“His brightening mind brightened his features, and added spirit and nobility to their aspect.”

Source: The Bell Jar

"The Wrong Thing: Stuff" in Because They Wanted To, p. 244, Simon & Schuster, 1997.

Address Delivered by the Hon. Daniel Webster in Faneuil Hall (22 May 1852), at the Request of the City Council of Boston; City Document No. 31. Boston: J.H. Eastburn (1852)

Defence at his Heresy Trial

Of Atheism
Essays (1625)

Description of Washington's death in Life of Washington (1800); this fanciful account bears no relation to the report of Washington's last words by his personal secretary Tobias Lear, who wrote in his journal (14 December 1799) http://gwpapers.virginia.edu/project/exhibit/mourning/lear.html: About ten o'clk he made several attempts to speak to me before he could effect it, at length he said, — "I am just going. Have me decently buried; and do not let my body be put into the Vault in less than three days after I am dead." I bowed assent, for I could not speak. He then looked at me again and said, "Do you understand me? I replied "Yes." "Tis well" said he.

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 17.

Source: The Strength To Dream (1961), p. 214
Context: Art is naturally concerned with man in his existential aspect, not in his scientific aspect. For the scientist, questions about man's stature and significance, suffering and power, are not really scientific questions; consequently he is inclined to regard art as an inferior recreation. Unfortunately, the artist has come to accept the scientist's view of himself. The result, I contend, is that art in the twentieth century — literary art in particular — has ceased to take itself seriously as the primary instrument of existential philosophy. It has ceased to regard itself as an instrument for probing questions of human significance. Art is the science of human destiny. Science is the attempt to discern the order that underlies the chaos of nature; art is the attempt to discern the order that underlies the chaos of man. At its best, it evokes unifying emotions; it makes the reader see the world momentarily as a unity.

The Myth of Sisyphus (1942), An Absurd Reasoning
Context: If I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this upbringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up. <!-- 159