Showing off Quotes

“Showing off is more ridiculous in instances where the thing that is being shown off was bought on credit.”

“Because knowledge is not for showing off. If I do good work, people should notice me.”

“When confidence is deemed arrogance..Happiness and joy deemed showing off self..Strong words deemed mere big talk and rhetoric..Small minds..only time will prove and show the truth..”

“I'd much rather hear someone's unique interpretation of their own experience. Those who negate or override someone else's experience in order to one-up them or to show off their own knowledge or perceived abilities are in truth showing off their lack of listening skills and wisdom.”

“I watch the trees all dressed up in the Spring, While posing as they stand in line, Placing their best foot forward, showing off their leaves and fighting for attention,One tree at a time”

“...Do not waste time bothering whether you ‘love’ your neighbor; act as if you did. When you are behaving as if you loved someone, you will presently come to love him. If you injure someone you dislike, you will find yourself disliking him more. If you do him a good turn, you will find yourself disliking him less. There is, indeed one exception. If you do him a good turn, not to please God and obey the law of charity, but to show him what a fine, forgiving chap you are, and to put him in your debt, and then sit down to wait for his ‘gratitude’, you will probably be disappointed. (People are not fools: they have a very quick eye for showing off, or patronage.) But whenever we do good to another self, just because it is a self, made (like us) by God and desiring its own happiness as we desire ours, we shall have learned to love it a little more, or at least to dislike it less....Some writers use the word charity to describe not only Christian love between human beings, but also God’s love for man and man’s love for God. About the second of these two, people are often worried. They are told they ought to love God. They cannot find any such feeling in them selves. What are they to do? The answer is the same as before. Act as if you did. Do not sit trying to manufacture feelings. Ask yourself, “If I were sure that I loved God what would I do? When you have found the answer, go and do it.”

“Have you ever just laid down on the grass and watch as the day slowly transitions to evening? The sky flows through hues of orange and slowly fades to greys, the incredible palette of dusk. This is where the magic begins to happen. First the planets reveal themselves as bright pinpoints of light against the bleak canvas, and for a few moments they are the only thing you can focus on - they’re so bright that they draw away from anything else. When you stare at only one, when there is so much distance between it and anything else, it almost seems to be dancing back and forth in space, playing mind tricks on you. However, as you emerge from its hypnotic trance, you begin to see the less significant stars awaken from what seems like nowhere. They too earn your attention, but in a different way. You can’t look at them directly because otherwise you won’t see their beauty. You have to glance at them from the side, from the corner of your eye to really see them in their fullness. The sky is not yet completely in darkness and the universe is already showing off. Distant stars even further light years away and planets orbiting from afar being to emerge and before you know it you almost don’t know where to look, there are little grains of sand lighting up the sky from everywhere. This happens every night - a spectacular natural light show but so many people miss it. It’s sad to think that, but it makes viewing it that much more special when you get to experience it. Just you and the universe, watching itself through your own very eyes.”

“When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest things and because it takes a man’s life to know them the little new that each man gets from life is very costly and the only heritage he has to leave. Every novel which is truly written contributes to the total of knowledge which is there at the disposal of the next writer who comes, but the next writer must pay, always, a certain nominal percentage in experience to be able to understand and assimilate what is available as his birthright and what he must, in turn, take his departure from. If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. A writer who appreciates the seriousness of writing so little that he is anxious to make people see he is formally educated, cultured or well-bred is merely a popinjay. And this too remember; a serious writer is not to be confounded with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.”

“Nothing is worth having if it isn't worth showing off…”