“There is a great distinction between the terms "aspirant to the Path" and "applicant for initiation."”
He who aspires and strives towards discipleship is in no way pledged to the same specific attitude and discipline as is the applicant for initiation, and he can, if he so choose, take as long as he desires in the treading of the Probationary Path. p. 192
Initiation, Human and Solar (1922)
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Alice A. Bailey 109
esoteric, theosophist, writer 1880–1949Related quotes
innere Warhnemung
Source: "The history of introspection reconsidered." 1980, p. 224
Article abstract
"Applications of structural equation modeling in marketing and consumer research", 1996

Simon Kuznets in: Herbert David Croly eds. (1962) The New Republic Vol. 147. p. 29: About rethinking the system of national accounting

"Classical and Baroque Sex in Everyday Life" (1979), Beginning To See the Light: Pieces of a Decade (1981)
Context: There are two kinds of sex, classical and baroque. Classical sex is romantic, profound, serious, emotional, moral, mysterious, spontaneous, abandoned, focused on a particular person, and stereotypically feminine. Baroque sex is pop, playful, funny, experimental, conscious, deliberate, amoral, anonymous, focused on sensation for sensation's sake, and stereotypically masculine. The classical mentality taken to an extreme is sentimental and finally puritanical; the baroque mentality taken to an extreme is pornographic and finally obscene. Ideally, a sexual relation ought to create a satisfying tension between the two modes (a baroque idea, particularly if the tension is ironic) or else blend them so well that the distinction disappears (a classical aspiration).

Source: Initiation, The Perfecting of Man (1923)

La Pittura non è altro, che o albero o uomo o altra cosa, che si specchi in un fonte. La differenza, che è dalla Scultura alla Pittura è tanta, quanto è dalla ombra e la cosa, che fa l'ombra.
Letter to Benedetto Varchi, January 28, 1546, cited from G. P. Carpani (ed.) Vita di Benvenuto Cellini (Milano: Nicolo Bettoni, 1821) vol. 3, p. 185; translation from Thomas Nugent (trans.) The Life of Benvenuto Cellini, a Florentine Artist (London: Hunt and Clarke, 1828) vol. 2, p. 265.