《城市規(guī)劃與管理專業(yè)英語（第2版）》：
　　The structure of centralized authority would necessarily makepassivity， conformity， and mediocrity ubiquitous among the Americanpeople.Wright never had much faith in the average city dweller'scapacity to maintain his individuality.In 1914 he had written， "The'Democracy' of the man in the American street is no more than theGospel of Mediocrity." Nevertheless， he maintained that the nation hadretained a heritage of genuine ideas on which the artist could base hiswork.If the artist could penetrate the surface of conformity and touch thebedrock of individualism， the man in the street would recognize workscreated in this spirit as "prophetic expressions of himself" and wouldcling to them "for salvation."
　　In the 1930s， Wright hoped that everyone could perform this act ofrecognition； by 1949， however， he trusted only an elite， the"democratic minority." For the vast majority， mass conformity andbureaucratic dislike of anything irregular would combine to completelyexclude imagination and originality.In the mobocracy the genius is notthe natural leader but the natural outcast."The genius does not‘belong’.He will not 'stay in line'." If， as Wright believed， theartist needs a healthy "indigenous" culture in which to work， then"demoralization of the creative instinct—0 Lord， be merciful—lies inthis universalized governmental substitution of a falsely—decoratedmobocracy for the thought—built democracy we might have." And if， as Wright also believed， society needs the creative artist if it is ever toattain its proper form， then all hope for significant change must die inthe mobocracy.
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