
Tel est le privilége du génie : il aperçoit, il saisit des rapports, là où des yeux vulgaires lie voient que des faits isolés.
Joseph Fourier, p. 412.
Biographies of Distinguished Scientific Men (1859)
Lewes here quotes from Paracelsus by Robert Browning
The Principles of Success in Literature (1865)
Tel est le privilége du génie : il aperçoit, il saisit des rapports, là où des yeux vulgaires lie voient que des faits isolés.
Joseph Fourier, p. 412.
Biographies of Distinguished Scientific Men (1859)
The She-Ancient, in Pt. V
Source: 1920s, Back to Methuselah (1921)
Context: Art is the magic mirror you make to reflect your invisible dreams in visible pictures. You use a glass mirror to see your face: you use works of art to see your soul. But we who are older use neither glass mirrors nor works of art. We have a direct sense of life. When you gain that you will put aside your mirrors and statues, your toys and your dolls.
Source: Tolkien's The Lord of the Rings, p. 89
Context: But why,' (some ask), 'why, if you have a serious comment to make on the real life of men, must you do it by talking about a phantasmagoric never-never land of your own?' Because, I take it, one of the main things the author wants to say is that the real life of men is of that mythical and heroic quality. One can see the principle at work in his characterization. Much that in a realistic work would be done by 'character delineation' is here done simply by making the character an elf, a dwarf, or a hobbit. The imagined beings have their insides on the outside; they are visible souls. And Man as a whole, Man pitted against the universe, have we seen him at all till we see that he is like a hero in a fairy tale?
John G. Bennett The Crisis in Human Affairs
Commentary on Aristotle's Posterior Analytics, i.17 as quoted by Francis Seymour Stevenson, Robert Grosseteste: Bishop of Lincoln http://books.google.com/books?id=-pIuAAAAYAAJ, p. 52 (footnote 2)
The Principles of Success in Literature (1865)
Context: An artist produces an effect in virtue of the distinctness with which he sees the objects he represents, seeing them not vaguely as in vanishing apparitions, but steadily, and in their most characteristic relations. To this Vision he adds artistic skill with which to make us see. He may have clear conceptions, yet fail to make them clear to us: in this case he has imagination, but is not an artist. Without clear Vision no skill can avail. Imperfect Vision necessitates imperfect representation; words take the place of ideas.