
“Almost everything in the body, from hair to hormones, is either made of proteins or made by them.”
Introduction (p. 9)
Genome (1999)
XIII. How things eternal are said to be made.
On the Gods and the Cosmos
Context: Everything made is made either by art or by a physical process or according to some power. Now in art or nature the maker must needs be prior to the made: but the maker, according to power, constitutes the made absolutely together with itself, since its power is inseparable from it; as the sun makes light, fire makes heat, snow makes cold.
Now if the Gods make the world by art, they do not make it be, they make it be such as it is. For all art makes the form of the object. What therefore makes it to be?
“Almost everything in the body, from hair to hormones, is either made of proteins or made by them.”
Introduction (p. 9)
Genome (1999)
Meditation Symbols in Eastern & Western Mysticism (1988)
Context: The alchemical tradition assumes that every physical art or science is a body of knowledge which exists only because it is ensouled by invisible powers and processes. Physical chemistry, as it is practiced in the modern world, is concerned principally with pharmaceutical or industrial research projects. It is confined within the boundaries of an all-pervading materialism, which binds labor to the advancement of physical objectives.
Quote from a conversation with Vollard, in the studio of Cézanne, in Aix, 1896; as quoted in Cezanne, by Ambroise Vollard, Dover publications Inc. New York, 1984, p. 67
Quotes of Paul Cezanne, 1880s - 1890s
The American Mercury (May 1930)
1930s
Context: Laws are no longer made by a rational process of public discussion; they are made by a process of blackmail and intimidation, and they are executed in the same manner. The typical lawmaker of today is a man wholly devoid of principle — a mere counter in a grotesque and knavish game. If the right pressure could be applied to him, he would be cheerfully in favor of polygamy, astrology or cannibalism.
It is the aim of the Bill of Rights, if it has any remaining aim at all, to curb such prehensile gentry. Its function is to set a limitation upon their power to harry and oppress us to their own private profit. The Fathers, in framing it, did not have powerful minorities in mind; what they sought to hobble was simply the majority. But that is a detail. The important thing is that the Bill of Rights sets forth, in the plainest of plain language, the limits beyond which even legislatures may not go. The Supreme Court, in Marbury v. Madison, decided that it was bound to execute that intent, and for a hundred years that doctrine remained the corner-stone of American constitutional law.
"Entertainment or Education? (1936)
Context: The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the way it will always be. The suffering of this or that person grips me because there is no escape for him. That's great art — Everything is self-evident. I am made to cry with those who cry, and laugh with those who laugh. But the theater-goer in the epic theater says: I would never have thought that. You can't do that. That's very strange, practically unbelievable. That has to stop. The suffering of this or that person grips me because there is an escape for him. That's great art — nothing is self-evident. I am made to laugh about those who cry, and cry about those who laugh.
Letter (10 January 1936); as published in Letters of Wallace Stevens (1966) edited by Holly Stevens, (No. 339)