“Necessity, weight, and value are three concepts inextricably bound: only necessity is heavy, and only what is heavy has value.”

Source: Good Morning, Midnight

Quote from Klee's lecture 'On Modern Art', Kunstverein, Jena (26 January 1924), trans. Paul Findlay in Paul Klee: On Modern Art (London, 1948)
1921 - 1930

C'est un poids bien pesant qu'un nom trop tôt fameux.
La Henriade, chant troisième, l.41 (1722)
Citas

The Poetic Principle (1850)
Context: I hold that a long poem does not exist. I maintain that the phrase, "a long poem," is simply a flat contradiction in terms.
I need scarcely observe that a poem deserves its title only inasmuch as it excites, by elevating the soul. The value of the poem is in the ratio of this elevating excitement. But all excitements are, through a psychal necessity, transient. That degree of excitement which would entitle a poem to be so called at all, cannot be sustained throughout a composition of any great length.

Source: Titus Groan (1946), Chapter 60 “In Preparation for Violence” (p. 323)

Source: Paper Machine

The Dilemma of Determinism (1884)
1880s

Presidency (1977–1981), Farewell Address (1981)
Context: We live in a time of transition, an uneasy era which is likely to endure for the rest of this century. During the period we may be tempted to abandon some of the time-honored principles and commitments which have been proven during the difficult times of past generations. We must never yield to this temptation. Our American values are not luxuries, but necessities— not the salt in our bread, but the bread itself.

Nobel lecture (1970)
Context: Who will co-ordinate these value scales, and how? Who will create for mankind one system of interpretation, valid for good and evil deeds, for the unbearable and the bearable, as they are differentiated today? Who will make clear to mankind what is really heavy and intolerable and what only grazes the skin locally? Who will direct the anger to that which is most terrible and not to that which is nearer? Who might succeed in transferring such an understanding beyond the limits of his own human experience? Who might succeed in impressing upon a bigoted, stubborn human creature the distant joy and grief of others, an understanding of dimensions and deceptions which he himself has never experienced? Propaganda, constraint, scientific proof — all are useless. But fortunately there does exist such a means in our world! That means is art. That means is literature.
They can perform a miracle: they can overcome man's detrimental peculiarity of learning only from personal experience so that the experience of other people passes him by in vain. From man to man, as he completes his brief spell on Earth, art transfers the whole weight of an unfamiliar, lifelong experience with all its burdens, its colours, its sap of life; it recreates in the flesh an unknown experience and allows us to possess it as our own.
And even more, much more than that; both countries and whole continents repeat each other's mistakes with time lapses which can amount to centuries. Then, one would think, it would all be so obvious! But no; that which some nations have already experienced, considered and rejected, is suddenly discovered by others to be the latest word. And here again, the only substitute for an experience we ourselves have never lived through is art, literature. They possess a wonderful ability: beyond distinctions of language, custom, social structure, they can convey the life experience of one whole nation to another. To an inexperienced nation they can convey a harsh national trial lasting many decades, at best sparing an entire nation from a superfluous, or mistaken, or even disastrous course, thereby curtailing the meanderings of human history.