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The second fundamental feature of culture is that all culture has an element of striving.

Johan Huizinga

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Johan Huizinga
Age: 72 †
Born: 1872
Born: January 1
Died: 1945
Died: January 1
Cultural Historian
Historian
Linguist
Philosopher
Resistance Fighter
University Teacher
J. Huizinga
Huizinga
Fundamentals
Strive
Elements
Second
Feature
Culture
Striving
Element
Features
Fundamental

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The new knowledge has not yet settled in culture. It has not yet been integrated in a new cosmic conception.
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The awareness of the all-surpassing importance of social groups is now general property in America.
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A superstition which pretends to be scientific creates a much greater confusion of thought than one which contents itself with simple popular practices.
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A crude mind could easily think: something is valid, therefore it is true.
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From whichever angle one looks at it, the application of racial theories remains a striking proof of the lowered demands of public opinion upon the purity of critical judgment.
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All seemingly profound thinking which passes for realism, because it conveniently does away with all troublesome principles, has agreat attraction for the adolescent mind.
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Quite apart from any conscious program, the great cultural historians have always been historical morphologists: seekers after theforms of life, thought, custom, knowledge, art.
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A new culture can only grow up in the soil of a purged humanity.
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Nelson's famous signal before the Battle of Trafalgar was not: England expects that every man will be a hero. It said: Englandexpects that every man will do his duty. In 1805 that was enough. It should still be.
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We are living in a demented world. And we know it. It would not come as a surprise to anyone if tomorrow the madness gave way to afrenzy which would leave our poor Europe in a state of distracted stupor, with engines still turning and flags streaming in the breeze, but with the spirit gone.
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Life is made too easy. Mankind's moral fibre is giving way under the softening influence of luxury.
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An aristocratic culture does not advertise its emotions. In its forms of expression it is sober and reserved. Its general attitude is stoic.
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Science, unguided by a higher abstract principle, freely hands over its secrets to a vastly developed and commercially inspired technology, and the latter, even less restrained by a supreme culture saving principle, with the means of science creates all the instruments of power demanded from it by the organization of Might.
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People accept a representation in which the elements of wish and fantasy are purposely included but which nevertheless proclaims to represent the past and to serve as a guide-rule for life, thereby hopelessly confusing the spheres of knowledge and will.
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The content of the ideal is a desire to return to the perfection of an imaginary past.
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Systematic philosophical and practical anti-intellectualism such as we are witnessing appears to be something truly novel in the history of human culture.
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Do you know anything that in all its innocence is more humiliating than the funny pages of a Sunday newspaper in America?
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William James once said: Progress is a terrible thing. It is more than that: it is also a highly ambiguous notion. For who knowsbut that a little further on the way a bridge may not have collapsed or a crevice split the earth?
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What the study of history and artistic creation have in common is a mode of forming images.
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We have to transpose ourselves into this impressionability of mind, into this sensitivity to tears and spiritual repentance, intothis susceptibility, before we can judge how colorful and intensive life was then.
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