“a poet is someone who is abnormally fond of that precision which creates movement. Which is to say the highest form of concentration possible: fascination; to report on the electrifying experience of being”

Source: Science and the Unseen World (1929), Ch. IV, p.48-49

As quoted in: Richtingen in de hedendaagsche schilderkunst (Trends in the Present Day Art of Painting), Jacob Bendien - W.L. & J Brusse, Rotterdam,1936, p. 100 (transl. Anne Porcelijn)
1910 - 1920

A Poets View (1984)
Context: Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God.

Source: Autobiography (1873)
Source: https://archive.org/details/autobiography01mill/page/149/mode/1up p. 149

Source: The Myth of Male Power (1993), Part II: The Glass Cellars of the disposable sex, p. 186.

As quoted in Infinity and the Mind (1995) by Rudy Rucker.

Derrida Jacques, Elisabeth Weber (1995), Points...: Interviews, 1974-1994. p. 115

As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 105.
Context: To seek in nature the fairest forms and to find the movement which expresses the soul of these forms — this is the art of the dancer. It is from nature alone that the dancer must draw his inspirations, in the same manner as the sculptor, with whom he has so many affinities. Rodin has said: "To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature." Rodin is right; and in my art I have by no means copied, as has been supposed, the figures of Greek vases, friezes and paintings. From them I have learned to regard nature, and when certain of my movements recall the gestures that are seen in works of art, it is only because, like them, they are drawn from the grand natural source.
My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm, between gentleness and the soft breeze, and the like, and I always endeavour to put into my movements a little of that divine continuity which gives to the whole of nature its beauty and its life.