“Halakhic man, well furnished with rules, judgments, and fundamental principles, draws near the world with an a priori relation. His approach begins with an ideal creation and concludes with a real one. To whom may he be compared? To a mathematician who fashions an ideal world and then uses it for the purpose of establishing a relationship between it and the real world. … The essence of the Halakhah, which was received from God, consists in creating an ideal world and cognizing the relationship between that ideal world and our concrete environment.”

System of Transcendental Philosophy (1800)
Context: How both the objective world accommodates to presentations in us, and presentations in us to the objective world, is unintelligible unless between the two worlds, the ideal and the real, there exists a pre-determined harmony. But this latter is itself unthinkable unless the activity, whereby the objective world, is produced, is at bottom identical with that which expresses itself in volition, and vice versa.

Upon the fall of his ministry; said to journalist Sir Henry William Lucy, The Diary of a Journalist (Vol. 1), E. P. Dutton, 1920), p 93.

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Harmony of Determinism and Freedom, p.356

The Book of Ammon

Source: "Some Perplexities about time: with an attempted solution" (1925), p. 150

The Rule of Law (2010), Epilogue

Some Notes on Caravaggio (1956)
Context: Caravaggio speaks to us out of a consciousness that is brooding and obsessive, and affects us in a way that is not simply artistic. By this I mean that he comes close to presenting us with a sensation of amorphous and desperate desire unredeemed by an authoritative vision. It can be felt in the apprehensive boredom of the unsuccessful pictures and in the oppressive intensity of the best. If this sensation were deep enough it might have destructive effects, since we all live within that margin of order which we succeed in imposing on life, i. e., on the unfulfilled longings of the heart, and his work might then be truly diabolic. His genius operates in that world of antithesis where the conflict between ideal and reality rages, and the moral victory, i. e., the ultimate affirmation of the goodness of life, is always so tenuously won that we feel the dread of chaos intensely- even when he is completely successful. If there could be such a contradictory phenomenon as the uninnocent artist he might be it. He indicates the sort of sensations we might expect from such a monster. But since he is wholly innocent beneath the apparent evidence of corruption he ends by moving us in a profound and religious way.

Source: Vegetarianism, p. 39

Super-Toys Last All Summer Long (1969)