As was mentioned in the previous section, Timon's picture of Arcesilaus, in three surviving fragments of the Silloi, appears wholly uncomplimentary; although the imagery in these fragments (shorn of their surrounding context) is not entirely perspicuous, the general impression seems to be of an unoriginal and self-important fool.
Slimy, hawkish, the sort of self-important fool who'd retain the title "Doctor" 20 years after he last worked full time as a GP.
Below them are self-important fools, the blind leading the blind, playing walk-on parts that they delude themselves into believing are starring roles.
Politicians, warriors and self-important fools frequently fail to learn anything from the past.
After True West, Shepard produced two other important plays, Fool For Love (1982) a claustrophobic trailer-trash love story which Jack Kroll of Newsweek decreed "a classic rattlesnake riff by Shepard" and A Lie of the Mind (1985) which won the New York Drama Critics Circle award for best play but which some critics felt betrayed early signs of creative exhaustion.
What turns them into such oblivious, self-important, suicidal fools?
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Even more important, the lucky fools create huge spillover benefits for society: new sources of wealth, new jobs, new industries offering less-risky opportunities, new technologies that improve life.
To think about it another way, tools are important, but only fools ignore the vast difference between having the technology and using it effectively.
