“And this vision was a learning, to mine understanding, that the continual seeking of the soul pleaseth God full greatly: for it may do no more than seek, suffer and trust. And this is wrought in the soul that hath it, by the Holy Ghost; and the clearness of finding, it is of His special grace, when it is His will. The seeking, with faith, hope, and charity, pleaseth our Lord, and the finding pleaseth the soul and fulfilleth it with joy. And thus was I learned, to mine understanding, that seeking is as good as beholding, for the time that He will suffer the soul to be in travail. It is God’s will that we seek Him, to the beholding of Him, for by that He shall shew us Himself of His special grace when He will.”

Source: Aphorisms and Reflections (1901), pp. 129-130

Revelations of Divine Love (c. 1393), Chapter 1

Summations, Chapter 56

Letter to Juana Gratia (1857)

Source: The Great Divorce (1944–1945), Ch. 9, p. 72; part of this has also been rendered in a variant form, and quoted as:
Context: 'But what of the poor Ghosts who never get into the omnibus at all?'
'Everyone who wishes it does. Never fear. There are only two kinds of people in the end: those who say to God, "Thy will be done," and those to whom God says, in the end, "Thy will be done." All that are in Hell, choose it. Without that self-choice there could be no Hell. No soul that seriously and constantly desires joy will ever miss it. Those who seek find. To those who knock it is opened.'

The Fourteenth Revelation, Chapter 43

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 123.

As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 105.
Context: To seek in nature the fairest forms and to find the movement which expresses the soul of these forms — this is the art of the dancer. It is from nature alone that the dancer must draw his inspirations, in the same manner as the sculptor, with whom he has so many affinities. Rodin has said: "To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature." Rodin is right; and in my art I have by no means copied, as has been supposed, the figures of Greek vases, friezes and paintings. From them I have learned to regard nature, and when certain of my movements recall the gestures that are seen in works of art, it is only because, like them, they are drawn from the grand natural source.
My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm, between gentleness and the soft breeze, and the like, and I always endeavour to put into my movements a little of that divine continuity which gives to the whole of nature its beauty and its life.

The First Revelation, Chapter 7