Quotes about art

page 52

Ars Brevis
Grooks

"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.

</p><p>Still seem, as to my childhood's sight,
A midway station given,
For happy spirits to alight,
Betwixt the earth and heaven.</p>
Theodric : A Domestic Tale; and Other Poems (1825), To the Rainbow

Source: The Gendered Atom: Reflections on the Sexual Psychology of Science (1999), Ch.9 Deep Community
Context: Or perhaps... there is actually an infinity of universes among which only this one has by sheer accident produced the conditions for life and mind. It now requires such artful speculation to maintain an orthodox faith in chance. Skeptics, it would seem, are willing to believe anything.

Alan Moore on Anarchism (2009)
Context: I suppose any form of art can be said to be propaganda for a state of mind. Inevitably, if you are creating a painting, or writing a story, you are making propaganda, in a sense, for the way that you feel, the way that you think, the way that you see the world. You are trying to express your own view of reality and existence, and that is inevitably going to be a political action—especially if your view of existence is too far removed from the mainstream view of existence. Which is how an awful lot of writers have gotten into terrible trouble in the past.

"Legislators of the world" in The Guardian (18 November 2006)
Context: Of course, like the consciousness behind it, behind any art, a poem can be deep or shallow, glib or visionary, prescient or stuck in an already lagging trendiness. What's pushing the grammar and syntax, the sounds, the images — is it the constriction of literalism, fundamentalism, professionalism — a stunted language? Or is it the great muscle of metaphor, drawing strength from resemblance in difference? Poetry has the capacity to remind us of something we are forbidden to see. A forgotten future: a still uncreated site whose moral architecture is founded not on ownership and dispossession, the subjection of women, outcast and tribe, but on the continuous redefining of freedom — that word now held under house arrest by the rhetoric of the "free" market. This on-going future, written-off over and over, is still within view. All over the world its paths are being rediscovered and reinvented.
There is always that in poetry which will not be grasped, which cannot be described, which survives our ardent attention, our critical theories, our late-night arguments. There is always (I am quoting the poet/translator Américo Ferrari|) "an unspeakable where, perhaps, the nucleus of the living relation between the poem and the world resides".

As quoted in Man Creates Art Creates Man (1973) by Duane Preble, p. 14
Variant translation: Art is solving problems that cannot be formulated before they have been solved. The shaping of the question is part of the answer.
As quoted in Architecture: form, space, and order (2007) by Francis D.K. Ching, p. ix
Context: After all, what is art? Art is the creative process and it goes through all fields. Einstein’s theory of relativity — now that is a work of art! Einstein was more of an artist in physics than on his violin.
Art is this: art is the solution of a problem which cannot be expressed explicitly until it is solved.

Notes to his mother, on The Life of Humanity (1884-6) http://www.wikiart.org/en/gustave-moreau/humanity-the-golden-age-depicting-three-scenes-from-the-lives-of-adam-and-eve-the-silver-age-1886, his composition of a ten image polyptych, p. 48 ·  Photo of its exhibition on the 3rd Floor of Musée National Gustave Moreau http://en.musee-moreau.fr/house-museum/studios/third-floor
Gustave Moreau (1972)

Quote from an interview on the NBC television program, Wisdom- A Conversation with Frank Lloyd Wright (1953)
Context: I'm no teacher. Never wanted to teach and don't believe in teaching an art. Science yes, business of course.. but an art cannot be taught. You can only inculcate it, you can be an exemplar, you can create an atmosphere in which it can grow. Well I suppose I, being an exemplar, could be called a teacher, in spite of myself. So go ahead, call me a teacher.

Preface to Zen in the Art of Writing (1990)
Context: And what, you ask, does writing teach us?
First and foremost, it reminds us that we are alive and that it is gift and a privilege, not a right. We must earn life once it has been awarded us. Life asks for rewards back because it has favored us with animation.
So while our art cannot, as we wish it could, save us from wars, privation, envy, greed, old age, or death, it can revitalize us amidst it all.

Notes on Religion (October 1776), published in The Works of Thomas Jefferson in Twelve Volumes http://oll.libertyfund.org/ToC/0054.php, Federal Edition, Paul Leicester Ford, ed., New York: G. P. Putnam's Sons, 1904, Vol. 2 http://oll.libertyfund.org/Texts/Jefferson0136/Works/0054-02_Bk.pdf, p. 266
1770s
Context: Compulsion in religion is distinguished peculiarly from compulsion in every other thing. I may grow rich by art I am compelled to follow, I may recover health by medicines I am compelled to take against my own judgment, but I cannot be saved by a worship I disbelieve & abhor.

Academy of Achievement interview (1991)
Context: Reason alone will not serve. Intuition alone can be improved by reason, but reason alone without intuition can easily lead the wrong way. They both are necessary. The way I like to put it is that when I have an intuition about something, I send it over to the reason department. Then after I've checked it out in the reason department, I send it back to the intuition department to make sure that it's still all right. That's how my mind works, and that's how I work. That's why I think that there is both an art and a science to what we do. The art of science is as important as so-called technical science. You need both. It's this combination that must be recognized and acknowledged and valued.

The Principles of Success in Literature (1865)
Context: In Science the paramount appeal is to the Intellect — its purpose being instruction; in Art, the paramount appeal is to the Emotions — its purpose being pleasure. A work of Art must of course indirectly appeal to the Intellect, and a work of Science will also indirectly appeal to the Feelings; nevertheless a poem on the stars and a treatise on astronomy have distinct aims and distinct methods. But having recognised the broadly-marked differences, we are called upon to ascertain the underlying resemblances. Logic and Imagination belong equally to both. It is only because men have been attracted by the differences that they have overlooked the not less important affinities.

De Abaitua interview (1998)
Context: There are books that have devastated continents, destroyed thousands. What war hasn’t been a war of fiction? All the religious wars certainly, or the fiction of communism versus the fiction of capitalism – ideas, fictions, shit that people make. They have made a vast impression on the real world. It is the real world. Are thoughts not real? I believe it was Wittgenstein who said a thought is a real event in space and time. I don’t quite agree about the space and time bit, Ludwig, but certainly a real event. It’s only science that cannot consider thought as a real event, and science is not reality. It’s a map of reality, and not a very good one. It’s good, it’s useful, but it has its limits. We have to realise that the map has its edges. One thing that is past the edge is any personal experience. That is why magic is a broader map to me, it includes science. It’s the kind of map we need if we are to survive psychologically in the age that is to come, whatever that is. We need a bigger map because the old one is based on an old universe where not many of us live anymore. We have to understand what we are dealing with here because it is dangerous. It kills people. Art kills.

Why Do Religions Teach Love and Yet Cause So Much War?
Context: If you are talking to me about your new car, you are the first person, I am the second person, and the car is the third person.
These pronouns actually represent three perspectives that human beings can take when they talk about the world or attempt to know the world... The fascinating part is that these three perspectives might actually give rise to art, morals, and science. Or the Beautiful, the Good, and the True: the Beauty that is in the eye (or the "I") of the beholder; the Good or moral actions that can exist between you and me as a "we"; and the objective Truth about third-person objects (or "its") that you and I might discover: hence, art ("I"), morals ("we"), and science ("it").

"All Pervading Consciousness"

On the Educational Value of the Medical Society (1903), p. 333

Source: Hidden Order - How Adaptation Builds Complexity (1995), Ch 4. Simulating Echo, p. 146
Context: Model building is the art of selecting those aspects of a process that are relevant to the question being asked. As with any art, this selection is guided by taste, elegance, and metaphor; it is a matter of induction, rather than deduction. High science depends on this art.

The Enormous Room (1922)

Address at Columbia University (1991)
Context: "Our lives teach us who we are." I have learned the hard way that when you permit anyone else's description of reality to supplant your own — and such descriptions have been raining down on me, from security advisers, governments, journalists, Archbishops, friends, enemies, mullahs — then you might as well be dead. Obviously, a rigid, blinkered, absolutist world view is the easiest to keep hold of, whereas the fluid, uncertain, metamorphic picture I've always carried about is rather more vulnerable. Yet I must cling with all my might to … my own soul; must hold on to its mischievous, iconoclastic, out-of-step clown-instincts, no matter how great the storm. And if that plunges me into contradiction and paradox, so be it; I've lived in that messy ocean all my life. I've fished in it for my art. This turbulent sea was the sea outside my bedroom window in Bombay. It is the sea by which I was born, and which I carry within me wherever I go.
"Free speech is a non-starter," says one of my Islamic extremist opponents. No, sir, it is not. Free speech is the whole thing, the whole ball game. Free speech is life itself.

The Mathematicall Praeface to Elements of Geometrie of Euclid of Megara (1570)
Context: There is (gentle reader) nothing (the works of God only set apart) which so much beautifies and adorns the soul and mind of man as does knowledge of the good arts and sciences. Many arts there are which beautify the mind of man; but of all none do more garnish and beautify it than those arts which are called mathematical, unto the knowledge of which no man can attain, without perfect knowledge and instruction of the principles, grounds, and Elements of Geometry.

163
Golden Sayings of Epictetus

Christian Mysticism (1899), Preface
Context: The phase of thought or feeling which we call Mysticism has its origin in that which is the raw material of all religion, and perhaps of all philosophy and art as well, namely, that dim consciousness of the beyond, which is part of our nature as human beings. Men have given different names to these "obstinate questionings of sense and outward things." We may call them, if we will, a sort of higher instinct, perhaps an anticipation of the evolutionary process; or an extension of the frontier of consciousness; or, in religious language, the voice of God speaking to us. Mysticism arises when we try to bring this higher consciousness into relation with the other contents of our minds.

"Karl Friedrich Schinkel (1781-1841)" (2006) by Margaret Odrowaz Sypniewska http://www.angelfire.com/mi4/polcrt/Schinkel.html
Context: I hope I may be allowed to remark that recent inventions and improvements enabling works of art to be duplicated faithfully, easily, and safely may properly be used to give industry a direction in which beauty is as important as utility. I cannot, as many do, regret the mechanical process that turns the artist's attention increasingly towards the intellectual element in the production of a work of art; something that no machinery can replace. Anything that a machine can imitate and duplicate perfectly is no longer in the realm of art. But as a work of art can be mechanically duplicated both faithfully and with ease, and this distributed to all classes of society, if the knowledge of that work need no longer be acquired solely in museums or in those private collections to which access is difficult, then we may hope that here and there one of the seeds thus broadcast will take root and eventually bear fruit.

"To Shakespeare"
Poems (1851)
Context: The soul of man is larger than the sky,
Deeper than ocean, or the abysmal dark
Of the unfathomed center. Like that ark,
Which in its sacred hold uplifted high,
O'er the drowned hills, the human family,
And stock reserved of every living kind,
So, in the compass of the single mind,
The seeds and pregnant forms in essence lie,
That make all worlds. Great poet, 'twas thy art
To know thyself, and in thyself to be
Whate'er Love, Hate, Ambition, Destiny,
Or the firm, fatal purpose of the Heart
Can make of Man. Yet thou wert still the same,
Serene of thought, unhurt by thy own flame.

Book II, line 455
De Arte Poetica (1527)
Context: Be sure, from nature never to depart;
To copy nature is the task of art.
The noblest poets own her sovereign sway,
And ever follow where she leads the way.

"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960).
Context: Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical. And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence.

The Conduct Of Life (1951)
Context: Now life is the only art that we are required to practice without preparation, and without being allowed the preliminary trials, the failures and botches, that are essential for the training of a mere beginner. In life, we must begin to give a public performance before we have acquired even a novice's skill; and often our moments of seeming mastery are upset by new demands, for which we have acquired no preparatory facility. Life is a score that we play at sight, not merely before we have divined the intentions of the composer, but even before we have mastered our instruments; even worse, a large part of the score has been only roughly indicated, and we must improvise the music for our particular instrument, over long passages. On these terms, the whole operation seems one of endless difficulty and frustration; and indeed, were it not for the fact that some of the passages have been played so often by our predecessors that, when we come to them, we seem to recall some of the score and can anticipate the natural sequence of the notes, we might often give up in sheer despair. The wonder is not that so much cacophony appears in our actual individual lives, but that there is any appearance of harmony and progression.

The Language of the Night (1979)
Context: I have never found anywhere, in the domain of art, that you don't have to walk to. (There is quite an array of jets, buses and hacks which you can ride to Success; but that is a different destination.) It is a pretty wild country. There are, of course, roads. Great artists make the roads; good teachers and good companions can point them out. But there ain't no free rides, baby. No hitchhiking. And if you want to strike out in any new direction — you go alone. With a machete in your hand and the fear of God in your heart.

Part IV, Chapter VII
Les voix du silence [Voices of Silence] (1951)
Context: Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing. It is not that we prefer time-worn bas-reliefs, or rusted statuettes as such, nor is it the vestiges of death that grip us in them, but those of life. Mutilation is the scar left by the struggle with Time, and a reminder of it — Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.

Interview with Christian Salmon (Fall 1983), Writers at Work: The Paris Review Interviews, Series Seven [Viking, 1988, ], pp. 217-218
Context: Do you realize that people don't know how to read Kafka simply because they want to decipher him? Instead of letting themselves be carried away by his unequaled imagination, they look for allegories — and come up with nothing but clichés: life is absurd (or it is not absurd), God is beyond reach (or within reach), etc. You can understand nothing about art, particularly modern art, if you do not understand that imagination is a value in itself.

The Paris Review interview
Context: The idea occurred to me that art was perhaps this—the psychological component of the autoimmune system. It works on the artist as a healing. But it works on others too, as a medicine. Hence our great, insatiable thirst for it. However it comes out — whether a design in a carpet, a painting on a wall, the shaping of a doorway — we recognize that medicinal element because of the instant healing effect, and we call it art. It consoles and heals something in us. That’s why that aspect of things is so important, and why what we want to preserve in civilizations and societies is their art — because it’s a living medicine that we can still use. It still works. We feel it working. Prose, narratives, etcetera, can carry this healing. Poetry does it more intensely. Music, maybe, most intensely of all.

Attributed to Rodin in: Southwestern Art Vol. 6 (1977). p. 20; Partly cited in: A Toolbox for Humanity: More Than 9000 Years of Thought (2004) by Lloyd Albert Johnson, p. 7
1950s-1990s
Context: The artist must learn the difference between the appearance of an object and the interpretation of this object through his medium. The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation.

Methods of Mathematics Applied to Calculus, Probability, and Statistics (1985)
Context: There is no unique, correct answer in most cases. It is a matter of taste, depending on the circumstances... and the particular age you live in.... Gradually, you will develop your own taste, and along the way you may occasionally recognize that your taste may be the best one! It is the same as an art course.

As quoted by John Gery in Ways of Nothingness: Nuclear Annihilation and Contemporary American Poetry (1996)
Context: In each art the difficulty of the form is a substitution for the difficulty of direct apprehension and expression of the object. The first difficulty may be more or less overcome, but the second is insuperable; thus every poem begins, or ought to, by a disorderly retreat to defensible positions. Or, rather, by a perception of the hopelessness of direct combat, and a resort to the warfare of spells, effigies, and prophecies. The relation between the artist and reality is an oblique one, and indeed there is no good art which is not consciously oblique. If you respect the reality of the world, you know that you can approach that reality only by indirect means.

Source: Aeneid (29–19 BC), Book VIII, Line 442; cf. 12.427.

Quote in 'Culture: Caspar D. Friedrich and the Wasteland', by Gjermund E. Jansen in Bits of News (3 March 2005) http://www.bitsofnews.com/content/view/154/42/
Variant translation: The heart is the only true source of art, the language of a pure, child-like soul. Any creation not sprung from this origin can only be artifice. Every true work of art is conceived in a hallowed hour and born in a happy one, from an impulse in the artist's heart, often without his knowledge. (as quoted in the article 'Caspar David Friedrich's Medieval Burials', Karl Whittington - http://www.19thc-artworldwide.org/spring12/whittington-on-caspar-david-friedrichs-medieval-burials)
undated
Context: The pure, frank sentiments we hold in our hearts are the only truthful sources of art. A painting which does not take its inspiration from the heart is nothing more than futile juggling. All authentic art is conceived at a sacred moment and nourished in a blessed hour; an inner impulse creates it, often without the artist being aware of it.

Source: The Roving Mind (1983), Ch. 25
Context: How often people speak of art and science as though they were two entirely different things, with no interconnection. An artist is emotional, they think, and uses only his intuition; he sees all at once and has no need of reason. A scientist is cold, they think, and uses only his reason; he argues carefully step by step, and needs no imagination. That is all wrong. The true artist is quite rational as well as imaginative and knows what he is doing; if he does not, his art suffers. The true scientist is quite imaginative as well as rational, and sometimes leaps to solutions where reason can follow only slowly; if he does not, his science suffers.

"One culture and the new sensibility", p. 296
Against Interpretation and Other Essays (1966)
Context: Art today is a new kind of instrument, an instrument for modifying consciousness and organizing new modes of sensibility. And the means for practicing art have been radically extended.... Painters no longer feel themselves confined to canvas and paint, but employ hair, photographs, wax, sand, bicycle tires, their own toothbrushes and socks. Musicians have reached beyond the sounds of the traditional instruments to use tampered instruments and (usually on tape) synthetic sounds and industrial noises.

Speech on Leadership in Speeches Delivered on Various Occasions, May 1957-December 1959 (1960), p. 138.
Context: The art of leadership is in the ability to make people want to work for you, while they are really under no obligation to do so. Leaders are people, who raise the standards by which they judge themselves and by which they are willing to be judged. The goal chosen, the objective selected, the requirements imposed, are not mainly for their followers alone.
They develop with consumate energy and devotion, their own skill and knowledge in order to reach the standard they themselves have set.
This whole-hearted acceptance of the demands imposed by even higher standards is the basis of all human progress. A love of higher quality, we must remember, is essential in a leader.

"The Retreat," l. 7 - 19.
Silex Scintillans (1655)
Context: When yet I had not walk'd above
A mile or two from my first Love,
And looking back, at that short space
Could see a glimpse of His bright face;
When on some gilded cloud or flower
My gazing soul would dwell an hour,
And in those weaker glories spy
Some shadows of eternity;
Before I taught my tongue to wound
My conscience with a sinful sound,
Or had the black art to dispense
A several sin to every sense,
But felt through all this fleshly dress
Bright shoots of everlastingness.

"Tor House"
Context: If you should look for this place after a handful of lifetimes:
Perhaps of my planted forest a few
May stand yet, dark-leaved Australians or the coast cypress, haggard
With storm-drift; but fire and the axe are devils.
Look for foundations of sea-worn granite, my fingers had the art
To make stone love stone, you will find some remnant.
But if you should look in your idleness after ten thousand years:
It is the granite knoll on the granite
And lava tongue in the midst of the bay, by the mouth of the Carmel
River Valley; these four will remain
In the changes of names. You will know it by the wild sea-fragrance of the wind.

ibid
The Rahotep series, Book 2: Tutankhamun
Context: Rhetoric is a dangerous art. It is the manipulation of the difference, one might say the distance, between truth and image [... ] And in our times, that distance has become the means by which power is exercised [... ] Rhetoric has been a force for persuasion since man began to speak, and to convince his enemy that he was indeed his friend.

"Anybody's Alphabet"
No Truce with the Furies (1995)

"An interview with James Baldwin" (1961); an interview with Studs Terkel published in Conversations With James Baldwin (1989)
Context: Art has to be a kind of confession. I don't mean a true confession in the sense of that dreary magazine. The effort it seems to me, is: if you can examine and face your life, you can discover the terms with which you are connected to other lives, and they can discover them, too — the terms with which they are connected to other people.

Dedication, later published as "A Prayer in Time of War"
A Belgian Christmas Eve (1915)
Context: p>Grant us the single heart once more
That mocks no sacred thing,
The Sword of Truth our fathers wore
When Thou wast Lord and King. Let darkness unto darkness tell
Our deep unspoken prayer;
For, while our souls in darkness dwell,
We know that Thou art there.</p

"The Painter in the Press", X magazine, Vol. I, No.4 (October 1960).
Context: Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical. And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence.

"Quotes", Anatomy of Criticism: Four Essays (1957), Polemical Introduction
Context: A public that tries to do without criticism, and asserts that it knows what it wants or likes, brutalizes the arts and loses its cultural memory. Art for art's sake is a retreat from criticism which ends in an impoverishment of civilized life itself.

Donald Judd (1987) Complete writings, 1975-1986. p. 111
1980
Context: It takes a great deal of time and thought to install work carefully. This should not always be thrown away. Most art is fragile and some should be placed and never moved again. Some work is too large, complex and expensive to move. Somewhere a portion of contemporary art has to exist as an example of what the art and its context were meant to be.

Speaking of her her educational foundation, Pias Descalzos (Barefoot), which was named after her third album and has just opened its sixth school in Cartagena, Colombia.
Context: It’s in an area where there’s a huge population of displaced people – refugees in their own country. It’s a very impoverished area, where kids have no access to a high-quality education programme. So we just inaugurated this school for 1,700 students. And it’s already showing the kind of transformational power that education has. It’s already having an enormous social impact on this area. Before this school, there was no paved roads, or potable water, or electricity. And now all of this has changed, because of this alliance that we have created between our foundation, the private sector, and the [national] and local governments. And you know, it was recently reported that the gangs that used to hang in this area have dissolved completely since the school was built. So that is the kind of social impact that these kind of projects have. And that is why I vehemently and passionately advocate for education and for the construction of schools that are state-of-the-art – and that are open to the community … Thatis the whole philosophy that we have in our foundation.

Chap. IV. On the Origin of Geometry, and its Inventors, pp. 98-99. Footnote (Taylor's): Aristotle was called demoniacal by the Platonic philosophers, in consequence of the encomium bestowed on him by his master, Plato, "That he was the dæmon of nature." Indeed, his great knowledge in things subject to the dominion of nature, well deserved this encomium, and the epithet divine, has been universally ascribed to Plato, from his profound knowledge of the intelligible world.
The Philosophical and Mathematical Commentaries of Proclus on the First Book of Euclid's Elements Vol. 1 (1788)

De Abaitua interview (1998)
Context: The reason I got into magic was that it seemed to be what was lying at the end of the path of writing. If I wanted to continue on that path, I was going to have to get into that territory because I had followed writing as far as I thought I could without taking a step over the edges of rationality. The path led out of rational confines. When you start thinking about art and creativity, rationality is not big enough to contain it all.

Vague Thoughts On Art (1911)
Context: Art is that imaginative expression of human energy, which, through technical concretion of feeling and perception, tends to reconcile the individual with the universal, by exciting in him impersonal emotion. And the greatest Art is that which excites the greatest impersonal emotion in an hypothecated perfect human being.

Bk. II, ch. 8.
1830s, Sartor Resartus (1833–1834)
Context: O thou who art able to write a Book, which once in the two centuries or oftener there is a man gifted to do, envy not him whom they name City-builder, and inexpressibly pity him whom they name Conqueror or City-burner! Thou too art a Conqueror and Victor; but of the true sort, namely over the Devil: thou too hast built what will outlast all marble and metal, and be a wonder-bringing City of the Mind, a Temple and Seminary and Prophetic Mount, whereto all kindreds of the Earth will pilgrim.

This is Your Brain on Music (2006)
Context: When a musical piece is too simple we tend not to like it, finding it trivial. When it is too complex, we tend not to like it, finding it unpredictable—we don't perceive it to be grounded in anything familiar. Music, or any art form... has to strike the right balance between simplicity and complexity...

Source: Sculpting in Time (1986), p. 113
Context: Art is realistic when it strives to express an ethical ideal. Realism is striving for truth, and truth is always beautiful. Here the aesthetic coincides with the ethical.

Bill Moyers interview (2002)
Context: I used to say that arts were talked about in the arts and leisure page. Now, why would it be arts and leisure? Why do we think that arts are leisure? Why isn't it arts and science or arts and the most important thing in your life? I think that art has become a big scarlet letter in our culture.
It's a big "A." And it says, you are an elitist, you're effete, or whatever those things... do you know what I mean? It means you don't connect. And I don't believe that. I think we've patronized our audiences long enough.
You can do things that would bring people to another place and still get someone on a very daily mundane moving level but you don't have to separate art from the masses.

Source: In My Own Way: An Autobiography 1915-1965 (1972), p. 61

Context: I cherish as strong a love for the land of my nativity as any man living. I am proud of her civil, political and religious institutions — of her high advancement in science, literature and the arts — of her general prosperity and grandeur. But I have some solemn accusations to bring against her. I accuse her of insulting the majesty of Heaven with the grossest mockery that was ever exhibited to man — inasmuch as, professing to be the land of the free and the asylum of the oppressed, she falsifies every profession, and shamelessly plays the tyrant.
I accuse her, before all nations, of giving an open, deliberate and base denial to her boasted Declaration, that "all men are created equal; that they are endowed by their Creator with certain inalienable rights; that among these are life, liberty and the pursuit of happiness."
I accuse her of disfranchising and proscribing nearly half a million free people of color, acknowledging them not as countrymen, and scarcely as rational beings, and seeking to drag them thousands of miles across the ocean on a plea of benevolence, when they ought to enjoy all the rights, privileges and immunities of American citizens.
I accuse her of suffering a large portion of her population to be lacerated, starved and plundered, without law and without justification, at the will of petty tyrants.
I accuse her of trafficking in the bodies and souls of men, in a domestic way, to an extent nearly equal to the foreign slave trade; which traffic is equally atrocious with the foreign, and almost as cruel in its operations.
I accuse her of legalizing, on an enormous scale, licentiousness, fraud, cruelty and murder.

Address to the World Anti-slavery Convention, London (12 July 1833)

"To His Mistress", cited from The Works of His Grace, George Villiers, the Duke of Buckingham (London: T. Evans, 1770) vol. 2, p. 138.
Context: She that would raise a noble love must find
Ways to beget a passion for her mind;
She must be that which she to the world would seem,
For all true love is grounded on esteem:
Plainness and truth gain more a generous heart
Than all the crooked subtleties of art.

Introduction
The Wedge (1944)
Context: There is no poetry of distinction without formal invention, for it is in the intimate form that works of art achieve their exact meaning, in which they most resemble the machine, to give language its highest dignity, its illumination in the environment to which it is native. Such war, as the arts live and breathe by, is continuous.
It may be that my interests as expressed here are pre-art. If so I look for a development along these lines and will be satisfied with nothing else.

Conclusion
The Ethics of Ambiguity (1947)
Context: In Plato, art is mystification because there is the heaven of Ideas; but in the earthly domain all glorification of the earth is true as soon as it is realized. Let men attach value to words, forms, colors, mathematical theorems, physical laws, and athletic prowess; let them accord value to one another in love and friendship, and the objects, the events, and the men immediately have this value; they have it absolutely. It is possible that a man may refuse to love anything on earth; he will prove this refusal and he will carry it out by suicide. If he lives, the reason is that, whatever he may say, there still remains in him some attachment to existence; his life will be commensurate with this attachment; it will justify itself to the extent that it genuinely justifies the world.
This justification, though open upon the entire universe through time and space, will always be finite. Whatever one may do, one never realizes anything but a limited work, like existence itself which tries to establish itself through that work and which death also limits. It is the assertion of our finiteness which doubtless gives the doctrine which we have just evoked its austerity and, in some eyes, its sadness. As soon as one considers a system abstractly and theoretically, one puts himself, in effect, on the plane of the universal, thus, of the infinite. … existentialism does not offer to the reader the consolations of an abstract evasion: existentialism proposes no evasion. On the contrary, its ethics is experienced in the truth of life, and it then appears as the only proposition of salvation which one can address to men. Taking on its own account Descartes’ revolt against the evil genius, the pride of the thinking reed in the face of the universe which crushes him, it asserts that, despite his limits, through them, it is up to each one to fulfill his existence as an absolute. Regardless of the staggering dimensions of the world about us, the density of our ignorance, the risks of catastrophes to come, and our individual weakness within the immense collectivity, the fact remains that we are absolutely free today if we choose to will our existence in its finiteness, a finiteness which is open on the infinite. And in fact, any man who has known real loves, real revolts, real desires, and real will knows quite well that he has no need of any outside guarantee to be sure of his goals; their certitude comes from his own drive. There is a very old saying which goes: “Do what you must, come what may.” That amounts to saying in a different way that the result is not external to the good will which fulfills itself in aiming at it. If it came to be that each man did what he must, existence would be saved in each one without there being any need of dreaming of a paradise where all would be reconciled in death.

L’Art Corporel, 1979
Context: Before man was aware of art he was aware of himself. Awareness of the person is, then, the first art. In performance art the figure of the artist is the tool for the art. It is the art.

Letter to Mrs. T. P. Hyatt (1895)
Context: There are heaps of things I would like to do, but there is no time to do them. The most gorgeous ideas float before the imagination, but time, money, and alas! inspiration to complete them do not arrive, and for any work to be really valuable we must have time to brood and dream a little over it, or else it is bloodless and does not draw forth the God light in those who read. I believe myself, that there is a great deal too much hasty writing in our magazines and pamphlets. No matter how kindly and well disposed we are when we write we cannot get rid of the essential conditions under which really good literature is produced, love for the art of expression in itself; a feeling for the music of sentences, so that they become mantrams, and the thought sings its way into the soul. To get this, one has to spend what seems a disproportionate time in dreaming over and making the art and workmanship as perfect as possible.
I could if I wanted, sit down and write steadily and without any soul; but my conscience would hurt me just as much as if I had stolen money or committed some immorality. To do even a ballad as long as The Dream of the Children, takes months of thought, not about the ballad itself, but to absorb the atmosphere, the special current connected with the subject. When this is done the poem shapes itself readily enough; but without the long, previous brooding it would be no good. So you see, from my slow habit of mind and limited time it is all I can do to place monthly, my copy in the hands of my editor when he comes with a pathetic face to me.

The Fantastic Imagination (1893)
Context: "Suppose my child ask me what the fairytale means, what am I to say?"
If you do not know what it means, what is easier than to say so? If you do see a meaning in it, there it is for you to give him. A genuine work of art must mean many things; the truer its art, the more things it will mean. If my drawing, on the other hand, is so far from being a work of art that it needs THIS IS A HORSE written under it, what can it matter that neither you nor your child should know what it means? It is there not so much to convey a meaning as to wake a meaning. If it do not even wake an interest, throw it aside. A meaning may be there, but it is not for you. If, again, you do not know a horse when you see it, the name written under it will not serve you much.

"Illustrations of the Logic of Science" First Paper — The Fixation of Belief", in Popular Science Monthly, Vol. 12 (November 1877)
Context: Few persons care to study logic, because everybody conceives himself to be proficient enough in the art of reasoning already. But I observe that this satisfaction is limited to one's own ratiocination and does not extend to that of other men.
We come to the full possession of our power of drawing inferences the last of all our faculties, for it is not so much a natural gift as a long and difficult art.

The World in Six Songs (2008)
Context: Both poetry and lyrics and all visual arts draw their power from their ability to express abstractions of reality.... that is a feature of the musical brain.

Source: What then must we do? (1886), Chapter XXIX
Context: When I started life Hegelianism was the basis of everything: it was in the air, found expression in magazine and newspaper articles, in novels and essays, in art, in histories, in sermons, and in conversation. A man unacquainted with Hegel had no right to speak: he who wished to know the truth studied Hegel. Everything rested on him; and suddenly forty years have gone by and there is nothing left of him, he is not even mentioned — as though he had never existed. And what is most remarkable is that, like pseudo-Christianity, Hegelianism fell not because anyone refuted it, but because it suddenly became evident that neither the one nor the other was needed by our learned, educated world.

"Our Mission Statement" in National Review (19 November 1955).
Context: The largest cultural menace in America is the conformity of the intellectual cliques which, in education as well as the arts, are out to impose upon the nation their modish fads and fallacies, and have nearly succeeded in doing so. In this cultural issue, we are, without reservations, on the side of excellence (rather than "newness") and of honest intellectual combat (rather than conformity).

Introduction to Fortune, My Foe and Eros at Breakfast (c. 1993).
Context: The truth is that art does not teach; it makes you feel, and any teaching that may arise from the feeling is an extra, and must not be stressed too much. In the modern world, and in Canada as much as anywhere, we are obsessed with the notion that to think is the highest achievement of mankind, but we neglect the fact that thought untouched by feeling is thin, delusive, treacherous stuff.

Jonas Sima interview <!-- pages 176-178 -->
Bergman on Bergman (1970)
Context: Today we say all art is political. But I'd say all art has to do with ethics. Which after all really comes to the same thing. It's a matter of attitudes. … All this talk about me standing aside, cutting myself off and so forth, has always amazed me... I've stated, firmly and clearly, that though as an artist I'm not politically involved, I obviously am an expression of the society I live in. Anything else would be grotesque. But I don't make propaganda for either one attitude or the other. No. As I told you, I vote for the Social Democrats. Their way of solving social problems comes closest to what I regard as decent. That I also find their actual solutions odd in many ways is another matter...

Source: Ashtanga Yoga Primer, 1981, p.20

Bob Dylan: The Rolling Stone Interview http://www.rollingstone.com/music/features/the-rolling-stone-interview-bob-dylan-19780126 by Jonathan Cott (26 January 1978)

Vague Thoughts On Art (1911)
Context: He is but a poor philosopher who holds a view so narrow as to exclude forms not to his personal taste. No realist can love romantic Art so much as he loves his own, but when that Art fulfils the laws of its peculiar being, if he would be no blind partisan, he must admit it. The romanticist will never be amused by realism, but let him not for that reason be so parochial as to think that realism, when it achieves vitality, is not Art. For what is Art but the perfected expression of self in contact with the world; and whether that self be of enlightening, or of fairy-telling temperament, is of no moment whatsoever. The tossing of abuse from realist to romanticist and back is but the sword-play of two one-eyed men with their blind side turned toward each other. Shall not each attempt be judged on its own merits? If found not shoddy, faked, or forced, but true to itself, true to its conceiving mood, and fair-proportioned part to whole; so that it lives — then, realistic or romantic, in the name of Fairness let it pass! Of all kinds of human energy, Art is surely the most free, the least parochial; and demands of us an essential tolerance of all its forms. Shall we waste breath and ink in condemnation of artists, because their temperaments are not our own?

Black Boy (1945)

Why I Am A Socialist (1884).
Context: What shall I say concerning its mastery of and its waste of mechanical power, its commonwealth so poor, its enemies of the commonwealth so rich, its stupendous organization — for the misery of life! Its contempt of simple pleasures which everyone could enjoy but for its folly? Its eyeless vulgarity which has destroyed art, the one certain solace of labour? All this I felt then as now, but I did not know why it was so. The hope of the past times was gone, the struggles of mankind for many ages had produced nothing but this sordid, aimless, ugly confusion.

Part 1: "The Creative Mind", §9 (p. 19)
Science and Human Values (1956, 1965)
Context: The discoveries of science, the works of art are explorations — more, are explosions, of a hidden likeness. The discoverer or the artist presents in them two aspects of nature and fuses them into one. This is the act of creation, in which an original thought is born, and it is the same act in original science and original art.

Tradition and the Individual Talent (1919)
Context: What happens when a new work of art is created, is something that happens simultaneously to all the works of art which preceded it. The existing monuments form an ideal order among themselves, which is modified by the introduction of the new (the really new) work of art among them. The existing order is complete before the new work arrives; for order to persist after the supervention of novelty, the whole existing order must be, if ever so slightly, altered; and so the relations, proportions, values of each work of art toward the whole are readjusted; and this is conformity between the old and the new.

Life Without and Life Within (1859), My Seal-Ring
Context: Mercury has cast aside
The signs of intellectual pride,
Freely offers thee the soul:
Art thou noble to receive?
Canst thou give or take the whole,
Nobly promise and believe?
Then thou wholly human art,
A spotless, radiant, ruby heart,
And the golden chain of love
Has bound thee to the realm above.

A Few Thoughts for a Young Man (1850)
Context: The laws of nature are sublime, but there is a moral sublimity before which the highest intelligences must kneel and adore. The laws by which the winds blow, and the tides of the ocean, like a vast clepsydra, measure, with inimitable exactness, the hours of ever-flowing time; the laws by which the planets roll, and the sun vivifies and paints; the laws which preside over the subtle combinations of chemistry, and the amazing velocities of electricity; the laws of germination and production in the vegetable and animal worlds, — all these, radiant with eternal beauty as they are, and exalted above all the objects of sense, still wane and pale before the Moral Glories that apparel the universe in their celestial light. The heart can put on charms which no beauty of known things, nor imagination of the unknown, can aspire to emulate. Virtue shines in native colors, purer and brighter than pearl, or diamond, or prism, can reflect. Arabian gardens in their bloom can exhale no such sweetness as charity diffuses. Beneficence is godlike, and he who does most good to his fellow-man is the Master of Masters, and has learned the Art of Arts. Enrich and embellish the universe as you will, it is only a fit temple for the heart that loves truth with a supreme love. Inanimate vastness excites wonder; knowledge kindles admiration, but love enraptures the soul. Scientific truth is marvellous, but moral truth is divine; and whoever breathes its air and walks by its light, has found the lost paradise. For him, a new heaven and a new earth have already been created. His home is the sanctuary of God, the Holy of Holies. <!-- p. 35

"Exeunt the Humanities" (1980), p. 117
The Culture We Deserve (1989)
Context: A person is not a democrat thanks to his ignorance of literature and the arts, nor an elitist because he or she has cultivated them. The possession of knowledge makes for unjust power over others only if used for that very purpose: a physician or lawyer or clergyman can exploit or humiliate others, or he can be a humanitarian and a benefactor. In any case, it is absurd to conjure up behind anybody who exploits his educated status the existence of an "elite" scheming to oppress the rest of us.

"The History of Pattern-Designing" lecture (1882) The Collected Works of William Morris (1910 - 1915) Vol. 22.
Context: I love art, and I love history, but it is living art and living history that I love... It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigour of the earlier world?

VIII, 50
Meditations (c. 121–180 AD), Book VIII
Context: The universal nature has no external space; but the wondrous part of her art is that though she has circumscribed herself, everything which is within her which appears to decay and to grow old and to be useless she changes into herself, and again makes other new things from these very same, so that she requires neither substance from without nor wants a place into which she may cast that which decays. She is content then with her own space, and her own matter, and her own art.

Nano Reid (1950)
Context: Each work of art is a complete entity existing in its own right and by its own particular logic. It has its own reality and is independent of any particular creed or theory as a justification for its existence. This is not to say that artistic development may be considered as a self-sufficient process unrelated to social reality, because art is always concerned with the deeper and fundamentally human things; and any consideration of art is a consideration of humanity. But it does mean that we cannot apply the principles and logic of the past to a new work of art and hope to understand it. The eternal verities with which the artist is concerned do not change, but our conception of art does, as does our conception of form, and these must be extended if we are to understand fully and basically the meaning of a new work. It is a complex matter, but the elemental principles are always simple. The mass of modern art theory that developed around the fantastic changes of this century's painting can be largely ignored; only one or two fundamental principles are important. Probably most important in the new aesthetics from the painter's point of view was the statement of Degas, seventy years ago, in his unheeded advice to the Impressionists. He spoke then of a "Transformation in which imagination collaborates with memory... It is very well to copy what one sees; it is much better to draw what one has retained in one's memory”…This attitude, and all it implies, underlines the work of practically every painter of importance since 1900. Ultimately, it meant that the day of stage props and models was gone, and that imagination was recognised as the most important quality in an artist.

The Conspiracy of Kings (1792)
Context: Once draw the sword; its burning point shall bring
To thy quick nerves a never-ending sting;
The blood they shed thy weight of wo shall swell,
And their grim ghosts for ever with thee dwell. Learn hence, ye tyrants, ere ye learn too late,
Of all your craft th' inevitable fate.
The hour is come, the world's unclosing eyes
Discern with rapture where its wisdom lies;
From western heav'ns th' inverted Orient springs,
The morn of man, the dreadful night of kings.
Dim, like the day-struck owl, ye grope in light,
No arm for combat, no resource in sight;
If on your guards your lingering hopes repose,
Your guards are men, and men you've made your foes;
If to your rocky ramparts ye repair,
De Launay's fate can tell your fortune there.
No turn, no shift, no courtly arts avail,
Each mask is broken, all illusions fail;
Driv'n to your last retreat of shame and fear,
One counsel waits you, one relief is near :
By worth internal, rise to self-wrought fame,
Your equal rank, your human kindred claim;
'Tis Reason's choice, 'tis Wisdom's final plan,
To drop the monarch and assume the man.

Leaves Of Morya's Garden (1924 - 1925), Book I : The Call (1924)
Context: By holiness in life, guard the precious Gem of Gems.
Aum Tat Sat Aum!
I am thou, thou art I — parts of the Divine Self.
My Warriors! Life thunders — be watchful.
Danger! The soul hearkens to its warning!
The world is in turmoil — strive for salvation.
I invoke blessings unto you.
Salvation will be yours!
Life nourishes the soul.
Strive for the life glorified,
and for the realization of purity.
Put aside all prejudices — think freely.
Be not downcast but full of hope.
Flee not from life, but walk the path of salvation.

Source: Attributed in posthumous publications, Albert Einstein: The Human Side (1979), p. 37 - 27 January 1921
Context: Where the world ceases to be the scene of our personal hopes and wishes, where we face it as free beings admiring, asking, observing, there we enter the realm of Art and Science. If what is seen and experienced is portrayed in the language of logic, we are engaged in science. If it is communicated through forms whose connections are not accessible to the conscious mind but are recognized intuitively as meaningful, then we are engaged in art. Common to both is love and devotion to that which transcends personal concerns and volition.

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 8. Of the Ancient Practice of Painting
Context: When all others had succumbed to the fascinations of corporal decoration, the Priests and the Women alone still remained pure from the pollution of paint.
Immoral, licentious, anarchical, unscientific — call them by what names you will — yet, from an aesthetic point of view, those ancient days of the Colour Revolt were the glorious childhood of Art in Flatland — a childhood, alas, that never ripened into manhood, nor even reached the blossom of youth. To live was then in itself a delight, because living implied seeing.

Writing on Charles Dickens, in "In Defence of an Obsolete Author" in William and Mary College Monthly (November 1897), VII, p. 3-4
Context: A novel, or indeed any work of art, is not intended to be a literal transcription from Nature. … Life is a series of false values. There it is always the little things that are greatest. Art attempts to remedy this. It may be defined as an expurgated edition of Nature.

The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development
Context: The case is a simple one. A mere increase in the variety of our material consumption relieves the strain imposed upon man by the limits of the material universe, for such variety enables him to utilise a larger proportion of the aggregate of matter. But in proportion as we add to mere variety a higher appreciation of those adaptations of matter which are due to human skill, and which we call Art, we pass outside the limits of matter and are no longer the slaves of roods and acres and a law of diminishing returns. So long as we continue to raise more men who demand more food and clothes and fuel, we are subject to the limitations of the material universe, and what we get ever costs us more and benefits us less. But when we cease to demand more, and begin to demand better, commodities, more delicate, highly finished and harmonious, we can increase the enjoyment without adding to the cost or exhausting the store. What artist would not laugh at the suggestion that the materials of his art, his colours, clay, marble, or what else he wrought in, might fail and his art come to an end? When we are dealing with qualitative, i. e. artistic, goods, we see at once how an infinite expenditure of labour may be given, an infinite satisfaction taken, from the meagrest quantity of matter and space. In proportion as a community comes to substitute a qualitative for a quantitative standard of living, it escapes the limitations imposed by matter upon man. Art knows no restrictions of space or size, and in proportion as we attain the art of living we shall be likewise free. <!--section 16, p. 431

As quoted in "James Clavell, Best-Selling Storyteller of Far Eastern Epics, Is Dead at 69" by William Grimes in The New York Times (8 September 1994) http://query.nytimes.com/gst/fullpage.html?res=9D03E4D61138F93BA3575AC0A962958260&sec=&spon=&pagewanted=all
Context: Changi became my university instead of my prison. … Among the inmates there were experts in all walks of life — the high and the low roads. I studied and absorbed everything I could from physics to counterfeiting, but most of all I learned the art of surviving.

De Abaitua interview (1998)
Context: Annie Besant’s book where she put forward the idea that theosophical mystical energies could be portrayed as colours or abstract shapes was practically the invention of abstract art. A lot of artists rushed out and read it and suddenly thought, ‘oh God you could, you could portray love as a colour, or depression as a colour” All of a sudden abstract art happens, a flowering out of occultism.

Speech to the Western Society of Engineers (18 September 1901); published in the Journal of the Western Society of Engineers (December 1901); republished with revisions by the author for the Annual Report of the Board of Regents of the Smithsonian Institution (1902) http://invention.psychology.msstate.edu/i/Wrights/library/Aeronautical.html
Context: The person who merely watches the flight of a bird gathers the impression that the bird has nothing to think of but the flapping of its wings. As a matter of fact this is a very small part of its mental labor. To even mention all the things the bird must constantly keep in mind in order to fly securely through the air would take a considerable part of the evening. If I take this piece of paper, and after placing it parallel with the ground, quickly let it fall, it will not settle steadily down as a staid, sensible piece of paper ought to do, but it insists on contravening every recognized rule of decorum, turning over and darting hither and thither in the most erratic manner, much after the style of an untrained horse. Yet this is the style of steed that men must learn to manage before flying can become an everyday sport. The bird has learned this art of equilibrium, and learned it so thoroughly that its skill is not apparent to our sight. We only learn to appreciate it when we try to imitate it.

Internet Encyclopedia of Philosophy
Context: The success of art is measured by the extent to which it is able to render experiences of one dimension into terms of another. Art born out of a creative contemplation which is a process of travail of the spirit is an authentic crystallization of a life process. Its ultimate and in its essence, the poetical character is derived from the creative intuition (that is, integral intuition) which holds sound, suggestion and sense in organic solution.

"A Defence of Humilities"
The Defendant (1901)
Context: Humility is the luxurious art of reducing ourselves to a point, not to a small thing or a large one, but to a thing with no size at all, so that to it all the cosmic things are what they really are — of immeasurable stature. That the trees are high and the grasses short is a mere accident of our own foot-rules and our own stature. But to the spirit which has stripped off for a moment its own idle temporal standards the grass is an everlasting forest, with dragons for denizens; the stones of the road are as incredible mountains piled one upon the other; the dandelions are like gigantic bonfires illuminating the lands around; and the heath-bells on their stalks are like planets hung in heaven each higher than the other.

Source: The Golden Bough (1890), Chapter 4, Magic and Religion.
Context: From the earliest times man has been engaged in a search for general rules whereby to turn the order of natural phenomena to his own advantage, and in the long search he has scraped together a great hoard of such maxims, some of them golden and some of them mere dross. The true or golden rules constitute the body of applied science which we call the arts; the false are magic.

Source: To the Memory of My Beloved, the Author, Mr. William Shakespeare (1618), Lines 17 - 24; this was inspired by a eulogy by William Basse, On Shakespeare:
Context: Soul of the age!
The applause, delight, the wonder of our stage!
My Shakespeare, rise; I will not lodge thee by
Chaucer or Spenser, or bid Beaumont lie
A little further, to make thee a room;
Thou art a monument, without a tomb,
And art alive still, while thy book doth live,
And we have wits to read, and praise to give.

X, 31
Meditations (c. 121–180 AD), Book X
Context: Continuously thou wilt look at human things as smoke and nothing at all; especially if thou reflectest at the same time, that what has once changed will never exist again in the infinite duration of time. But thou, in what a brief space of time is thy existence? And why art thou not content to pass through this short time in an orderly way?

Source: 1900s, Up From Slavery (1901), Chapter XVI: Europe
Context: In one thing, at least, I feel sure that the English are ahead of Americans, and that is, they have learned how to get more out of life. The home life of the English seems to me to be about as perfect as anything can be. Everything moves like clockwork. I was impressed, too, with the deference that the servants show to their "masters" and "mistresses" - terms which I suppose would not be tolerated in America. The English servant expects, as a rule, to be nothing but a servant, and so he perfects himself in the art to a degree that no class of servants in America has yet reached. In our country the servant expects to become, in a few years, a "master" himself. Which system is preferable? I will not venture an answer.