation of a problem. Only the second is required of the artist.