Quotes about beauty

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And Thou Too (1888)

Robert E. Lee Prewitt playing Taps
From Here to Eternity (1951)
Context: He looked at his watch and as the second hand touched the top stepped up and raised the bugle to the megaphone, and the nervousness dropped from him like a discarded blouse, and he was suddenly alone, gone away from the rest of them.
The first note was clear and absolutely certain. There was no question or stumbling in this bugle. It swept across the quadrangle positively, held just a fraction longer than most buglers hold it. Held long like the length of time, stretching away from weary day to weary day. Held long like thirty years. The second note was short, almost too abrupt. Cut short and soon gone, like the minutes with a whore. Short like a ten minute break is short. And then the last note of the first phrase rose triumphantly from the slightly broken rhythm, triumphantly high on an untouchable level of pride above the humiliations, the degradations.
He played it all that way, with a paused then hurried rhythm that no metronome could follow. There was no placid regimented tempo to Taps. The notes rose high in the air and hung above the quadrangle. They vibrated there, caressingly, filled with an infinite sadness, an endless patience, a pointless pride, the requiem and epitaph of the common soldier, who smelled like a common soldier, as a woman had once told him. They hovered like halos over the heads of sleeping men in the darkened barracks, turning all the grossness to the beauty that is the beauty of sympathy and understanding. Here we are, they said, you made us, now see us, dont close your eyes and shudder at it; this beauty, and this sorrow, of things as they are.

1840s, Essays: First Series (1841), Art

A higher charm than modern culture won,
With all the wealth of metaphysic lore,
Gifted to analyze, dissect explore.
Life Without and Life Within (1859), Flaxman

Conclusion
Physics in my generation (1956)
Context: The scientist's urge to investigate, like the faith of the devout or the inspiration of the artist, is an expression of mankind's longing for something fixed, something at rest in the universal whirl: God, Beauty, Truth.
Truth is what the scientist aims at. He finds nothing at rest, nothing enduring, in the universe. Not everything is knowable, still less predictable. But the mind of man is capable of grasping and understanding at least a part of Creation; amid the flight of phenomena stands the immutable pole of law.

As quoted in Claude Debussy: His Life and Works (1933) by Léon Vallas, p. 225
Variant translation: Before the passing sky, in long hours of contemplation of its magnificent and ever-changing beauty, I am seized by an incomparable emotion. The whole expanse of nature is reflected in my own sincere and feeble soul. Around me the branches of trees reach out toward the firmament, here are sweet-scented flowers smiling in the meadow, here the soft earth is carpeted with sweet herbs. … Nature invites its ephemeral and trembling travelers to experience these wonderful and disturbing spectacles — that is what I call prayer.
As quoted in The Life of the Creative Spirit (2001) by H. Charles Romesburg, p. 240
Context: I do not practise religion in accordance with the sacred rites. I have made mysterious Nature my religion. I do not believe that a man is any nearer to God for being clad in priestly garments, nor that one place in a town is better adapted to meditation than another. When I gaze at a sunset sky and spend hours contemplating its marvelous ever-changing beauty, an extraordinary emotion overwhelms me. Nature in all its vastness is truthfully reflected in my sincere though feeble soul. Around me are the trees stretching up their branches to the skies, the perfumed flowers gladdening the meadow, the gentle grass-carpetted earth, … and my hands unconsciously assume an attitude of adoration. … To feel the supreme and moving beauty of the spectacle to which Nature invites her ephemeral guests! … that is what I call prayer.

Source: The Dream of a Ridiculous Man (1877), IV
Context: Well, granted that it was only a dream, yet the sensation of the love of those innocent and beautiful people has remained with me for ever, and I feel as though their love is still flowing out to me from over there. I have seen them myself, have known them and been convinced; I loved them, I suffered for them afterwards. Oh, I understood at once even at the time that in many things I could not understand them at all … But I soon realised that their knowledge was gained and fostered by intuitions different from those of us on earth, and that their aspirations, too, were quite different. They desired nothing and were at peace; they did not aspire to knowledge of life as we aspire to understand it, because their lives were full. But their knowledge was higher and deeper than ours; for our science seeks to explain what life is, aspires to understand it in order to teach others how to love, while they without science knew how to live; and that I understood, but I could not understand their knowledge.

As quoted in Claude Debussy: His Life and Works (1933) by Léon Vallas, p. 225
Variant translation: Before the passing sky, in long hours of contemplation of its magnificent and ever-changing beauty, I am seized by an incomparable emotion. The whole expanse of nature is reflected in my own sincere and feeble soul. Around me the branches of trees reach out toward the firmament, here are sweet-scented flowers smiling in the meadow, here the soft earth is carpeted with sweet herbs. … Nature invites its ephemeral and trembling travelers to experience these wonderful and disturbing spectacles — that is what I call prayer.
As quoted in The Life of the Creative Spirit (2001) by H. Charles Romesburg, p. 240
Context: I do not practise religion in accordance with the sacred rites. I have made mysterious Nature my religion. I do not believe that a man is any nearer to God for being clad in priestly garments, nor that one place in a town is better adapted to meditation than another. When I gaze at a sunset sky and spend hours contemplating its marvelous ever-changing beauty, an extraordinary emotion overwhelms me. Nature in all its vastness is truthfully reflected in my sincere though feeble soul. Around me are the trees stretching up their branches to the skies, the perfumed flowers gladdening the meadow, the gentle grass-carpetted earth, … and my hands unconsciously assume an attitude of adoration. … To feel the supreme and moving beauty of the spectacle to which Nature invites her ephemeral guests! … that is what I call prayer.

The Nuts of Knowledge (1903)
Context: We and it and all together flashing through the starry spaces
In a tempest dream of beauty lighting up the place of places.
Half our eyes behold the glory: half within the spirit's glow
Echoes of the noiseless revels and the will of beauty go.
By a hand of fire uplifted—to her star-strewn palace brought,
To the mystic heart of beauty and the secret of her thought:

Martin Pippin in the Apple Orchard (1922)
Context: The world never knows, and cannot for the life of it imagine, what this man sees in that maid and that maid in this man. The world cannot think why they fell in love with each other. But they have their reason, their beautiful secret, that never gets told to more than one person; and what they see in each other is what they show to each other; and it is the truth. Only they kept it hidden in their hearts until the time came. And though you and I may never know why this lane is called Shelley's, to us both it will always be the greenest lane in Sussex, because it leads to the special secret I spoke of.

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

Source: Letter to his daughter (1978), p. 78 - 79
Context: Earlier, I have cautioned you against an outright pragmatist approach. Now I am cautioning you against an outright populist approach. Sometimes a populist decision is, in the long run, not beneficial to the masses. Neither pragmatism nor populism are fundamental political and socio-economic doctrines. Nor do I say that you should play it by ear. I have made this melancholy analysis in anguish. My jail surroundings have not influenced my objectivity. I do not want to see the whole world in a death-cell merely because I am in a death cell. I do not say that the High Court has pronounced a death sentence on the world because a law court has pronounced a perverse death sentence on me. I would be the happiest man if the gloomy winter of mankind were to give way to a shaft of sunlight and to coloured flowers. The world is very beautiful. "A thing of beauty is a joy forever". There is the beauty of the landscape, of the tall mountain, the green plains, the humped deserts. There is the beauty of the flowers and the forests, of the azure oceans and the meandering rivers. There is the splendour of architecture, the magnificence of music, and the sparkle of the dance. Above all, there is the beauty of man and woman, the most perfect creations of God.

Source: The Wind in the Willows (1908), Ch. 7
Context: Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

Artist and Model.
Context: I ask no more from mortals
Than your beautiful face implies,—
The beauty the artist beholding
Interprets and sanctifies.
Who says that men have fallen,
That life is wretched and rough?
I say, the world is lovely,
And that loveliness is enough.
So my doubting days are ended,
And the labour of life seems clear;
And life hums deeply around me,
Just like the murmur here,
And quickens the sense of living,
And shapes me for peace and storm,—
And dims my eyes with gladness
When it glides into colour and form!

"Apology"
Al Que Quiere! (1917)
Context: Why do I write today? The beauty of
the terrible faces
of our nonentities
stirs me to it: colored women
day workers—
old and experienced—
returning home at dusk,
in cast off clothing
faces like
old Florentine oak.

Three Greek Plays, introduction (1937)
Context: There are few efforts more conducive to humility than that of the translator trying to communicate an incommunicable beauty. Yet, unless we do try, something unique and never surpassed will cease to exist, except in the libraries of a few inquisitive book lovers.

"Creation"
By Still Waters (1906)
Context: Sacred thy laughter on the air,
Holy thy lightest word that fell,
Proud the innumerable hair
That waved at the enchanter's spell.
Oh Master of the Beautiful,
Creating us from hour to hour,
Give me this vision to the full
To see in lightest things thy power!
This vision give, no heaven afar,
No throne, and yet I will rejoice,
Knowing beneath my feet a star,
Thy word in every wandering voice.

"The Great Explosion" in the posthumous publication The Beginning and the End (1973)
Context: He is no God of love, no justice of a little city like
Dante's Florence, no anthropoid God
Making commandments: this is the God who does not
care and will never cease. Look at the seas there
Flashing against this rock in the darkness — look at the
tide-stream stars — and the fall of nations — and dawn
Wandering with wet white feet down the Carmel Valley
to meet the sea. These are real and we see their beauty.
The great explosion is probably only a metaphor — I know
not — of faceless violence, the root of all things.

"The First Morning", p. 1
Desert Solitaire (1968)
Context: This is the most beautiful place on earth.
There are many such places. Every man, every woman, carries in heart and mind the image of the ideal place, the right place, the one true home, known or unknown, actual or visionary. A houseboat in Kashmir, a view down Atlantic Avenue in Brooklyn, a gray gothic farmhouse two stories high at the end of a red dog road in the Allegheny Mountains, a cabin on the shore of a blue lake in spruce and fir country, a greasy alley near the Hoboken waterfront, or even, possibly, for those of a less demanding sensibility, the world to be seen from a comfortable apartment high in the tender, velvety smog of Manhattan, Chicago, Paris, Tokyo, Rio, or Rome — there's no limit to the human capacity for the homing sentiment.

Two in the Bush (1966)
Context: We have inherited an incredibly beautiful and complex garden, but the trouble is that we have been appallingly bad gardeners. We have not bothered to acquaint ourselves with the simplest principles of gardening. By neglecting our garden, we are storing up for ourselves, in the not very distant future, a world catastrophe as bad as any atomic war, and we are doing it with all the bland complacency of an idiot child chopping up a Rembrandt with a pair of scissors. We go on, year after year, all over the world, creating dust bowls and erosion, cutting down forests and overgrazing our grasslands, polluting one of our most vital commodities — water — with industrial filth and all the time we are breeding with the ferocity of the Brown Rat, and wondering why there is not enough food to go round. We now stand so aloof from nature that we think we are God. This has always been a dangerous supposition.

The Days of My Life : An Autobiography (1989), p. 212
Context: My first TV series on demonstrations in physics — titled Why Is It So? were now seen and heard over the land. The mail was massive. The academics were a special triumph for me. They charged me with being superficial and trivial. If I had done what they wanted my programs would be as dull as their classes! I knew my purpose well and clear: to show how Nature behaves without cluttering its beauty with abtruse mathematics. Why cloud the charm of a Chladni plate with a Bessel function?

Prelude to his performance http://www.youtube.com/watch?v=rBEx2xHLDjE of "Mind Games" in Come Together: A Night for John Lennon's Words and Music (2001)
Context: John Lennon was many things to many people. A poet, a rocker, a leader, a troublemaker, a father, a husband — a man. Growing up, to me, he was a hero. The work of John Lennon was marked by its exquisite beauty and by its brutal honesty. So in that vein, let me say, that while I'm both deeply honored to be here — I'm also incredibly pissed-off. I'm outraged because this passionate prophet of peace, and so many others, are not with us here — because we live in an all-too-violent world. And so in the spirit of this occasion it is up to all of us, to do what we can, not only to keep John's songs alive, but help rebuild New York — and that includes your host...

New York Times interview (1985)

"Helen's Exile" (1948)
Context: Man cannot do without beauty, and this is what our era pretends to want to disregard. It steels itself to attain the absolute and authority; it wants to transfigure the world before having exhausted it, to set it to rights before having understood it. Whatever it may say, our era is deserting this world.

Letter to his wife on Christmas Day, two weeks after the Battle of Fredericksburg (25 December 1862).
1860s
Context: What a cruel thing is war; to separate and destroy families and friends, and mar the purest joys and happiness God has granted us in this world; to fill our hearts with hatred instead of love for our neighbors, and to devastate the fair face of this beautiful world! I pray that, on this day when only peace and good-will are preached to mankind, better thoughts may fill the hearts of our enemies and turn them to peace. … My heart bleeds at the death of every one of our gallant men.

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter III, Sec. 2
Context: All... must be built with due reference to durability, convenience, and beauty. Durability will be assured when foundations are carried down to the solid ground and materials wisely and liberally selected; convenience, when the arrangement of the apartments is faultless and presents no hindrance to use, and when each class of building is assigned to its suitable and appropriate exposure; and beauty, when the appearance of the work is pleasing and in good taste, and when its members are in due proportion according to correct principles of symmetry.

"Helen's Exile" (1948)
Context: We turn our backs on nature; we are ashamed of beauty. Our wretched tragedies have a smell of the office clinging to them, and the blood that trickles from them is the color of printer's ink.

Quoted in "Speaking of Faith: The Morality of Nature" by Krista Tippett in American Public Media (7 April 2005) http://speakingoffaith.publicradio.org/programs/moralityofnature/kristasjournal.shtml
Context: I profess my Faith. For me, the existence of all this complexity and awareness and intent and beauty, and my ability to apprehend it, serves as the ultimate meaning and the ultimate value. The continuation of life reaches around, grabs its own tail, and forms a sacred circle that requires no further justification, no Creator, no super-ordinate meaning of meaning, no purpose other than that the continuation continue until the sun collapses or the final meteor collides. I confess a credo of continuation. And in so doing, I confess as well a credo of human continuation.

"This Is Not a Test".
She & Him : Volume One (2008)
Context: For those of you who thought you'd be forgotten,
The friends you've made will try their best, to make it so.
Think of all the beauty that you left behind you.
You can take it if you want it, and then let it go.

A Grief Observed (1961)
Context: But perhaps I lack the gift. I see I've described her as being like a sword. That's true as far as it goes. But utterly inadequate by itself, and misleading. I ought to have said 'But also like a garden. Like a nest of gardens, wall within wall, hedge within hedge, more secret, more full of fragrant and fertile life, the further you explore.'
And then, of her, and every created thing I praise, I should say 'in some way, in its unique way, like Him who made it.'
Thus up from the garden to the Gardener, from the sword to the Smith. to the life-giving Life and the Beauty that makes beautiful.

"William McDonough: Godfather of Green", WNYC Studio 360 (18 March 2008).
Context: I can't imagine something being beautiful at this point in history if it's destroying the planet or causing children to get sick. How can anything be beautiful if it's not ecologically intelligent at this point?

Source: Alone (1938), Ch. 12
Context: Part of me remained forever at Latitude 80 degrees 08 minutes South: what survived of my youth, my vanity, perhaps, and certainly my skepticism. On the other hand, I did take away something that I had not fully possessed before: appreciation of the sheer beauty and miracle of being alive, and a humble set of values. All this happened four years ago. Civilization has not altered my ideas. I live more simply now, and with more peace.

Book II, line 17 (tr. John Dryden)
Eclogues (37 BC)

Interview in Der Spiegel (10 February 2006) http://www.spiegel.de/international/spiegel/0,1518,druck-400167,00.html
Context: In this job an illusion of beauty is sold which doesn’t really exist like that. It’s like a work of art, an act. I cry in front of the camera but am not really sad. I’ve just come from a job, am made-up and made to look beautiful with fantastic clothes and hair and nails all done.

"The Unknown God" (1913) http://www.cs.rice.edu/~ssiyer/minstrels/poems/350.html
Context: Far up the dim twilight fluttered
Moth-wings of vapour and flame:
The lights danced over the mountains,
Star after star they came. The lights grew thicker unheeded,
For silent and still were we;
Our hearts were drunk with a beauty
Our eyes could never see.

Source: Letter to his daughter (1978), p. 78 - 79
Context: Earlier, I have cautioned you against an outright pragmatist approach. Now I am cautioning you against an outright populist approach. Sometimes a populist decision is, in the long run, not beneficial to the masses. Neither pragmatism nor populism are fundamental political and socio-economic doctrines. Nor do I say that you should play it by ear. I have made this melancholy analysis in anguish. My jail surroundings have not influenced my objectivity. I do not want to see the whole world in a death-cell merely because I am in a death cell. I do not say that the High Court has pronounced a death sentence on the world because a law court has pronounced a perverse death sentence on me. I would be the happiest man if the gloomy winter of mankind were to give way to a shaft of sunlight and to coloured flowers. The world is very beautiful. "A thing of beauty is a joy forever". There is the beauty of the landscape, of the tall mountain, the green plains, the humped deserts. There is the beauty of the flowers and the forests, of the azure oceans and the meandering rivers. There is the splendour of architecture, the magnificence of music, and the sparkle of the dance. Above all, there is the beauty of man and woman, the most perfect creations of God.

Small Houses: Their Economic Design and Construction (1922), Introduction

Third Journal of Travel (1844-1845)
Context: The beauty of the forests of Indiana in the rich and lovely month of May surpasses all description. The rivers, swollen by the rains, flow through long lanes of verdure, caressing the islands they seem to carry with them in their course and which look like floating nosegays. The trees raise their straight trunks to the height of more than a hundred and twenty feet and are crowned with tops of admirable beauty. The magnolia, the dog-wood, the catalpa, covered with white flowers, the permed snow of the springtime, intermingle with the delicate green of the other trees.

An Essay on the Beautiful
Context: What measures, then, shall we adopt? What machine employ, or what reason consult by means of which we may contemplate this ineffable beauty; a beauty abiding in the most divine sanctuary without ever proceeding from its sacred retreats lest it should be beheld by the profane and vulgar eye? We must enter deep into ourselves, and, leaving behind the objects of corporeal sight, no longer look back after any of the accustomed spectacles of sense. For, it is necessary that whoever beholds this beauty, should withdraw his view from the fairest corporeal forms; and, convinced that these are nothing more than images, vestiges and shadows of beauty, should eagerly soar to the fair original from which they are derived. For he who rushes to these lower beauties, as if grasping realities, when they are only like beautiful images appearing in water, will, doubtless, like him in the fable, by stretching after the shadow, sink into the lake and disappear. For, by thus embracing and adhering to corporeal forms, he is precipitated, not so much in his body as in his soul, into profound and horrid darkness; and thus blind, like those in the infernal regions, converses only with phantoms, deprived of the perception of what is real and true.

Listening to The Man with the Child in His Eyes
The Kate Bush Story (2014)

What is Art? (1897)
Context: The partisans of aesthetic theory denied that it was their own invention, and professed that it existed in the nature of things and even that it was recognized by the ancient Greeks. But... among the ancient Greeks, due to their low grade (compared to the Christian) moral ideal, their conception of the good was not yet sharply distinguished from their conception of the beautiful. That highest conception of goodness (not identical with beauty and for the most part, contrasting with it) discerned by the Jews even in the time of Isaiah and fully expressed by Christianity, was unknown to the Greeks. It is true that the Greek's foremost thinkers — Socrates, Plato, Aristotle — felt that goodness may not coincide with beauty.... But notwithstanding all this, they could not quite dismiss the notion that beauty and goodness coincide. And consequently in the language of that period a compound word (καλο-κάγαθια, beauty-goodness) came into use to express that notion. Evidently the Greek sages began to draw close to the perception of goodness which is expressed in Buddhism and in Christianity, but they got entangled in defining the relationship between goodness and beauty. And it was just this confusion of ideas that those Europeans of a later age … tried to elevate into law. … On this misunderstanding the new science of aesthetics was built.

Adam Bede (1859)
Context: All honour and reverence to the divine beauty of form! Let us cultivate it to the utmost in men, women, and children — in our gardens and in our houses. But let us love that other beauty too, which lies in no secret of proportion, but in the secret of deep human sympathy. Paint us an angel, if you can, with a floating violet robe, and a face paled by the celestial light; paint us yet oftener a Madonna, turning her mild face upward and opening her arms to welcome the divine glory; but do not impose on us any aesthetic rules which shall banish from the region of Art those old women scraping carrots with their work-worn hands, those heavy clowns taking holiday in a dingy pot-house, those rounded backs and stupid weather-beaten faces that have bent over the spade and done the rough work of the world — those homes with their tin pans, their brown pitchers, their rough curs, and their clusters of onions. In this world there are so many of these common coarse people, who have no picturesque sentimental wretchedness! It is so needful we should remember their existence, else we may happen to leave them quite out of our religion and philosophy and frame lofty theories which only fit a world of extremes. Therefore, let Art always remind us of them; therefore let us always have men ready to give the loving pains of a life to the faithful representing of commonplace things — men who see beauty in these commonplace things, and delight in showing how kindly the light of heaven falls on them. There are few prophets in the world; few sublimely beautiful women; few heroes. I can't afford to give all my love and reverence to such rarities: I want a great deal of those feelings for my every-day fellow-men, especially for the few in the foreground of the great multitude, whose faces I know, whose hands I touch for whom I have to make way with kindly courtesy.

"Sailing Ships", p. 162
Collected Poems (1933)
Context: While many a lovely ship below sailed by
On unknown errand, kempt and leisurely;
And after each, oh, after each, my heart
Fled forth, as, watching from the Downs apart,
I shared with ships good joys and fortunes wide
That might befall their beauty and their pride…

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: My Lord, your own wisdom has taught me to aspire to One even more great, more beautiful, and more closely approximate to Perfection than yourself. As you yourself, superior to all Flatland forms, combine many Circles in One, so doubtless there is One above you who combines many Spheres in One Supreme Existence, surpassing even the Solids of Spaceland. And even as we, who are now in Space, look down on Flatland and see the insides of all things, so of a certainty there is yet above us some higher, purer region, whither thou dost surely purpose to lead me — O Thou Whom I shall always call, everywhere and in all Dimensions, my Priest, Philosopher, and Friend — some yet more spacious Space, some more dimensionable Dimensionality, from the vantage-ground of which we shall look down together upon the revealed insides of Solid things, and where thine own intestines, and those of thy kindred Spheres, will lie exposed to the view of the poor wandering exile from Flatland, to whom so much has already been vouchsafed.

The Great Dictator (1940), The Barber's speech
Context: I'm sorry, but I don't want to be an emperor. That's not my business. I don't want to rule or conquer anyone. I should like to help everyone, if possible, Jew, gentile, black man, white. We all want to help one another. Human beings are like that. We want to live by each other's happiness — not by each other's misery. We don't want to hate and despise one another.
In this world there is room for everyone. And the good earth is rich and can provide for everyone. The way of life can be free and beautiful, but we have lost the way. Greed has poisoned men's souls, has barricaded the world with hate, has goose-stepped us into misery and bloodshed. We have developed speed, but we have shut ourselves in. Machinery that gives abundance has left us in want. Our knowledge has made us cynical. Our cleverness, hard and unkind. We think too much and feel too little. More than machinery we need humanity. More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost.
The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood, for the unity of us all. Even now my voice is reaching millions throughout the world — millions of despairing men, women and little children — victims of a system that makes men torture and imprison innocent people. To those who can hear me, I say — do not despair. The misery that is now upon us is but the passing of greed — the bitterness of men who fear the way of human progress. The hate of men will pass, and dictators die, and the power they took from the people will return to the people and so long as men die, liberty will never perish.
Soldiers! Don't give yourselves to brutes — men who despise you — enslave you — who regiment your lives — tell you what to do — what to think or what to feel! Who drill you, diet you, treat you like cattle, use you as cannon fodder. Don't give yourselves to these unnatural men — machine men with machine minds and machine hearts! You are not machines! You are not cattle! You are men! You have the love of humanity in your hearts. You don't hate! Only the unloved hate — the unloved and the unnatural!
Soldiers! Don't fight for slavery! Fight for liberty! In the 17th Chapter of St. Luke it is written: "the Kingdom of God is within man" — not one man nor a group of men, but in all men! In you! You, the people have the power — the power to create machines. The power to create happiness! You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure.
Then, in the name of democracy, let us use that power! Let us all unite! Let us fight for a new world, a decent world that will give men a chance to work, that will give youth the future and old age a security. By the promise of these things, brutes have risen to power, but they lie! They do not fulfill their promise; they never will. Dictators free themselves, but they enslave the people! Now, let us fight to fulfill that promise! Let us fight to free the world, to do away with national barriers, to do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men's happiness.
Soldiers! In the name of democracy, let us all unite!
[Cheers]
Hannah, can you hear me? Wherever you are, look up, Hannah. The clouds are lifting. The sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world, a kindlier world, where men will rise above their hate, their greed and brutality. Look up, Hannah. The soul of man has been given wings, and at last he is beginning to fly. He is flying into the rainbow — into the light of hope, into the future, the glorious future that belongs to you, to me and to all of us. Look up, Hannah. Look up.

Statement upon being appointed as UC Berkeley chancellor in 1958, as quoted Biographical Memoirs (2000) edited by Darleane C. Hoffman, p, 252 <!-- ISBN 0-309-07035-X National Academies Press-->
Context: There is a beauty in discovery. There is mathematics in music, a kinship of science and poetry in the description of nature, and exquisite form in a molecule. Attempts to place different disciplines in different camps are revealed as artificial in the face of the unity of knowledge. All literate men are sustained by the philosopher, the historian, the political analyst, the economist, the scientist, the poet, the artisan and the musician.

Akhenaten, as portrayed in Akhnaton (1937); Christie later revised the play slightly in 1972, and it was published in 1973.
Context: I have given them life instead of death, freedom instead of the cords of superstition, beauty and truth instead of corruption and exploitation. The old bad days are over for them, the Light of the Aton has risen, and they can dwell in peace and harmony freed from the shadow of fear and oppression.

Source: Way Station (1963), Ch. 18
Context: She looked quickly up. And then her eyes once more went back to the flashing thing she was holding in her hands.
He saw that it was the pyramid of spheres and now all the spheres were spinning slowly, in alternating clockwise and counterclockwise motions, and that as they spun they shone and glittered, each in its own particular color, as if there might be, deep inside each one of them, a source of soft, warm light.
Enoch caught his breath at the beauty and the wonder of it — the old, hard wonder of what this thing might be and what it might be meant to do. He had examined it a hundred times or more and had puzzled at it and there had been nothing he could find that was of significance. So far as he could see, it was only something that was meant to be looked at, although there had been that persistent feeling that it had a purpose and that, perhaps, somehow, it was meant to operate.
And now it was in operation. He had tried a hundred times to get it figured out and Lucy had picked it up just once and had got it figured out.
He noticed the rapture with which she was regarding it. Was it possible, he wondered, that she knew its purpose?

Segment 85
Peoples Archive interview
Context: The next thing which surprised us very much, is that both for Julia sets and even more so for the Mandelbrot set, the complication was not, how to say, arbitrary, and almost everybody found the impression that these shapes were hauntingly beautiful. These shapes resulted from the most ridiculous transformation, z2+c, taken seriously, respectfully and visually. And people thought at first that they were totally wild, totally extraterrestrial, but then after a very short time, they came back and said, "You know, I think they remind me of something. I think they're natural. I think they are like perhaps nightmares or dreams, but they're natural." And this combination of being so new, because literally when we saw them nobody had seen them before, and being the next day so familiar, is still to me extraordinarily baffling.

Variant translation: I have never looked upon ease and happiness as ends in themselves — such an ethical basis I call more proper for a herd of swine. The ideals which have lighted me on my way and time after time given me new courage to face life cheerfully, have been Truth, Goodness, and Beauty. Without the sense of fellowship with men of like mind, of preoccupation with the objective, the eternally unattainable in the field of art and scientific research, life would have seemed to me empty. The ordinary objects of human endeavor — property, outward success, luxury — have always seemed to me contemptible.
1930s, Mein Weltbild (My World-view) (1931)
Context: I have never looked upon ease and happiness as ends in themselves — this critical basis I call the ideal of a pigsty. The ideals that have lighted my way, and time after time have given me new courage to face life cheerfully, have been Kindness, Beauty, and Truth. Without the sense of kinship with men of like mind, without the occupation with the objective world, the eternally unattainable in the field of art and scientific endeavors, life would have seemed empty to me. The trite objects of human efforts — possessions, outward success, luxury — have always seemed to me contemptible.

This incident was the source of a statement commonly attributed to Goldman that occurs in several variants:
If I can't dance, it's not my revolution!
If I can't dance, I don't want your revolution!
If I can't dance, I don't want to be part of your revolution.
A revolution without dancing is not a revolution worth having.
If there won't be dancing at the revolution, I'm not coming.
Living My Life (1931)
Context: At the dances I was one of the most untiring and gayest. One evening a cousin of Sasha, a young boy, took me aside. With a grave face, as if he were about to announce the death of a dear comrade, he whispered to me that it did not behoove an agitator to dance. Certainly not with such reckless abandon, anyway. It was undignified for one who was on the way to become a force in the anarchist movement. My frivolity would only hurt the Cause.
I grew furious at the impudent interference of the boy. I told him to mind his own business. I was tired of having the Cause constantly thrown into my face. I did not believe that a Cause which stood for a beautiful ideal, for anarchism, for release and freedom from convention and prejudice, should demand the denial of life and joy. I insisted that our Cause could not expect me to become a nun and that the movement would not be turned into a cloister. If it meant that, I did not want it. "I want freedom, the right to self-expression, everybody's right to beautiful, radiant things." Anarchism meant that to me, and I would live it in spite of the whole world — prisons, persecution, everything. Yes, even in spite of the condemnation of my own closest comrades I would live my beautiful ideal. (p. 56)

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.

Act IV, scene 1.
Sardanapalus (1821)
Context: But take this with thee: if I was not form'd
To prize a love like thine, a mind like thine,
Nor dote even on thy beauty — as I've doted
On lesser charms, for no cause save that such
Devotion was a duty, and I hated
All that look'd like a chain for me or others
(This even rebellion must avouch); yet hear
These words, perhaps among my last — that none
E'er valued more thy virtues, though he knew not
To profit by them…

The bolded section is often incorrectly reported as "The price of freedom of religion, or of speech, or of the press, is that we must put up with a good deal of rubbish".
78 U.S. 94-95
Judicial opinions, United States v. Ballard (1944)

"To David in Heaven", St. 14.
Undertones (1883)
Context: Tho' the world could turn from you,
This, at least, I learn from you:
Beauty and Truth, tho' never found, are worthy to be sought,
The singer, upward-springing,
Is grander than his singing,
And tranquil self-sufficing joy illumes the dark of thought.
This, at least, you teach me,
In a revelation:
That gods still snatch, as worthy death, the soul in its aspiration.

"Thunder Road"
Song lyrics, Born to Run (1975)
Context: Don't run back inside
Darling you know just what I'm here for.
So you're scared and you're thinking
That maybe we ain't that young anymore.
Show a little faith, there's magic in the night;
You ain't a beauty but hey you're all right.
Oh and that's all right with me.

Essays, On Authorship and Style
Context: Truth that is naked is the most beautiful, and the simpler its expression the deeper is the impression it makes; this is partly because it gets unobstructed hold of the hearer’s mind without his being distracted by secondary thoughts, and partly because he feels that here he is not being corrupted or deceived by the arts of rhetoric, but that the whole effect is got from the thing itself.

Robert Browning. (1903)
Context: One of the deepest and strangest of all human moods is the mood which will suddenly strike us perhaps in a garden at night, or deep in sloping meadows, the feeling that every flower and leaf has just uttered something stupendously direct and important, and that we have by a prodigy of imbecility not heard or understood it. There is a certain poetic value, and that a genuine one, in this sense of having missed the full meaning of things. There is beauty, not only in wisdom, but in this dazed and dramatic ignorance.

Aviation, Geography, and Race (1939)
Context: A great industrial nation may conquer the world in the span of a single life, but its Achilles' heel is time. Its children, what of them? The second and third generations, of what numbers and stuff will they be? How long can men thrive between walls of brick, walking on asphalt pavements, breathing the fumes of coal and of oil, growing, working, dying, with hardly a thought of wind, and sky, and fields of grain, seeing only machine-made beauty, the mineral-like quality of life. This is our modern danger — one of the waxen wings of flight. It may cause our civilization to fall unless we act quickly to counteract it, unless we realize that human character is more important than efficiency, that education consists of more than the mere accumulation of knowledge.

1920s, Truth is a Pathless Land (1929)
Context: You are accustomed to being told how far you have advanced, what is your spiritual status. How childish! Who but yourself can tell you if you are beautiful or ugly within? Who but yourself can tell you if you are incorruptible? You are not serious in these things.
But those who really desire to understand, who are looking to find that which is eternal, without beginning and without an end, will walk together with a greater intensity, will be a danger to everything that is unessential, to unrealities, to shadows. And they will concentrate, they will become the flame, because they understand. Such a body we must create, and that is my purpose. Because of that real understanding there will be true friendship. Because of that true friendship – which you do not seem to know – there will be real cooperation on the part of each one. And this not because of authority, not because of salvation, not because of immolation for a cause, but because you really understand, and hence are capable of living in the eternal. This is a greater thing than all pleasure, than all sacrifice.
So these are some of the reasons why, after careful consideration for two years, I have made this decision. It is not from a momentary impulse. I have not been persuaded to it by anyone. I am not persuaded in such things. For two years I have been thinking about this, slowly, carefully, patiently, and I have now decided to disband the Order, as I happen to be its Head. You can form other organizations and expect someone else. With that I am not concerned, nor with creating new cages, new decorations for those cages. My only concern is to set men absolutely, unconditionally free.

Anecdote presented in "Isadore Duncan : Dancer as Plaything of Fate" in A Century of Sundays : 100 years of Breaking News in the Sunday Papers (2006), by Nadine Dreyer, p. 65 http://books.google.com/books?id=5rFGX4z8-S8C&pg=PA65&dq=%22Love+is+an+illusion;+it+is+the+world's+greatest+mistake%22&hl=en&sa=X&ei=NPAkT7mJDJKy0AH5vcXkCA&ved=0CDIQ6AEwAA#v=onepage&q=%22Love%20is%20an%20illusion%3B%20it%20is%20the%20world's%20greatest%20mistake%22&f=false; the anecdote provided here does not cite earlier sources, and though widely attributed to an exchange between Duncan and Shaw, the earliest form of it yet located is in 10,000 Jokes, Toasts & Stories (1939) by Lewis & Faye Copeland, which simply has an unidentified woman offering to have a child with Shaw, saying "think of the child with your brains and my beauty" and him replying "But what if he were to have your brains and my beauty?"
Disputed
Context: [Isadora Duncan] wrote to George Bernard Shaw: "Will you be the father of my next child? A combination of my beauty and your brains would startle the world," but he replied: "I must decline your offer with thanks, for the child might have my beauty and your brains."

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.

Lesson 1, Don't Sweat the Small Stuff
Don’t Sweat the Small Stuff…and it’s all Small Stuff (1997)
Context: Often we allow ourselves to get all worked up about things that, upon closer examination, aren't really that big a deal. We focus on little problems and blow them out of proportion. … Whether we had to wait in line, listen to unfair criticism, or do the lion's share of the work, it pays enormous dividends if we learn not to worry about little things. So many people spend so much of their life energy "sweating the small stuff" that they completely lose touch with the magic and beauty of life.

The Sense of Wonder (1965)
Context: A child's world is fresh and new and beautiful, full of wonder and excitement. It is our misfortune that for most of us that clear-eyed vision, that true instinct for what is beautiful and awe-inspiring, is dimmed and even lost before we reach adulthood. If I had influence with the good fairy who is supposed to preside over the christening of all children I should ask that her gift to each child in the world be a sense of wonder so indestructible that it would last throughout life, as an unfailing antidote against the boredom and disenchantments of later years, the sterile preoccupation with things that are artificial, the alienation from the sources of our strength.

Literary and Historical Miscellanies (1855), The Necessity, the Reality, and the Promise of the Progress of the Human Race (1854)
Context: The unchanging character of law is the only basis on which continuous action can rest. Without it man would be but as the traveller over endless morasses; the builder on quicksands; the mariner without compass or rudder, driven successively whithersoever changing winds may blow. The universe is the reflex and image of its Creator. "The true work of art," says Michael Angelo, "is but a shadow of the Divine perfections." We may say in a more general manner, that Beauty Itself Is But The Sensible Image Of The Infinite; that all creation is a manifestation of the Almighty; not the result of caprice, but the glorious display of his perfection; and as the universe thus produced, is always in the course of change, so its regulating mind is a living Providence, perpetually exerting itself anew. If his designs could be thwarted, we should lose the great evidence of his unity, as well as the anchor of our own hope.
Harmony is the characteristic of the intellectual system of the universe; and immutable laws of moral existence must pervade all time and all space, all ages and all worlds.

Love is not a feeling ~ The Article (1995)
Context: Love is not a feeling; it's a sensation. Drinking water when you're thirsty is a sensation, not a feeling. Being in nature or swimming in the sea is a sensation, not a feeling. Lying down when you're tired is sensational, not a feeling, although you may say it feels good. Feeling is an emotional interpretation of experience and these sensations don't need interpretation; they are just good or right. Making physical love rightly is a sensation, not a feeling. So is the love of God. The same goes for joy and beauty; both are sensational.

Stanislaus Grumman in Ch. 10 : The Shaman
His Dark Materials, The Subtle Knife (1997)
Context: People here cannot conceive of worlds where dæmons are a silent voice in the mind and no more. Can you imagine my astonishment, in turn, at learning that part of my own nature was female, and bird-formed, and beautiful?

"The Return of Jimi Hendrix"
Dream Harder (1993)
Context: He was young and black and beautiful
big eyed, perfect skin an'
he played my guitar like a lightning storm
like twirlin' feathers in the wind
he could make it sound like the end of the world
a fire, the flick of a knife
he could squeeze it slow and masterful
like the hand that brought the world to life

On Mind and Thought (1993), p. 34
Posthumous publications
Context: It is astonishingly beautiful and interesting, how thought is absent when you have an insight. Thought cannot have an insight. It is only when the mind is not operating mechanically in the structure of thought that you have an insight. Having had an insight, thought draws a conclusion from that insight. And then thought acts and thought is mechanical. So I have to find out whether having an insight into myself, which means into the world, and not drawing a conclusion from it is possible. If I draw a conclusion, I act on an idea, on an image, on a symbol, which is the structure of thought, and so I am constantly preventing myself from having insight, from understanding things as they are.

Section 8 : Suffering and Consolation
Founding Address (1876), Life and Destiny (1913)
Context: When the light of the sun shines through a prism it is broken into beautiful colours, and when the prism is shattered, still the light remains. So does the life of life shine resplendent in the forms of our friends, and so, when their forms are broken, still their life remains; and in that life we are united with them; for the life of their life is also our life, and we are one with them by ties indissoluble.

Variant translations: Are you really sure that a floor can't also be a ceiling?
I can't keep from fooling around with our irrefutable certainties. It is, for example, a pleasure knowingly to mix up two and three dimensionalities, flat and spatial, and to make fun of gravity.
1950's, On Being a Graphic Artist', 1953
Context: In my prints I try to show that we live in a beautiful and orderly world and not in a chaos without norms, as we sometimes seem to. My subjects are also often playful. I cannot help mocking all our unwavering certainties. It is, for example, great fun deliberately to confuse two and three dimensions, the plane and space, or to poke fun at gravity. Are you sure that a floor cannot also be a ceiling? Are you absolutely certain that you go up when you walk up a staircase? Can you be definite that it is impossible to eat your cake and have it?

Address to the British Association for the Advancement of Science (1898)
Context: In old Egyptian days a well known inscription was carved over the portal of the temple of Isis: "I am whatever hath been, is, or ever will be; and my veil no man hath yet lifted." Not thus do modern seekers after truth confront nature — the word that stands for the baffling mysteries of the universe. Steadily, unflinchingly, we strive to pierce the inmost heart of Nature, from what she is to reconstruct what she has been, and to prophesy what she yet shall be. Veil after veil we have lifted, and her face grows more beautiful, august, and wonderful with every barrier that is withdrawn.

1950s, Loving Your Enemies (Christmas 1957)
Context: Another reason why we must love our enemies is that hate scars the soul and distorts the personality. Mindful that hate is an evil and dangerous force, we too often think of what it does to the person hated. This is understandable, for hate bring irreparable damage to its victims. We have seen its ugly consequences in the ignominious deaths brought to six million Jews by a hate-obsessed madman named Hitler, in the unspeakable violence inflicted upon Negroes by blood-thirsty mobs, in the dark horrors of war, and in the terrible indignities and injustices perpetrated against millions of God's children by unconscionable oppressors.
But there is another side which we must never overlook. Hate is just as injurious to the person who hates. Like an unchecked cancer, hate corrodes the personality and eats away its vital unity. Hate destroys a man's sense of values and his objectivity. It causes him to describe the beautiful as ugly and the ugly as beautiful, and to confuse the true with the false and the false with the true.

1960s, Where Do We Go from Here: Chaos or Community? (1967)
Context: I know that love is ultimately the only answer to mankind's problems. And I'm going to talk about it everywhere I go. I know it isn't popular to talk about it in some circles today. I'm not talking about emotional bosh when I talk about love, I'm talking about a strong, demanding love. And I have seen too much hate. I've seen too much hate on the faces of sheriffs in the South. I've seen hate on the faces of too many Klansmen and too many White Citizens Councilors in the South to want to hate myself, because every time I see it, I know that it does something to their faces and their personalities and I say to myself that hate is too great a burden to bear. I have decided to love. If you are seeking the highest good, I think you can find it through love. And the beautiful thing is that we are moving against wrong when we do it, because John was right, God is love. He who hates does not know God, but he who has love has the key that unlocks the door to the meaning of ultimate reality.

Brown : The Last Discovery of America (2003)

Song lyrics, American Pie (1971), Vincent
Context: Weathered faces lined in pain
Are soothed beneath the artist's loving hand.
For they could not love you,
But still your love was true
And when no hope was left in sight, on that starry starry night
You took your life as lovers often do,
But I could have told you, Vincent,
This world was never meant for one as beautiful as you.

"Elfin Song" (1850).
Context: What if there be a fated day
When the Faery Isle shall pass away,
And its beautiful groves and fountains seem
The myths of a long, delicious dream!
A century's joys shall first repay
Our hearts, for the evil of that day;
And the Elfin-King has sworn to wed
A daughter of Earth, whose child shall be,
By cross and water hallowe'd,
From the fairies' doom forever free.
What if there be a fated day!
It is far away! it is far away!
Maiden, fair Maiden, I, who sing
Of this summer isle am the island King.

Main Street and Other Poems (1917), A Blue Valentine
Context: It seems appropriate to me to state
According to a venerable and agreeable custom,
That I love a beautiful lady.
Her eyes, Monsignore,
Are so blue that they put lovely little blue reflections
On everything that she looks at,
Such as a wall
Or the moon
Or my heart.

"Under the Harvest Moon" (1916)
Context: Under the summer roses
When the flagrant crimson
Lurks in the dusk
Of the wild red leaves,
Love, with little hands,
Comes and touches you
With a thousand memories,
And asks you
Beautiful, unanswerable questions.

A Body in the Bath House

Lesson 34, Practice Random Acts of Kindness
Don’t Sweat the Small Stuff…and it’s all Small Stuff (1997)
Context: There is a bumper sticker that has been out for some time now. You see it on cars all across the nation. It says, "Practice Random Acts of Kindness and Senseless Acts of Beauty." I have no idea who thought of this idea, but I've never seen a more important message on a car in front of me.
Practicing random kindness is an effective way to get in touch with the joy of giving without expecting anything in return. It's best practiced without letting anyone know what you are doing.

Small Houses: Their Economic Design and Construction (1922), Introduction

Amaranth.

From a 1900, April 27, , Sixth Series, 2, 1–40 (1901).
Thermodynamics quotes
Context: The beauty and clearness of the dynamical theory, which asserts heat and light to be modes of motion, is at present obscured by two clouds. I. The first came into existence with the undulatory theory of light, and was dealt with by Fresnel and Dr. Thomas Young; it involved the question, how could the earth move through an elastic solid, such as essentially is the luminiferous ether? II. The second is the Maxwell–Boltzmann doctrine regarding the partition of energy.

Looking for an Honest Man (2009)
Context: Perhaps the most remarkable feature of Aristotle's teaching concerns the goals of ethical conduct. Unlike the moralists, Aristotle does not say that morality is a thing of absolute worth or that the virtuous person acts in order to adhere to a moral rule or universalizable maxim. And unlike the utilitarians, he does not say morality is good because it contributes to civic peace or to private gain and reputation. Instead, Aristotle says over and over again that the ethically excellent human being acts for the sake of the noble, for the sake of the beautiful.
The human being of fine character seeks to display his own fineness in word and in deed, to show the harmony of his soul in action and the rightness of his choice in the doing of graceful and gracious deeds. The beauty of his action has less to do with the cause that his action will serve or the additional benefits that will accrue to himself or another — though there usually will be such benefits. It has, rather, everything to do with showing forth in action the beautiful soul at work, exactly as a fine dancer dances for the sake of dancing finely. As the ballerina both exploits and resists the downward pull of gravity to rise freely and gracefully above it, so the person of ethical virtue exploits and elevates the necessities of our embodied existence to act freely and gracefully above them. Fine conduct is the beautiful and intrinsically fulfilling being-at-work of the harmonious or excellent soul.

As quoted in Saul Leiter (2008) by Agnès Sire
Context: I must admit that I am not a member of the ugly school. I have a great regard for certain notions of beauty even though to some it is an old fashioned idea. Some photographers think that by taking pictures of human misery, they are addressing a serious problem. I do not think that misery is more profound than happiness.

Statement accepting the Screen Actors Guild Achievement Award, read by Julia Roberts, because of Audrey's failing health. (January 1993)
Context: I am more than ever awed and overwhelmed by the monumental talents it was my great, great privilege to work for and with. There is therefore no way I can thank you for this beautiful award without thanking all of them, because it is they who helped and honed, triggered and taught, pushed and pulled, dressed and photographed — and with endless patience and kindness and gentleness, guided and nurtured a totally unknown, insecure, inexperienced, skinny broad into a marketable commodity. I am proud to have been in a business that gives pleasure, creates beauty, and awakens our conscience, arouses compassion, and perhaps most importantly, gives millions a respite from our so violent world. Thank you, Screen Actors Guild and friends, for this huge honor — and for giving me this unique opportunity to express my deepest gratitude and love to all of those who have given me a career that has brought me nothing but happiness.

The Nature, Importance and Liberties of Belief (1873)
Context: I look at a large tree on the lawn, and say to my neighbour: "What is that tree to you?" He looks at it, and says: "Well, I think that would cut about twenty cords of wood. You could work in a good many branches, and as the price of wood is in the market, I think I could make fifty dollars out of that tree easily, and perhaps more than that." His answer shows what the tree is to him — and it is that." I call up a boy, and say to him: "What do you think of when you look at that tree?" "Ah!" he says, "there will be a bushel of hickory-nuts on that tree, anyhow; and he begins to think how he will climb it, and shake them down, and what he will do with them. That is what the tree says to him. I say to another person: "What is that tree to you?" He says: "I would not take fifty dollars for it. Under it my cows stand in summer. The shade of that tree has stood me instead of a shed ever since I owned this farm. That tree is worth its weight in gold." He values it for its economic uses. I ask a painter: "What is that tree to you?" At once he says: "Do you see what an exquisite form it has? How picturesque it is? If you were to take it and put it in the foreground of the landscape that I am working on, what a magnificent effect you would get!" It has an aesthetic value to him. I ask another man: "What is it to you?" He goes into an explanation of its structure and qualities. He is a botanist, and he has his peculiar view of it. I ask myself: "What is that tree?" It is everything. It is God's voice, when the winds are abroad. It is God's thought, when in the deep stillness of the noon it is silent. It is the house which God has built for a thousand birds. It is a harbour of comfort to weary men and to the cattle of the field. It is that which has in it the record of ages. There it has stood for a century. The winter could not kill it, and the summer could not destroy it. It is full of beauty and strength. It has in it all these things; and as different men look at it, each looks at so much of it as he needs; but it takes ten men to see everything that there is in that tree — and they all do not half see it.
So it is with truths. Men sort them. They bring different faculties to bear in considering them. One person has philosophical reason; another has factual reason. One man brings one part of his mind to it; another brings to it another part of his mind. The truth is larger than any one man's thought of it. The truth of God usually has relations that stretch out in such a way that men may see it very differently, and all of them be true in spots, although they do not have the whole truth.

The Poet (1830)
Context: p>Thus truth was multiplied on truth, the world
Like one great garden show'd,
And thro' the wreaths of floating dark up-curl'd,
Rare sunrise flow'dAnd Freedom rear'd in that august sunrise
Her beautiful bold brow,
When rites and forms before his burning eyes
Melted like snow.</p

Of Immortality.
Proverbial Philosophy (1838-1849)
Context: God, from a beautiful necessity, is Love in all he doeth,
Love, a brilliant fire, to gladden or consume:
The wicked work their woe by looking upon love, and hating it:
The righteous find their joys in yearning on its loveliness for ever.

Wordsworth, originally published as "Preface to the Poems of Wordsworth" in Macmillan's Magazine (July 1879)
Essays in Criticism, second series (1888)
Context: If what distinguishes the greatest poets is their powerful and profound application of ideas to life, which surely no good critic will deny, then to prefix to the word ideas here the term moral makes hardly any difference, because human life itself is in so preponderating a degree moral.
It is important, therefore, to hold fast to this: that poetry is at bottom a criticism of life; that the greatness of a poet lies in his powerful and beautiful application of ideas to life — to the question, How to live. Morals are often treated in a narrow and false fashion, they are bound up with systems of thought and belief which have had their day, they are fallen into the hands of pedants and professional dealers, they grow tiresome to some of us. We find attraction, at times, even in a poetry of revolt against them; in a poetry which might take for its motto Omar Khayam's words: "Let us make up in the tavern for the time which we have wasted in the mosque." Or we find attractions in a poetry indifferent to them, in a poetry where the contents may be what they will, but where the form is studied and exquisite. We delude ourselves in either case; and the best cure for our delusion is to let our minds rest upon that great and inexhaustible word life, until we learn to enter into its meaning. A poetry of revolt against moral ideas is a poetry of revolt against life; a poetry of indifference towards moral ideas is a poetry of indifference towards life.

My Share Of The Task (2013)
Context: At the heart of the story is Afghanistan itself, a complex swirl of ethnic and political rivalries, cultural intransigence, strains of religious fervor, and bitter memories overlaid on a beautiful, but harshly poor, landscape. Without internal struggles or outside influence, Afghanistan would be a difficult place to govern, and a challenge to develop. And there have always been struggles and interference. But it's not just that. In her beauty and coarseness, in her complexity and tragedy Afghanistan possesses a mystical quality, a magnetism. Few places have such accumulated layers of culture, religion, history, and lore that instill both fear and awe. Yet those who seek to budge her trajectory are reminded that dreams often end up buried in the barren slopes of the Hindu Kush or in muddy fields alongside the Helmand River.

Book XIII, 1078a.33
Metaphysics

"Flight", pp. 155
Native Son (1940)

"Bryan" in Baltimore Evening Sun http://www.positiveatheism.org/hist/menck05.htm#SCOPESC (27 July 1925)
1920s
Context: It is the national custom to sentimentalize the dead, as it is to sentimentalize men about to be hanged. Perhaps I fall into that weakness here. The Bryan I shall remember is the Bryan of his last weeks on earth -- broken, furious, and infinitely pathetic. It was impossible to meet his hatred with hatred to match it. He was winning a battle that would make him forever infamous wherever enlightened men remembered it and him. Even his old enemy, Darrow, was gentle with him at the end. That cross-examination might have been ten times as devastating. It was plain to everyone that the old Berseker Bryan was gone -- that all that remained of him was a pair of glaring and horrible eyes.
But what of his life? Did he accomplish any useful thing? Was he, in his day, of any dignity as a man, and of any value to his fellow-men? I doubt it. Bryan, at his best, was simply a magnificent job-seeker. The issues that he bawled about usually meant nothing to him. He was ready to abandon them whenever he could make votes by doing so, and to take up new ones at a moment's notice. For years he evaded Prohibition as dangerous; then he embraced it as profitable. At the Democratic National Convention last year he was on both sides, and distrusted by both. In his last great battle there was only a baleful and ridiculous malignancy. If he was pathetic, he was also disgusting.
Bryan was a vulgar and common man, a cad undiluted. He was ignorant, bigoted, self-seeking, blatant and dishonest. His career brought him into contact with the first men of his time; he preferred the company of rustic ignoramuses. It was hard to believe, watching him at Dayton, that he had traveled, that he had been received in civilized societies, that he had been a high officer of state. He seemed only a poor clod like those around him, deluded by a childish theology, full of an almost pathological hatred of all learning, all human dignity, all beauty, all fine and noble things. He was a peasant come home to the dung-pile. Imagine a gentleman, and you have imagined everything that he was not.

Source: Auguste Rodin: The Man, His Ideas, His Works, 1905, p. 60

June 14, 1838
Journals (1838-1859)
Context: Truth, Goodness, Beauty — those celestial thrins,
Continually are born; e'en now the Universe,
With thousand throats, and eke with greener smiles,
Its joy confesses at their recent birth.

449: I died for Beauty —
The Complete Poems of Emily Dickinson (1960)
Context: I died for Beauty — but was scarce
Adjusted in the Tomb,
When One who died for Truth, was lain
In an adjoining Room — He questioned softly "Why I failed"?
"For Beauty," I replied.
"And I — for Truth, — Themself are One —
We Brethren, are", He said —

"Suddenly I See".
Eye to the Telescope (2004)
Context: Her face is a map of the world
Is a map of the world
You can see she's a beautiful girl
She's a beautiful girl.
And everything around her is a silver pool of light
The people who surround her feel the benefit of it —
It makes you calm
She holds you captivated in her palm.