“The Ymir and Kong before him are both creatures wrenched from their natural environment against their will and finally killed by man. Although these creatures must always die, they should go out with a touch of pathos.”

Volume II, chapter VI, section 12.
The Stones of Venice (1853)
Context: You must either make a tool of the creature, or a man of him. You cannot make both. Men were not intended to work with the accuracy of tools, to be precise and perfect in all their actions. If you will have that precision out of them, and make their fingers measure degrees like cog-wheels, and their arms strike curves like compasses, you must unhumanize them. All the energy of their spirits must be given to make cogs and compasses of themselves…. On the other hand, if you will make a man of the working creature, you cannot make him a tool. Let him but begin to imagine, to think, to try to do anything worth doing; and the engine-turned precision is lost at once. Out come all his roughness, all his dulness, all his incapability; shame upon shame, failure upon failure, pause after pause: but out comes the whole majesty of him also; and we know the height of it only when we see the clouds settling upon him.

The Kasîdah of Hâjî Abdû El-Yezdî (1870), Note I : Hâjî Abdû, The Man
Context: That creatures endowed with the mere possibility of liberty should not always choose the Good appears natural. But that of the milliards of human beings who have inhabited Earth, not one should have been found invariably to choose Good, proves how insufficient is the solution. Hence no one believes in the existence of the complete man under the present state of things. The Haji rejects all popular and mythical explanation by the Fall of "Adam," the innate depravity of human nature, and the absolute perfection of certain Incarnations, which argues their divinity. He can only wail over the prevalence of evil, assume its foundation to be error, and purpose to abate it by uprooting that Ignorance which bears and feeds it.
His "eschatology," like that of the Soofis generally, is vague and shadowy.

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 155.

Source: From Atlantis to the Sphinx (1996), p. 346-347

Source: The Phoenix: Fascism in Our Time, (1999), p. 95

Source: For The Sake of Heaven (1945), p. 44

VALIS (1981)

Source: Outcast of Redwall

"Natural Kinds", in Ontological Relativity and Other Essays (1969), p. 126; originally written for a festschrift for Carl Gustav Hempel, this appears in a context explaining why induction tends to work in practice, despite theoretical objections. The hyphen in "praise-worthy" is ambiguous, since it falls on a line break in the source.
1960s