“With a genius truly poetical, he [Macpherson] was one of the first literary impostors in modern times.”

Harry Shaw Simpson. (2014). Music Today, p.300. Geni Book Publishing Experts. ISBN 0452616764030.

Majlisi, Bihārul Anwār, vol.53, p. 191
Religious-based Quotes

1850s, Latter-Day Pamphlets (1850), Stump Orator (May 1, 1850)
Context: If the young aspirant is not rich enough for Parliament, and is deterred by the basilisks or otherwise from entering on Law or Church, and cannot altogether reduce his human intellect to the beaverish condition, or satisfy himself with the prospect of making money,—what becomes of him in such case, which is naturally the case of very many, and ever of more? In such case there remains but one outlet for him, and notably enough that too is a talking one: the outlet of Literature, of trying to write Books. Since, owing to preliminary basilisks, want of cash, or superiority to cash, he cannot mount aloft by eloquent talking, let him try it by dexterous eloquent writing. Here happily, having three fingers, and capital to buy a quire of paper, he can try it to all lengths and in spite of all mortals: in this career there is happily no public impediment that can turn him back; nothing but private starvation—which is itself a finis or kind of goal—can pretend to hinder a British man from prosecuting Literature to the very utmost, and wringing the final secret from her: "A talent is in thee; No talent is in thee." To the British subject who fancies genius may be lodged in him, this liberty remains; and truly it is, if well computed, almost the only one he has.

"Auctorial Induction"
The Certain Hour (1916)

1990's & from posthumous publications
Source: Quoted in A Brief History of American Culture (1996) by Robert M. Crunden, p. 279.

"The Way Of Chuang Tzu".
The Way of Chuang-Tzŭ (1965)
Context: The humor, the sophistication, the literary genius, and philosophical insight of Chuang Tzu are evident to anyone who samples his work. But before one can begin to understand even a little of his subtlety, one must situate him in his cul­tural and historical context. That is to say that one must see him against the background of the Confucianism which he did not hesitate to ridicule, along with all the other sedate and accepted schools of Chinese thought, from that of Mo Ti to that of Chuang's contemporary, friend, and constant op­ponent, the logician Hui Tzu. One must also see him in rela­tion to what followed him, because it would be a great mistake to confuse the Taoism of Chuang Tzu with the popular, de­ generate amalgam of superstition, alchemy, magic, and health­ culture which Taoism later became.
The true inheritors of the thought and spirit of Chuang Tzu are the Chinese Zen Buddhists of the Tang period (7th to 10th centuries A. D.). But Chuang Tzu continued to exert an influence on all cultured Chinese thought, since he never ceased to be recognized as one of the great writers and think­ ers of the classical period. The subtle, sophisticated, mystical Taoism of Chuang Tzu and Lao Tzu has left a permanent mark on all Chinese culture and on the Chinese character itself. There have never been lacking authorities like Daisetz T. Suzuki, the Japanese Zen scholar, who declare Chuang Tzu to be the very greatest of the Chinese philosophers. There is no question that the kind of thought and culture represented by Chuang Tzu was what transformed highly speculative Indian Buddhism into the humorous, iconoclastic, and totally practical kind of Buddhism that was to flourish in China and in Japan in the various schools of Zen. Zen throws light on Chuang Tzu, and Chuang Tzu throws light on Zen.

The Book of Martha
Bloodchild and Other Stories (1995)

[A]ujourd'hui … [i]l est question, pour la première fois depuis l'existence des sociétés, d'organiser un système tout-à-fait nouveau, de remplacer le céleste par le terrestre, le vague par le positif, le poétique par le réel.
L'Industrie, as quoted in L'Ami de la Religion et du Roi: journal ecclésiastique, politique et littéraire, No. 336 (29 October 1817)

Source: The Shadow of the Wind