Quotes about art

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for that, much is lacking. The ideal of morality belongs to culture; its use for some simulacrum of morality in the love of honor and outward decorum constitutes mere civilization. So long as states waste their forces in vain and violent self-expansion, and thereby constantly thwart the slow efforts to improve the minds of their citizens by even withdrawing all support from them, nothing in the way of a moral order is to be expected. For such an end, a long internal working of each political body toward the education of its citizens is required. Everything good that is not based on a morally good disposition, however, is nothing but pretense and glittering misery. In such a condition the human species will no doubt remain until, in the way I have described, it works its way out of the chaotic conditions of its international relations.
Seventh Thesis
Idea for a Universal History from a Cosmopolitan Point of View (1784)

NOW interview (2004)
Context: Art has always been my salvation. And my gods are Herman Melville, Emily Dickinson, Mozart. I believe in them with all my heart. And when Mozart is playing in my room, I am in conjunction with something I can't explain — I don't need to. I know that if there's a purpose for life, it was for me to hear Mozart. Or if I walk in the woods and I see an animal, the purpose of my life was to see that animal. I can recollect it, I can notice it. I'm here to take note of. And that is beyond my ego, beyond anything that belongs to me, an observer, an observer.

Source: The Science of Illusions; English translation by Franklin Philip (emphasis added).
Context: Political, scientific, or religious debates are often distorted according to an immutable principle: one brings together the person who is wrong, who is a hardened demagogue, and whose cause one secretly espouses, to face an opponent who is right but who does not know the case well enough to counter his adversary on precise technical points.

Take the case of the charlatan who claims to transmit thoughts at a distance. A newspaper that claims to be objective, well-balanced, reader-respectful, and nonpartisan will put two discourses in opposition: that of the charlatan who claims to have abilities not explained by physics, and that of critics: academicians or Nobel Prize winners who will bring out their authority, express their righteous indignation, say that they cannot give any credence to a phenomenon so manifestly opposed to the most sacred laws of physics, and the like. The reader to whom the two contradictory discourses have been served up will not fail to congratulate the newspaper for its remarkable objectivity.

The only one who will not be given the floor is the professional magician who "knows the trick" and could perform it without further ado for the public. Had he been allowed to speak, the reader would understand everything right away, and there would be nothing left to write in the next few days on this subject. The whole art thus consists of getting the charlatans to speak on the one hand and the distinguished scientists to speak on the other, provided the latter have nothing relevant to say on the subject. But it sometimes happens, alas, that an independent journal comes along and lets the cat out of the bag.

1880s, Agnosticism (1889)
Context: When I reached intellectual maturity and began to ask myself whether I was an atheist, a theist, or a pantheist; a materialist or an idealist; Christian or a freethinker; I found that the more I learned and reflected, the less ready was the answer; until, at last, I came to the conclusion that I had neither art nor part with any of these denominations, except the last. The one thing in which most of these good people were agreed was the one thing in which I differed from them. They were quite sure they had attained a certain "gnosis," — had, more or less successfully, solved the problem of existence; while I was quite sure I had not, and had a pretty strong conviction that the problem was insoluble.
So I took thought, and invented what I conceived to be the appropriate title of "agnostic." It came into my head as suggestively antithetic to the "gnostic" of Church history, who professed to know so much about the very things of which I was ignorant. To my great satisfaction the term took.

(15 June 2007)
Unfit for Mass Consumption (blog entries), 2007
Context: Art is not science. Even when art is about science, it is still art. There cannot be consensus, in the sense that science strives for meaningful consensus. And unlike science, art is not progressive. Personally, I have my doubts that science can be said to be genuinely progressive, but I'm pretty dammed certain that art is not. Which is not to say that it is not accumulative or accretionary. But the belief that sf writers are out there forecasting the future, that they have some social responsibility to do so, that's malarky, if you ask me. Writers of sf can only, at best, make educated guesses, and usually those guesses are wrong, and clumping together to form a consensus does not in any way insure against history unfolding in one of those other, unpredicted directions. People love to pick out the occasional instances where Jules Verne and William Gibson got it right; they rarely ever point fingers at their miscalls.

"Art a Thing of No Consequence"
The Dehumanization of Art and Ideas about the Novel (1925)
Context: Were art to redeem man, it could do so only by saving him from the seriousness of life and restoring him to an unexpected boyishness. The symbol of art is seen again in the magic flute of the Great God Pan which makes the young goats frisk at the edge of the grove.
All modern art begins to appear comprehensible and in a way great when it is interpreted as an attempt to instill youthfulness into an ancient world.

Source: The Artful Universe (1995), Ch. 5, p.236

Source: Art, 1912, Preface, p. 7-8
Context: Art is contemplation. It is the pleasure of the mind which searches into nature and which there divines the spirit by which Nature herself is animated. It is the joy of the intellect which sees clearly into the Universe and which recreates it, with conscientious vision. Art is the most sublime mission of man, since it is the expression of thought seeking to understand the world and to make it understood.

Civil-suit deposition against the Herring-Curtiss Company (1909), reported in The Dayton News (31 May 1912) http://home.dayton.lib.oh.us/archives/wbcollection/wbscrapbooks1/WBScrapbooks10079.html
Context: My brother and I became seriously interested in the problem of human flight in 1899... We knew that men had by common consent adopted human flight as the standard of impossibility. When a man said, “It can’t be done; a man might as well try to fly,” he was understood as expressing the final limit of impossibility. Our own growing belief that man might nevertheless learn to fly was based on the idea that while thousands of the most dissimilar body structures, such as insects, fish, reptiles, birds and mammals, were flying every day at pleasure, it was reasonable to suppose that man might also fly... We accordingly decided to write to the Smithsonian Institution and inquire for the best books relating to the subject.... Contrary to our previous impression, we found that men of the very highest standing in the profession of science and invention had attempted to solve the problem... But one by one, they had been compelled to confess themselves beaten, and had discontinued their efforts. In studying their failures we found many points of interest to us.
At that time there was no flying art in the proper sense of the word, but only a flying problem. Thousands of men had thought about flying machines and a few had even built machines which they called flying machines, but these were guilty of almost everything except flying. Thousands of pages had been written on the so-called science of flying, but for the most part the ideas set forth, like the designs for machines, were mere speculations and probably ninety per cent was false. Consequently those who tried to study the science of aerodynamics knew not what to believe and what not to believe. Things which seemed reasonable were often found to be untrue, and things which seemed unreasonable were sometimes true. Under this condition of affairs students were accustomed to pay little attention to things that they had not personally tested.

Part I, Essay 15: The Epicurean
Essays, Moral, Political, and Literary (1741-2; 1748)
Context: It is a great mortification to the vanity of man, that his utmost art and industry can never equal the meanest of nature's productions, either for beauty or value. Art is only the under-workman, and is employed to give a few strokes of embellishment to those pieces, which come from the hand of the master

The Syntax of Sorcery (2012)
Context: Certain individual words do possess more pitch, more radiance, more shazam! than others, but it's the way words are juxtaposed with other words in a phrase or sentence that can create magic. Perhaps literally. The word "grammar," like its sister word "glamour," is actually derived from an old Scottish word that meant "sorcery." When we were made to diagram sentences in high school, we were unwittingly being instructed in syntax sorcery, in wizardry. We were all enrolled at Hogwarts. Who knew?
When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work. The pervasive brutality in current fiction – the death, disease, dysfunction, depression, dismemberment, drug addiction, dementia, and dreary little dramas of domestic discord – is an obvious example of how language in exploitative, cynical or simply neurotic hands can add to the weariness, the darkness in the world. Less apparent is that bland writing — timid, antiseptic, vanilla writing – is nearly as unhealthy as the brutal and dark. Instead of sipping, say, elixir, nectar, tequila, or champagne, the reader is invited to slurp lumpy milk or choke on the author's dust bunnies.

Source: Sculpting in Time (1986), p. 192
Context: Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition — otherwise life becomes impossible! Art symbolises the meaning of our existence.

Preface to the 1913 edition
1890s, Quintessence Of Ibsenism (1891; 1913)
Context: I have never admitted the right of an elderly author to alter the work of a young author, even when the young author happens to be his former self. In the case of a work which is a mere exhibition of skill in conventional art, there may be some excuse for the delusion that the longer the artist works on it the nearer he will bring it to perfection. Yet even the victims of this delusion must see that there is an age limit to the process, and that though a man of forty-five may improve the workmanship of a man of thirty-five, it does not follow that a man of fifty-five can do the same.
When we come to creative art, to the living word of a man delivering a message to his own time, it is clear that any attempt to alter this later on is simply fraud and forgery. As I read the old Quintessence of Ibsenism I may find things that I see now at a different angle, or correlate with so many things then unnoted by me that they take on a different aspect. But though this may be a reason for writing another book, it is not a reason for altering an existing one.

X magazine (1959-62)
Variant: It may be that it is the odd, the personal, the curious, the simply honest, that at this moment, when everyone looks to the extreme and flamboyant, constitutes the most interesting manifestation of the spirit of art.
Context: A situation has occurred wherein a premium is put on any work qualifying for the term "progressive"… The idea of progress in the arts; the notion that we move forward from one good thing to another in a simple progression and in a single direction... Baudelaire dealt so profoundly with this... But this can be said: if there were such a thing as a direct and simple progression from the work of one generation to the next the historical difficulty of the Progressive Artist could not exist... the popular notion of the Progressive and the New Art may not after all be the last word on a complex subject. That there may be, even to-day... such a thing as the absolutely modern. That as before it may be something unexpected, and not completely accounted for in the arrangements for encouraging the arts... For to be contemporary is not necessarily to be part of any movement, to be included in the official representations of national and international art. History shows that it may well be the opposite. It may be that it is the odd, the personal, the curious, the simply honest, that at this moment, when everyone looks to the extreme and flamboyant, constitutes the most interesting manifestation of the spirit of art... It may be necessary to be absolutely modern.

On Exactitude in Science, as translated by Andrew Hurley, in Jorge Luis Borges, Collected Fictions (1999); first published in Los Anales de Buenos Aires, año 1, no. 3 (March 1946)

X magazine (1959-62)
Context: There is a sense, and a very exciting sense, in which art is moral. When Stendhal says a good picture is nothing but a construction in ethics, one recognises a truth about art which opens up vistas that are at the same time liberating and terrifying. The ethics of art are terrifying because real art by increasing our knowledge of ourselves increases in exactly the same proportion the ethical commitment.

Carolina Afan " Epifanio de los Santos Y Cristobal
BALIW

Source: On the Agriculture of England (1840), p. 457
Context: Let us never forget that the cultivation of the earth is the most important labor of man. Man may be civilized, in some degree, without great progress in manufactures and with little commerce with his distant neighbors. But without the cultivation of the earth, he is, in all countries, a savage. Until he gives up the chase, and fixes himself in some place and seeks a living from the earth, he is a roaming barbarian. When tillage begins, other arts follow. The farmers, therefore, are the founders of human civilization.

कला र जीवन (Art and Life)
Art and Life
Context: The uprising of Art happens from the talents of the eternal conscience of man. The beasts don't have Art, neither do plants! But man, full of spiritual nature who can remember and know the information of World Artist, has been endowed with a energy to imitate a little of divine working.

Source: The Revolt of the Angels (1914), Ch. XXXV
Context: Satan found pleasure in praise and in the exercise of his grace; he loved to hear his wisdom and his power belauded. He listened with joy to the canticles of the cherubim who celebrated his good deeds, and he took no pleasure in listening to Nectaire's flute, because it celebrated nature's self, yielded to the insect and to the blade of grass their share of power and love, and counselled happiness and freedom. Satan, whose flesh had crept, in days gone by, at the idea that suffering prevailed in the world, now felt himself inaccessible to pity. He regarded suffering and death as the happy results of omnipotence and sovereign kindness. And the savour of the blood of victims rose upward towards him like sweet incense. He fell to condemning intelligence and to hating curiosity. He himself refused to learn anything more, for fear that in acquiring fresh knowledge he might let it be seen that he had not known everything at the very outset. He took pleasure in mystery, and believing that he would seem less great by being understood, he affected to be unintelligible. Dense fumes of Theology filled his brain. One day, following the example of his predecessor, he conceived the notion of proclaiming himself one god in three persons. Seeing Arcade smile as this proclamation was made, he drove him from his presence. Istar and Zita had long since returned to earth. Thus centuries passed like seconds. Now, one day, from the altitude of his throne, he plunged his gaze into the depths of the pit and saw Ialdabaoth in the Gehenna where he himself had long lain enchained. Amid the ever lasting gloom Ialdabaoth still retained his lofty mien. Blackened and shattered, terrible and sublime, he glanced upwards at the palace of the King of Heaven with a look of proud disdain, then turned away his head. And the new god, as he looked upon his foe, beheld the light of intelligence and love pass across his sorrow-stricken countenance. And lo! Ialdabaoth was now contemplating the Earth and, seeing it sunk in wickedness and suffering, he began to foster thoughts of kindliness in his heart. On a sudden he rose up, and beating the ether with his mighty arms, as though with oars, he hastened thither to instruct and to console mankind. Already his vast shadow shed upon the unhappy planet a shade soft as a night of love.
And Satan awoke bathed in an icy sweat.
Nectaire, Istar, Arcade, and Zita were standing round him. The finches were singing.
"Comrades," said the great archangel, "no — we will not conquer the heavens. Enough to have the power. War engenders war, and victory defeat.
"God, conquered, will become Satan; Satan, conquering, will become God. May the fates spare me this terrible lot; I love the Hell which formed my genius. I love the Earth where I have done some good, if it be possible to do any good in this fearful world where beings live but by rapine.
Now, thanks to us, the god of old is dispossessed of his terrestrial empire, and every thinking being on this globe disdains him or knows him not. But what matter that men should be no longer submissive to Ialdabaoth if the spirit of Ialdabaoth is still in them; if they, like him, are jealous, violent, quarrelsome, and greedy, and the foes of the arts and of beauty? What matter that they have rejected the ferocious Demiurge, if they do not hearken to the friendly demons who teach all truths; to Dionysus, Apollo, and the Muses? As to ourselves, celestial spirits, sublime demons, we have destroyed Ialdabaoth, our Tyrant, if in ourselves we have destroyed Ignorance and Fear."
And Satan, turning to the gardener, said:
"Nectaire, you fought with me before the birth of the world. We were conquered because we failed to understand that Victory is a Spirit, and that it is in ourselves and in ourselves alone that we must attack and destroy Ialdabaoth."

Sam Harris, Drugs and the Meaning of Life http://www.samharris.org/blog/item/drugs-and-the-meaning-of-life/ (5 July 2011)
2010s
Context: I have visited both extremes on the psychedelic continuum. The positive experiences were more sublime than I could have ever imagined or than I can now faithfully recall. These chemicals disclose layers of beauty that art is powerless to capture and for which the beauty of Nature herself is a mere simulacrum. It is one thing to be awestruck by the sight of a giant redwood and to be amazed at the details of its history and underlying biology. It is quite another to spend an apparent eternity in egoless communion with it. Positive psychedelic experiences often reveal how wondrously at ease in the universe a human being can be—and for most of us, normal waking consciousness does not offer so much as a glimmer of these deeper possibilities... But as the peaks are high, the valleys are deep. My “bad trips” were, without question, the most harrowing hours I have ever suffered—and they make the notion of hell, as a metaphor if not a destination, seem perfectly apt.

Book I : The Beginnings, Ch. V : The Baptism Of The Penguins
Penguin Island (1908)
Context: Thinking that what he saw were men living under the natural law, and that the Lord had sent him to teach them the Divine law, he preached the gospel to them.
Mounted on a lofty stone in the midst of the wild circus:
"Inhabitants of this island," said he, "although you be of small stature, you look less like a band of fishermen and mariners than like the senate of a judicious republic. By your gravity, your silence, your tranquil deportment, you form on this wild rock an assembly comparable to the Conscript Fathers at Rome deliberating in the temple of Victory, or rather, to the philosophers of Athens disputing on the benches of the Areopagus. Doubtless you possess neither their science nor their genius, but perhaps in the sight of God you are their superiors. I believe that you are simple and good. As I went round your island I saw no image of murder, no sign of carnage, no enemies' heads or scalps hung from a lofty pole or nailed to the doors of your villages. You appear to me to have no arts and not to work in metals. But your hearts are pure and your hands are innocent, and the truth will easily enter into your souls."
Now what he had taken for men of small stature but of grave bearing were penguins whom the spring had gathered together, and who were ranged in couples on the natural steps of the rock, erect in the majesty of their large white bellies. From moment to moment they moved their winglets like arms, and uttered peaceful cries. They did not fear men, for they did not know them, and had never received any harm from them; and there was in the monk a certain gentleness that reassured the most timid animals and that pleased these penguins extremely.

St. 14
Thyrsis (1866)
Context: Yes, thou art gone! and round me too the night
In ever-nearing circle weaves her shade.
I see her veil draw soft across the day,
I feel her slowly chilling breath invade
The cheek grown thin, the brown hair sprent with grey;
I feel her finger light
Laid pausefully upon life’s headlong train; —
The foot less prompt to meet the morning dew,
The heart less bounding at emotion new,
And hope, once crush’d, less quick to spring again.

¶ 55
A Short Organum for the Theatre (1949)
Context: Unless an actor is satisfied to be a parrot or a monkey he must master our period's knowledge of human social life by himself joining the war of the classes. Some people may feel this is degrading, because they rank art, once the money side has been settled, as one of the highest things; but mankind's highest decisions are in fact fought out on earth, not in the heavens; in the 'external world', not inside people's heads. Nobody can stand above the warring classes, for nobody can stand above the human race. Society cannot share a common communication system so long as it is split into warring classes. Thus for art to be 'unpolitical' means only to ally itself with the 'ruling' group.

Source: How to Be Like Walt : Capturing the Magic Every Day of Your Life (2004), Ch. 15 : Walt Lives!, p. 367
Context: Art was always a means to an end with me. You get an idea, and you just can't wait. Once you've started, then you're in there with the punches flying. There's plenty of trouble, but you can handle it. You can't back out. It gets you down once in a while, but it's exciting. Our whole business is exciting.

"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.

Remarks during a Hollywood luncheon (19 September 1959), quoted in New York Times (20 September 1959) "Text of Khrushchev Debate With Skouras"

The New York Times (10 December 1916) From "Godlessness Mars Most Contemporary Poetry." http://query.nytimes.com/mem/archive-free/pdf?_r=1&res=9A0CE2D7153BE233A25753C1A9649D946796D6CF

Entre Paréntesis (2004) edited by Ignacio Echevarría, p. 223

Introduction
The Wedge (1944)
Context: A man isn’t a block that remains stationary though the psychologists treat him so — and most take an insane pride in believing it. Consistency! He varies; Hamlet today, Caesar tomorrow; here, there, somewhere — if he is to retain his sanity, and why not?
The arts have a complex relation to society. The poet isn’t a fixed phenomenon, no more is his work.

As quoted in The Enjoyment of Music : An Introduction to Perceptive Listening‎ (1955) by Joseph Machlis; also The Vintage Guide to Classical Music (1992) by Jan Swafford

The trial of Charles B. Reynolds for blasphemy (1887)
Context: I want you to understand what has been done in the world to force men to think alike. It seems to me that if there is some infinite being who wants us to think alike he would have made us alike. Why did he not do so? Why did he make your brain so that you could not by any possibility be a Methodist? Why did he make yours so that you could not be a Catholic? And why did he make the brain of another so that he is an unbeliever — why the brain of another so that he became a Mohammedan — if he wanted us all to believe alike?
After all, maybe Nature is good enough and grand enough and broad enough to give us the diversity born of liberty. Maybe, after all, it would not be best for us all to be just the same. What a stupid world, if everybody said yes to everything that everybody else might say.
The most important thing in this world is liberty. More important than food or clothes — more important than gold or houses or lands — more important than art or science — more important than all religions, is the liberty of man.

Source: Straight From The Heart (1985), Chapter Five, A Balancing Act, p. 118
Context: The art of politics is learning to walk with your back to the wall, your elbows high, and a smile on your face. It's a survival game played under the glare of lights.

The Paris Review interview (2010)
Context: Science Fiction is the fiction of ideas. Ideas excite me, and as soon as I get excited, the adrenaline gets going and the next thing I know I’m borrowing energy from the ideas themselves. Science fiction is any idea that occurs in the head and doesn’t exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again. As soon as you have an idea that changes some small part of the world you are writing science fiction. It is always the art of the possible, never the impossible.

Source: The Right to Be Happy (1927), Ch. V, p. 235
Context: Art that means anything in the life of a community must bear some relation to current interpretations of the mystery of the universe. Our rigid separation of the humanities and the sciences has temporarily left our art stranded or stammering and incoherent. Both art and science ought to be blended in our early education of our children's emotions and powers of observation, and that harmony carried forward in later education.

"Against Interpretation" (1964), p. 5
Against Interpretation and Other Essays (1966)
Context: None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew (or thought one knew) what it did. From now to the end of consciousness, we are stuck with the task of defending art. We can only quarrel with one or another means of defense. Indeed, we have an obligation to overthrow any means of defending and justifying art which becomes particularly obtuse or onerous or insensitive to contemporary needs and practices.
This is the case, today, with the very idea of content itself. Whatever it may have been in the past, the idea of content is today mainly a hindrance, a nuisance, a subtle or not so subtle philistinism.

"Gutenberg in a Flying Saucer" http://harlanellison.com/interview.htm
Context: Art is not supposed to be easier! There are a lot of things in life that are supposed to be easier. Ridding the world of heart attacks, making the roads smoother, making old people more comfortable in the winter, but not Art. Art should always be tough. Art should demand something of you. Art should involve foot-pounds of energy being expended. It's not supposed to be easier, and those who want it easier should not be artists. They should be out selling public relations copy.

In Defense of the Earth (1956), She Is Away
Context: Now I know surely and forever,
However much I have blotted our
Waking love, its memory is still
there. And I know the web, the net,
The blind and crippled bird. For then, for
One brief instant it was not blind, nor
Trapped, not crippled. For one heart beat the
Heart was free and moved itself. O love,
I who am lost and damned with words,
Whose words are a business and an art,
I have no words. These words, this poem, this
Is all confusion and ignorance.
But I know that coached by your sweet heart,
My heart beat one free beat and sent
Through all my flesh the blood of truth.

Joyce Carol Oates interviews herself (2013)
Context: I think that art is the commemoration of life in its variety. The novel, for instance, is “historic” in its embodiment in a specific place and time and its suggestion that there is meaning to our actions. Without the stillness, thoughtfulness and depths of art, and without the ceaseless moral rigors of art, we would have no shared culture — no collective memory. As it is, in contemporary societies, where so much concentration is focused on social media, insatiable in its myriad, fleeting interests, the “stillness and thoughtfulness” of a more permanent art feels threatened.

Source: Aeneid (29–19 BC), Book VI, Lines 851–853 (tr. Robert Fitzgerald)

Small Houses: Their Economic Design and Construction (1922)
Context: Why can there not be a new art founded on the only principle which can produce great art—the principle that art is the interpretation or extraction of the essence of beauty in nature, and all else is secondary?<!-- Introduction

Letter to Georg Brandes (17 February 1871), as translated in Henrik Ibsen : Björnstjerne Björnson. Critical Studies (1899) by Georg Morris Cohen Brandes
Variant translation: The quality of liberty is that, as long as it is being striven after, it goes on expanding. Therefore, the man who stands still in the midst of the struggle and says: "I have it," merely shows by so doing that he has lost it. Now this very contentedness in the possession of a dead liberty is a characteristic of the so-called state; and it is worthless.
As translated in Ibsen : The Man, His Art & His Significance (1907) by Haldane Macfall, p. 238
Variant translation: Neither moral concepts nor art forms can expect to live forever. How much are we obliged to hold on to? Who can guarantee that 2 plus 2 don't add up to 5 on Jupiter?
Context: He who possesses liberty otherwise than as an aspiration possesses it soulless, dead. One of the qualities of liberty is that, as long as it is being striven after, it goes on expanding. Therefore, the man who stands still in the midst of the struggle and says, "I have it," merely shows by so doing that he has just lost it. Now this very contentedness in the possession of a dead liberty is characteristic of the so-called State, and, as I have said, it is not a good characteristic. No doubt the franchise, self-taxation, etc., are benefits — but to whom? To the citizen, not to the individual. Now, reason does not imperatively demand that the individual should be a citizen. Far from it. The State is the curse of the individual. With what is Prussia's political strength bought? With the absorption of the individual in the political and geographical idea. The waiter is the best soldier. And on the other hand, take the Jewish people, the aristocracy of the human race — how is it they have kept their place apart, their poetical halo, amid surroundings of coarse cruelty? By having no State to burden them. Had they remained in Palestine, they would long ago have lost their individuality in the process of their State's construction, like all other nations. Away with the State! I will take part in that revolution. Undermine the whole conception of a State, declare free choice and spiritual kinship to be the only all-important conditions of any union, and you will have the commencement of a liberty that is worth something. Changes in forms of government are pettifogging affairs — a degree less or a degree more, mere foolishness. The State has its root in time, and will ripe and rot in time. Greater things than it will fall — religion, for example. Neither moral conceptions nor art-forms have an eternity before them. How much are we really in duty bound to pin our faith to? Who will guarantee me that on Jupiter two and two do not make five?

The last sentence of this quote is incised in marble on the wall of the United States House of Representatives chamber, directly behind the Speaker's chair (with the word "develop" spelled with a final "e").
Address on Laying the Cornerstone of the Bunker Hill Monument (1825)
Context: Our proper business is improvement. Let our age be the age of improvement. In a day of peace, let us advance the arts of peace and the works of peace. Let us develop the resources of our land, call forth its powers, build up its institutions, promote all its great interests, and see whether we also, in our day and generation, may not perform something worthy to be remembered.

Quote from an interview on the Belgian radio, 1982; As cited in: Andersson, Patrik Lars. Euro-pop: the mechanical bride stripped bare in Stockholm, even. (2001). p. 50.
Quotes, 1980's
Context: With Dada I.... have in common a certain mistrust toward power. We don't like authority, we don't like power, To me art is a form of manifest revolt, total and complete. It's a political attitude which doesn't need to found a political party. It's not a matter of taking power; when you are against it, you can't take it. We're against all forms of force which aggregate and crystallize an authority that oppresses people. Obviously this is not a characteristic of my art alone - it's much more general, a basic political attitude. It's a clear intention, more necessary today than ever, to oppose all forms of force emanating from a managing, centralizing political power.

Go Rin No Sho (1645), Introduction
Context: When I reached thirty I looked back on my past. The previous victories were not due to my having mastered strategy. Perhaps it was natural ability, or the order of heaven, or that other schools' strategy was inferior. After that I studied morning and evening searching for the principle, and came to realise the Way of strategy when I was fifty.
Since then I have lived without following any particular Way. Thus with the virtue of strategy I practise many arts and abilities — all things with no teacher. To write this book I did not use the law of Buddha or the teachings of Confucius, neither old war chronicles nor books on martial tactics. I take up my brush to explain the true spirit of this Ichi school as it is mirrored in the Way of heaven and Kwannon. The time is the night of the tenth day of the tenth month, at the hour of the tiger.

"Art" at riikosakkinen.com http://www.riikosakkinen.com/info/quotes/
Context: Art is a weapon and the weapons can change the world.
Good art is irreverent, excessive, controversial, incorrect, irritating, ironic, bad behaving, playful and beautiful or ugly.

"Foreword to an Exhibit: I" (1944)
Context: Art is a mystery.
A mystery is something immeasurable.
In so far as every child and woman and man may be immeasurable, art is the mystery of every man and woman and child. In so far as a human being is an artist, skies and mountains and oceans and thunderbolts and butterflies are immeasurable; and art is every mystery of nature. Nothing measurable can be alive; nothing which is not alive can be art; nothing which cannot be art is true: and everything untrue doesn’t matter a very good God damn...

Preface
The Way to Christ (1622)
Context: If thou wilt use these Words aright, and art in good Earnest, thou shalt certainly find the Benefit thereof. But I desire thou mayest be warned, if thou art not in Earnest, not to meddle with the dear Names of God, in and by which the most High Holiness is invoked, moved, and powerfully desired, lest they kindle the Anger of God in thy Soul. For we must not abuse the Holy Names of God. This little Book is only for those that would fain repent, and are in a Desire to begin. Such will find what Manner of Words therein, and whence they are born. Be you herewith commended to the Eternal Goodness and Mercy of God.

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.

General rules for the "Poetry for the People" program she founded at the University of Berkeley in 1991, as quoted in June Jordan : Her Life and Letters (2006) by Valerie Kinloch, Ch. 6 : Affirmative Acts: Political Essays, p. 123
Context: 1. “The People” shall not be defined as a group excluding or derogating anyone on the basis of race, ethnicity, language, sexual preference, class, or age.
2. “The People” shall consciously undertake to respect and to encourage each other to feel safe enough to attempt the building of a community of trust in which all may try to be truthful and deeply serious in the messages they craft for the world to contemplate.
3. Poetry for the People rests upon a belief that the art of telling the truth is a necessary and a healthy way to create powerful, and positive, connections among people who, otherwise, remain (unknown and unaware) strangers. The goal is not to kill connections but, rather, to create and to deepen them among truly different men and women.

Fragment 250 (trans. by Plumptre), reported in Bartlett's Familiar Quotations, 10th ed. (1919)

Introduction to the Art gallery at his website (2006) http://robertfulghum.com/index.php/fulghumweb/artshowentry/introduction2/
Context: I don't do art to address other people but to address myself. I've never done art with a thought of being a professional artist who makes a living by selling his art. I've never had a commercial show in a gallery. I suppose I'm like those who write poetry or songs without seeking publication. I make art in and for the experience itself — to satisfy a need to express myself in a creative, colorful, non-verbal way.

The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development
Context: Under socialized industry progress in the industrial arts would be slower and would absorb a smaller proportion of individual interest, in order that progress in the finer intellectual and moral arts might be faster, and might engage a larger share of life.<!--section 11, p. 421

Pretty Cool People interview (2007)

Something About a Soldier (1940)
Context: Wars, for us, are either inevitable, or created. Whatever they are, they should not wholly vitiate art. What art needs is greater men, and what politics needs is better men.

Pharaoh, Book X, line 688
The Odyssey : A Modern Sequel (1938)
Context: Fools, art is a heavy task, more heavy than gold crowns;
it's far more difficult to match firm words than armies,
they're disciplined troops, unconquered, to be placed in rhythm,
the mind's most mighty foe, and not disperse in air.
I'd give, believe me, a whole land for one good song,
for I know well that only words, that words alone,
like the high mountains, have no fear of age or death.

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VII Further Observations on Homer <!-- p.225, 1965 paper -->
Context: Music was an art fostered by the mightiest of heroes. Achilles is represented as entertaining himself with his lyre. (Iliad 9: 185-6). We compare David, the warrior skilled in poetry, singing and musical instruments.

Source: A Return to Love: Reflections on the Principles of "A Course in Miracles" (1992), Ch. 7 : Work, §3 : Personal Power
Context: A miracle worker is an artist of the soul. There’s no higher art than living a good life. An artist informs the world of what’s available behind the masks we all wear. That’s what we’re all here to do. The reason so many of us are obsessed with becoming stars is because we’re not yet starring in our own lives. The cosmic spotlight isn’t pointed at you; it radiates from within you.

Japan, the Beautiful and Myself (1969)
Context: "If you meet a Buddha, kill him. If you meet a patriarch of the law, kill him."
This is a well-known Zen motto. If Buddhism is divided generally into the sects that believe in salvation by faith and those that believe in salvation by one's own efforts, then of course there must be such violent utterances in Zen, which insists upon salvation by one's own efforts. On the other side, the side of salvation by faith, Shinran, the founder of the Shin sect, once said: "The good shall be reborn in paradise, and how much more shall it be so with the bad." This view of things has something in common with Ikkyu's world of the Buddha and world of the devil, and yet at heart the two have their different inclinations. Shinran also said: "I shall not take a single disciple."
"If you meet a Buddha, kill him. If you meet a patriarch of the law, kill him." "I shall not take a single disciple." In these two statements, perhaps, is the rigorous fate of art.

Preface
The History and Present State of Electricity (1767)
Context: The history of philosophy enjoys, in some measure, the advantages both of civil and natural history, whereby it is relieved from what is most tedious and disgusting in both. Philosophy exhibits the powers of nature, discovered and directed by human art. It has, therefore, in some measure, the boundless variety with the amazing uniformity of the one, and likewise every thing that is pleasing and interesting in the other. And the idea of continual rise and improvement is conspicuous in the whole study, whether we be attentive to the part which nature, or that which men are acting in the great scene.
It is here that we see the human understanding to its greatest advantage, grasping at the noblest objects, and increasing its own powers, by acquiring to itself the powers of nature, and directing them to the accomplishment of its own views; whereby the security, and happiness of mankind are daily improved. Human abilities are chiefly conspicuous in adapting means to ends, and in deducing one thing from another by the method of analogy; and where may we find instances of greater sagacity, than in philosophers diversifying the situations of things, in order to give them an opportunity of showing their mutual relations, affections, and influences; deducing one truth and one discovery from another, and applying them all to the useful purposes of human life.
If the exertion of human abilities, which cannot but form a delightful spectacle for the human imagination, give us pleasure, we enjoy it here in a higher degree than while we are contemplating the schemes of warriors, and the stratagems of their bloody art.

Source: The Obstacle Race (1979), Chapter V: Dimension (p. 105)
Context: Great art, for those who insist upon this rather philistine concept (as if un-great art were unworthy of even their most casual and ill-informed attention), makes us stand back and admire. It rushes upon us pell-mell like the work of Rubens or Tintoretto or Delacroix, or towers above us. There is of course another aesthetic: the art of a Vermeer or a Braque seeks not to amaze and appal but to invite the observer to come closer, to close with the painting, peer into it, become intimate with it. Such art reinforces human dignity.

कला र जीवन (Art and Life)
Art and Life

The Renaissance in India (1918)
Context: Spirituality is indeed the master key of the Indian mind; the sense of the infinite is native to it. India saw from the beginning, — and, even in her ages of reason and her age of increasing ignorance, she never lost hold of the insight, — that life cannot be rightly seen in the sole light, cannot be perfectly lived in the sole power of its externalities. She was alive to the greatness of material laws and forces; she had a keen eye for the importance of the physical sciences; she knew how to organize the arts of ordinary life. But she saw that the physical does not get its full sense until it stands in right relation to the supra-physical; she saw that the complexity of the universe could not be explained in the present terms of man or seen by his superficial sight, that there were other powers behind, other powers within man himself of which he is normally unaware, that he is conscious only of a small part of himself, that the invisible always surrounds the visible, the supra-sensible the sensible, even as infinity always surrounds the finite. She saw too that man has the power of exceeding himself, of becoming himself more entirely and profoundly than he is, — truths which have only recently begun to be seen in Europe and seem even now too great for its common intelligence.
She saw the myriad gods, and beyond God his own ineffable eternity; she saw that there were ranges of life beyond our present life, ranges of mind beyond our present mind and above these she saw the splendors of the spirit. Then with that calm audacity of her intuition which knew no fear or littleness and shrank from no act whether of spiritual or intellectual, ethical or vital courage, she declared that there was none of these things which man could not attain if he trained his will and knowledge; he could conquer these ranges of mind, become the spirit, become a god, become one with God, become the ineffable Brahman.

Book IV, lines 563–564 (tr. Fairclough)
Georgics (29 BC)

"LOOK Magazine Article 'The Arts in America' (552)" (18 December 1962) http://www.jfklibrary.org/Research/Research-Aids/Ready-Reference/JFK-Quotations.aspx; also inscribed at the John F. Kennedy Center for the Performing Arts, Washington, D.C.
1962

Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.

Source: Flatland: A Romance of Many Dimensions (1884), PART II: OTHER WORLDS, Chapter 19. How, Though the Sphere Showed Me Other Mysteries of Spaceland, I Still Desired More; and What Came of It
Context: I despair not that, even here, in this region of Three Dimensions, your Lordship's art may make the Fourth Dimension visible to me; just as in the Land of Two Dimensions my Teacher's skill would fain have opened the eyes of his blind servant to the invisible presence of a Third Dimension, though I saw it not.Let me recall the past. Was I not taught below that when I saw a Line and inferred a Plane, I in reality saw a Third unrecognized Dimension, not the same as brightness, called "height"? And does it not now follow that, in this region, when I see a Plane and infer a Solid, I really see a Fourth unrecognized Dimension, not the same as colour, but existent, though infinitesimal and incapable of measurement?

III.
Prometheus (1816)
Context: Thy Godlike crime was to be kind,
To render with thy precepts less
The sum of human wretchedness,
And strengthen Man with his own mind;
But baffled as thou wert from high,
Still in thy patient energy,
In the endurance, and repulse
Of thine impenetrable Spirit,
Which Earth and Heaven could not convulse,
A mighty lesson we inherit:
Thou art a symbol and a sign
To Mortals of their fate and force;
Like thee, Man is in part divine,
A troubled stream from a pure source;
And Man in portions can foresee
His own funereal destiny;
His wretchedness, and his resistance,
And his sad unallied existence:
To which his Spirit may oppose
Itself — and equal to all woes,
And a firm will, and a deep sense,
Which even in torture can decry
Its own concenter'd recompense,
Triumphant where it dares defy,
And making Death a Victory.

Part I, Essay 16: The Stoic
Essays, Moral, Political, and Literary (1741-2; 1748)
Context: If nature has been frugal in her gifts and endowments, there is the more need of art to supply her defects. If she has been generous and liberal, know that she still expects industry and application on our part, and revenges herself in proportion to our negligent ingratitude. The richest genius, like the most fertile soil, when uncultivated, shoots up into the rankest weeds; and instead of vines and olives for the pleasure and use of man, produces, to its slothful owner, the most abundant crop of poisons.

"An Exposition of the Mission of England: Addressed to the Peoples of Europe" in The Reasoner, Vol. 3, No. 54 (1847), p. 321
Context: It is not, happily, within our power thus to work destruction in the universal womb of things; still within the sphere of human influence — which extends to the uttermost limit of our world's circumambient atmosphere — we can, and do, modify all nature's kingdom; bending towards good or ill, health or disease, harmony or discord, each part, each unit of the universal plan. Upon our just or erroneous comprehension then, of the laws of nature, must depend our adaptation of art for the right improvement or for the ignorant deterioration of Nature's works. And moreover, upon our just or erroneous interpretation of these in the first division of truth — the physical — will depend our interpretation of them in the intellectual and in the moral; from all which it follows, that our system of human economy will present, even as it has ever presented, a practical exhibition of that of the universe. There is more consistency in the human mind, as in the course of events, than is supposed. In both, the first link in the chain decides the last. Man hath ever made a cosmogony in keeping with his views in physics; a scheme of government in keeping with his cosmogony; a theory of ethics in keeping with his government, and a code of law and theology in keeping with his ethics. Every perception of the human mind modifies human practice. Science is but the theory of art.

Proposals Relating to the Education of Youth in Pensilvania (1749), p. 22 http://dewey.library.upenn.edu/sceti/printedbooksNew/index.cfm?textID=franklin_youth&PagePosition=1; the statement relates to the teaching of History as a subject, and the last quoted paragraph concludes with the footnote "†": Public Disputes warm the Imagination, whet the Industry, and strengthen the natural Abilities.
Context: History will also afford frequent Opportunities of showing the Necessity of a Publick Religion, from its Usefulness to the Publick; the Advantage of a Religious Character among private Persons; the Mischiefs of Superstition, &c. and the Excellency of the above all others antient or modern.
History will also give Occasion to expatiate on the advantage of Civil Orders and Constitutions, how men and their properties are protected by joining in Societies and establishing Government; their Industry encouraged and rewarded, Arts invented, and Life made more comfortable: the Advantages of Liberty, Mischiefs of Licentiousness, Benefits arising from good Laws and a due Execution of Justice &c. Thus may the first Principles of sound Politics be fixed in the minds of youth.
On Historical occasions, Questions of Right and Wrong, Justice and Injustice, will naturally arise, and may be put to Youth, which they may debate in Conversation and in Writing. When they ardently desire of Victory, for the Sake of the Praise attending it, they will begin to feel the want, and be sensible of the use of the Use of Logic, or the Art of Reasoning to discover Truth, and of Arguing to defend it, and convince adversaries.

"JG Ballard: Theatre of Cruelty" interview by Jean-Paul Coillard in Disturb ezine (1998) http://www.jgballard.ca/interviews/colliard_interview_1998.html
Context: Art is the principal way in which the human mind has tried to remake the world in a way that makes sense. The carefully edited, slow-motion, action replay of a rugby tackle, a car crash or a sex act has more significance than the original event. Thanks to virtual reality, we will soon be moving into a world where a heightened super-reality will consist entirely of action replays, and reality will therefore be all the more rich and meaningful.

No. 10, line 1
Holy Sonnets (1633)
Context: Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so,
For those whom thou think'st thou dost overthrow,
Die not, poor death, nor yet canst thou kill me.

X magazine (1959-62)
Context: The Art of painting is itself an intensely personal activity. It may be labouring the obvious to say so but it is too little recognised in art journalism now that a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object. It is judged by the painter simply as a success or failure without qualification. And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.

Source: Sculpting in Time (1986), p. 192
Context: Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition — otherwise life becomes impossible! Art symbolises the meaning of our existence.

Donald Judd, in: American Dialog, Vol. 1-5, (1964), p. ix
1960s
Context: Any combining, mixing, adding, diluting, exploiting, vulgarizing, or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all. The one struggle in art is the struggle of artists against artists, of artist against artist, of the artist-as-artist within and against the artist-as- man, -animal, or -vegetable. Artists who claim their artwork comes from nature, life, reality, earth or heaven, as 'mirrors of the soul' or 'reflections of conditions' or 'instruments of the universe', who cook up 'new images of man' - figures and 'nature-in-abstraction' - pictures, are subjectively and objectively, rascals or rustics.

Depero (1931) "Futurism and Adverticing Art"; Partly quoted in: Jonathon Keats, " Fortunato Depero's Italian Futurism http://www.forbes.com/forbes-life-magazine/2009/0608/art-fortunato-depero-italian-futurism.html," forbes.com, 2009/06/08
Context: The art of the future will be largely advertising.
that bold and unimpeachable lesson I have learned from museums and great works from the past—
all art for centuries past has been marked by advertising purposes: the exaltation of the warrior, the saint; documentation of deeds, ceremonies, and historical personages depicted at their victories, with their symbols, in the regalia of command and splendor—
even their highest products were simultaneously meant to glorify something: architecture, royal palaces, thrones, drapery, halberds, standards, heraldry and arms of every sort—
there is scarcely an ancient work that doesn’t have advertising motifs, a garland with a trophy, with weapons of war and victory, all stamped with seals and the original symbols of clans, all with the self-celebrating freedom of ultra-advertising

Letter to Abigail Adams (12 May 1780)
1780s
Context: The science of government it is my duty to study, more than all other sciences; the arts of legislation and administration and negotiation ought to take the place of, indeed exclude, in a manner, all other arts. I must study politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy, geography, natural history and naval architecture, navigation, commerce and agriculture in order to give their children a right to study painting, poetry, music, architecture, statuary, tapestry and porcelain.

Source: Sculpting in Time (1986), p. 38
Context: Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake. What purports to be art begins to looks like an eccentric occupation for suspect characters who maintain that any personalised action is of intrinsic value simply as a display of self-will. But in an artistic creation the personality does not assert itself it serves another, higher and communal idea. The artist is always the servant, and is perpetually trying to pay for the gift that has been given to him as if by a miracle. Modern man, however, does not want to make any sacrifice, even though true affirmation of the self can only be expressed in sacrifice. We are gradually forgetting about this, and at the same time, inevitably, losing all sense of human calling.

Source: The Gospel of Sri Ramakrishna (1942), p. 132
Context: He who is called Brahman by the jnanis is known as Atman by the yogis and as Bhagavan by the bhaktas. The same brahmin is called priest, when worshipping in the temple, and cook, when preparing a meal in the kitchen. The jnani, following the path of knowledge, always reason about the Reality saying, "not this, not this." Brahman is neither "this" nor "that"; It is neither the universe nor its living beings. Reasoning in this way, the mind becomes steady. Finally it disappears and the aspirant goes into samadhi. This is the Knowledge of Brahman. It is the unwavering conviction of the jnani that Brahman alone is real and the world is illusory. All these names and forms are illusory, like a dream. What Brahman is cannot be described. One cannot even say that Brahman is a Person. This is the opinion of the jnanis, the followers of Vedanta. But the bhaktas accept all the states of consciousness. They take the waking state to be real also. They don't think the world to be illusory, like a dream. They say that the universe is a manifestation of the God's power and glory. God has created all these — sky, stars, moon, sun, mountains, ocean, men, animals. They constitute His glory. He is within us, in our hearts. Again, He is outside. The most advanced devotees say that He Himself has become all this — the 24 cosmic principles, the universe, and all living beings. The devotee of God wants to eat sugar, and not become sugar. (All laugh.) Do you know how a lover of God feels? His attitude is: "O God, Thou art the Master, and I am Thy servant. Thou art the Mother, and I Thy child." Or again: "Thou art my Father and Mother. Thou art the Whole, and I am a part." He does not like to say, "I am Brahman." They yogi seeks to realize the Paramatman, the Supreme Soul. His ideal is the union of the embodied soul and the Supreme Soul. He withdraws his mind from sense objects and tries to concentrate on the Paramatman. Therefore, during the first stage of his spiritual discipline, he retires into solitude and with undivided attention practices meditation in a fixed posture.
But the reality is one and the same; the difference is only in name. He who is Brahman is verily Atman, and again, He is the Bhagavan. He is Brahman to the followers of the path of knowledge, Paramatman to the yogis, and Bhagavan to the lovers of God.

A Short History of Chemistry (1937)
Context: In Alexandria two streams of knowledge met and fused together... The ancient Egyptian industrial arts of metallurgy, dyeing and glass-making... and... the philosophical speculations of ancient Greece, now tinged with ancient mysticism, and partly transformed into that curious fruit of the tree of knowledge which we call Gnosticism.... the result was the "divine" or "sacred" art (... also means sulphur) of making gold of silver.... during the first four centuries a considerable body of knowledge came into existence. The treatises written in Greek... in Alexandria, are the earliest known books on chemistry.... The treatises also contain much of an allegorical nature... sometimes described as "obscure mysticism."... the Neoplatonism which was especially studied in Alexandria... is not so negligible as has sometimes been supposed.... The study of astrology was connected with that of chemistry in the form of an association of the metals with the planets on a supposed basis of "sympathy". This goes back to early Chaldean sources but was developed by the Neoplatonists.

Introducing our Argument
Cannibals and Christians (1966)
Context: We live in a time which has created the art of the absurd. It is our art. It contains happenings, Pop art, camp, a theater of the absurd … Do we have the art because the absurd is the patina of waste…? Or are we face to face with a desperate or most rational effort from the deepest resources of the unconscious of us all to rescue civilization from the pit and plague of its bedding?

Some have wondered at the formula: science for its own sake; an yet it is as good as life for its own sake, if life is only misery; and even as happiness for its own sake, if we do not believe that all pleasures are of the same quality...
Every act should have an aim. We must suffer, we must work, we must pay for our place at the game, but this is for seeing's sake; or at the very least that others may one day see.
Source: The Value of Science (1905), Ch. 11: Science and Reality

Lewes here quotes from Paracelsus by Robert Browning
The Principles of Success in Literature (1865)

"Quotes", The Educated Imagination (1963), Talk 3: Giants in Time
Context: One of the most obvious uses [of literature], I think, is its encouragement of tolerance. In the imagination our own beliefs are also only possibilities, but we can also see the possibilities in the beliefs of others. Bigots and fanatics seldom have any use for the arts, because they're so preoccupied with their beliefs and actions that they can't see them as also possibilities.

De l'esprit or, Essays on the Mind, and Its Several Faculties (1758)
Context: Discipline is, in a manner, nothing else but the art of inspiring the soldiers with greater fear of their officers than of the enemy. This fear has often the effect of courage: but it cannot prevail against the fierce and obstinate valor of people animated by fanaticism, or warm love of their country.

1930s, My Credo (1932)
Context: The most beautiful and deepest experience a man can have is the sense of the mysterious. It is the underlying principle of religion as well as all serious endeavor in art and science. He who never had this experience seems to me, if not dead, then at least blind. To sense that behind anything that can be experienced there is a something that our mind cannot grasp and whose beauty and sublimity reaches us only indirectly and as a feeble reflection, this is religiousness.
In this sense I am religious. To me it suffices to wonder at these secrets and to attempt humbly to grasp with my mind a mere image of the lofty structure of all that there is.

Inside Information p. 7
The Book on the Taboo Against Knowing Who You Are (1966)

81
Golden Sayings of Epictetus

Curtains (1961)
Context: Art and ideology often interact on each other; but the plain fact is that both spring from a common source. Both draw on human experience to explain mankind to itself; both attempt, in very different ways, to assemble coherence from seemingly unrelated phenomena; both stand guard for us against chaos.

Ode interview (2009)
Context: A lot of the arguments about religion going on at the moment spring from a rather inept understanding of religious truth … Our notion changed during the early modern period when we became convinced that the only path to any kind of truth was reason. That works beautifully for science but doesn't work so well for the humanities. Religion is really an art form and a struggle to find value and meaning amid the ghastly tragedy of human life.

Small Houses: Their Economic Design and Construction (1922)
Context: Reason... to suppose any production, worthy to be called a work of art, can be made without its use is foolish.... By the use of reason many mistakes in design may be avoided and many counterfeits of art readily detected.... Beauty alone is an excellent reason for many things, but when a design is in direct conflict with common sense it cannot be a work of art.

"Great Thought" (19 February 1938), published in The Notebooks of Raymond Chandler (1976)
Context: There are two kinds of truth: the truth that lights the way and the truth that warms the heart. The first of these is science, and the second is art. Neither is independent of the other or more important than the other. Without art, science would be as useless as a pair of high forceps in the hands of a plumber. Without science, art would become a crude mess of folklore and emotional quackery. The truth of art keeps science from becoming inhuman, and the truth of science keeps art from becoming ridiculous.

The Principles of Success in Literature (1865)
Context: If clear Vision be indispensable to success in Art, all means of securing that clearness should be sought. Now one means is that of detaining an image long enough before the mind to allow of its being seen in all its characteristics. The explanation Newton gave of his discovery of the great law, points in this direction; it was by always thinking of the subject, by keeping it constantly before his mind, that he finally saw the truth. Artists brood over the chaos of their suggestions, and thus shape them into creations.

Small Houses: Their Economic Design and Construction (1922)
Context: Imagination... implies originality. It results in a reflection... of the working mind of the designer.... Imagination may be called the dynamic force in art.... It is the quality which distinguishes the artistic from the photographic representation of nature.

"An interview with James Baldwin" (1961)
Context: You read something which you thought only happened to you, and you discover that it happened 100 years ago to Dostoyevsky. This is a very great liberation for the suffering, struggling person, who always thinks that he is alone. This is why art is important. Art would not be important if life were not important, and life is important.

Vague Thoughts On Art (1911)
Context: Perfection, cosmically, was nothing but perfect Equanimity and Harmony; and in human relations, nothing but perfect Love and Justice. And Perfection began to glow before the eyes of the Western world like a new star, whose light touched with glamour all things as they came forth from Mystery, till to Mystery they were ready to return.
This — I thought is surely what the Western world has dimly been rediscovering. There has crept into our minds once more the feeling that the Universe is all of a piece, Equipoise supreme; and all things equally wonderful, and mysterious, and valuable. We have begun, in fact, to have a glimmering of the artist's creed, that nothing may we despise or neglect — that everything is worth the doing well, the making fair — that our God, Perfection, is implicit everywhere, and the revelation of Him the business of our Art.

The Necessary Angel (1951), Imagination as Value
Context: The best definition of true imagination is that it is the sum of our faculties. Poetry is the scholar's art. The acute intelligence of the imagination, the illimitable resources of its memory, its power to possess the moment it perceives — if we were speaking of light itself, and thinking of the relationship between objects and light, no further demonstration would be necessary... What light requires a day to do, and by day I mean a kind of Biblical revolution of time, the imagination does in the twinkling of an eye. It colors, increases, brings to a beginning and end, invents languages, crushes men, and, for that matter, gods in its hands, it says to women more than it is possible to say, it rescues all of us from what we have called absolute fact...