When seated, however, he seemed to melt into the upholstery with a kind of contorted grace, one hip high, the other low, shoulders slouched and uneven, his torso folded in several places, part jackknife and part accordion.
“Like the Saxon myth, this way of thinking and talking about politics had deep roots in the Whig tradition in England, dating back to the Puritan dissenters during the English Civil War in the 1640s.”
― American Sphinx: The Character of Thomas Jefferson
― American Sphinx: The Character of Thomas Jefferson
“There may be people to whose tempers and dispositions Contention may be pleasing,” he wrote to John Randolph in 1775, “but to me it is of all states, but one, the most horrid.” He much preferred “to withdraw myself totally from the public stage and pass the rest of my days in domestic ease and tranquillity, banishing every desire of afterwards even hearing what passes in the world.” The most astute student of Jefferson’s lifelong compulsion to make and then remake Monticello into a perfect palace and a “magical mystery tour of architectural legerdemain” has concluded that Jefferson’s obsessive “putting up and pulling down” are best understood as a form of “childhood play adapted to an adult world.” Both the expectations that Jefferson harbored for his private life in his mansion on the mountain, as well as his way of trying to design and construct it, suggested a level of indulged sentimentality that one normally associates with an adolescent.21”
― American Sphinx: The Character of Thomas Jefferson
― American Sphinx: The Character of Thomas Jefferson
“to deprive unsuspecting colonists of their liberties. Like the Saxon myth, this way of thinking and talking about politics had deep roots in the Whig tradition in England, dating back to the Puritan dissenters during the English Civil War in the 1640s.”
― American Sphinx: The Character of Thomas Jefferson
― American Sphinx: The Character of Thomas Jefferson
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