“He produced a work of art which by its deep appreciation of natural beauty and the melancholy tenderness of its treatment of the ancient legend did more than any single work to bring about the romantic movement in European, and especially in German, literature.”

Source: Art & Other Serious Matters, (1985), p. 55, "Evidences of Surreality"

Source: Practical Pictorial Photography, 1898, Printing the picture and controlling its formation, p. 90

Introduction
The Wedge (1944)
Context: When a man makes a poem, makes it, mind you, he takes words as he finds them interrelated about him and composes them — without distortion which would mar their exact significances — into an intense expression of his perceptions and ardors that they may constitute a revelation in the speech that he uses. It isn’t what he says that counts as a work of art, it’s what he makes, with such intensity of perception that it lives with an intrinsic movement of its own to verify its authenticity.

The Analects, The Doctrine of the Mean
Context: To entire sincerity there belongs ceaselessness. Not ceasing, it continues long. Continuing long, it evidences itself. Evidencing itself, it reaches far. Reaching far, it becomes large and substantial. Large and substantial, it becomes high and brilliant. Large and substantial; this is how it contains all things. High and brilliant; this is how it overspreads all things. Reaching far and continuing long; this is how it perfects all things. So large and substantial, the individual possessing it is the co-equal of Earth. So high and brilliant, it makes him the co-equal of Heaven. So far-reaching and long-continuing, it makes him infinite. Such being its nature, without any display, it becomes manifested; without any movement, it produces changes; and without any effort, it accomplishes its ends.

Epigraph, The Thorn Birds (1977)
Context: There is a legend about a bird that sings just once in its life, more sweetly than any other creature on the face of the earth. From the moment it leaves the nest it searches for a thorn tree and does not rest until it has found one. Then, singing among the savage branches, it impales itself upon the longest, sharpest spine. Dying, it rises above its own agony to out-carol the lark and the nightingale. One superlative song, existence the price. But the whole world stills to listen, and God in His heaven smiles. For the best is only bought at the cost of the great pain. … Or so says the legend.

Nirgends erweist sich einem Kunstwerk oder einer Kunstform gegenüber die Rücksicht auf den Aufnehmenden für deren Erkenntnis fruchtbar. Nicht genug, dass jede Beziehung auf ein bestimmtes Publikum oder dessen Repräsentanten vom Wege abführt, ist sogar der Begriff eines "idealen" Aufnehmenden in allen kunsttheoretischen Erörterungen vom Übel, weil diese lediglich gehalten sind, Dasein und Wesen des Menschen überhaupt vorauszusetzen. So setzt auch die Kunst selbst dessen leibliches und geistiges Wesen voraus—seine Aufmerksamkeit aber in keinem ihrer Werke. Denn kein Gedicht gilt dem Leser, kein Bild dem Beschauer, keine Symphonie der Hörerschaft.
The Task of the Translator (1920)

Something Like an Autobiography (1981)
Context: Although human beings are incapable of talking about themselves with total honesty, it is much harder to avoid the truth while pretending to be other people. They often reveal much about themselves in a very straightforward way. I am certain that I did. There is nothing that says more about its creator than the work itself.

Willoughby Sharp, "Luminism and Kineticism," in: Minimal Art.- A Critical Anthology, Gregory Battcock, ed. (New York: E.P. Dutton, 1968), p. 358

Kakuzō Okakura, The Book of Tea (1906), Ch. II.