Pearls of Wisdom
Source: Translations, Monkey: Folk Novel of China (1942), Ch. 2 (p. 26)
§ IV
1910s, At the Feet of the Master (1911)
Context: See what gossip does. It begins with evil thought, and that in itself is a crime. For in everyone and in everything there is good; in everyone and in everything there is evil. Either of these we can strengthen by thinking of it, and in this way we can help or hinder evolution; we can do the will of the Logos or we can resist Him. If you think of the evil in another, you are doing at the same time three wicked things:
(1) You are filling your neighbourhood with evil thought instead of with good thought, and so you are adding to the sorrow of the world.
(2) If there is in that man the evil which you think, you are strengthening it and feeding it; and so you are making your brother worse instead of better. But generally the evil is not there, and you have only fancied it; and then your wicked thought tempts your brother to do wrong, for if he is not yet perfect you may make him that which you have thought him.
(3) You fill your own mind with evil thoughts instead of good; and so you hinder your own growth, and make yourself, for those who can see, an ugly and painful object instead of a beautiful and lovable one.
Not content with having done all this harm to himself and to his victim, the gossip tries with all his might to make other men partners in his crime. Eagerly he tells his wicked tale to them, hoping that they will believe it; and then they join with him in pouring evil thought upon the poor sufferer. And this goes on day after day, and is done not by one man but by thousands. Do you begin to see how base, how terrible a sin this is? You must avoid it altogether.
Source: The Museum of Modern Art with Ron Rosenbaum http://www.errolmorris.com/content/interview/moma1999.html
“We are what we think.
All that we are arises with our thoughts.
With our thoughts we make the world.”
As rendered by T. Byrom (1993), Shambhala Publications.
There is no quote from the Pali Canon that matches up with any of these. The closest quote to this is in the Majjhima Nikaya 19:
"Whatever a monk keeps pursuing with his thinking & pondering, that becomes the inclination of his awareness. If a monk keeps pursuing thinking imbued with sensuality, abandoning thinking imbued with renunciation, his mind is bent by that thinking imbued with sensuality. If a monk keeps pursuing thinking imbued with ill will, abandoning thinking imbued with non-ill will, his mind is bent by that thinking imbued with ill will. If a monk keeps pursuing thinking imbued with harmfulness, abandoning thinking imbued with harmlessness, his mind is bent by that thinking imbued with harmfulness." Sources: http://www.accesstoinsight.org/tipitaka/mn/mn.019.than.html
Misattributed
Morals in the Book of Job, 553d, as translated in Cultural Performances in Medieval France (2007), p. 129
Original: (la) Scriptura sacra mentis oculis quasi quoddam speculum opponitur, ut interna nostra facies in ipsa videatur. Ibi etenim foeda, ibi pulchra nostra cognoscimus.
Context: Behold, then, a new religion, a new society; upon this twofold foundation there must inevitably spring up a new poetry. Previously following therein the course pursued by the ancient polytheism and philosophy, the purely epic muse of the ancients had studied nature in only a single aspect, casting aside without pity almost everything in art which, in the world subjected to its imitation, had not relation to a certain type of beauty. A type which was magnificent at first, but, as always happens with everything systematic, became in later times false, trivial and conventional. Christianity leads poetry to the truth. Like it, the modern muse will see things in a higher and broader light. It will realize that everything in creation is not humanly beautiful, that the ugly exists beside the beautiful, the unshapely beside the graceful, the grotesque on the reverse of the sublime, evil with good, darkness with light. It will ask itself if the narrow and relative sense of the artist should prevail over the infinite, absolute sense of the Creator; if it is for man to correct God; if a mutilated nature will be the more beautiful for the mutilation; if art has the right to duplicate, so to speak, man, life, creation; if things will progress better when their muscles and their vigour have been taken from them; if, in short, to be incomplete is the best way to be harmonious. Then it is that, with its eyes fixed upon events that are both laughable and redoubtable, and under the influence of that spirit of Christian melancholy and philosophical criticism which we described a moment ago, poetry will take a great step, a decisive step, a step which, like the upheaval of an earthquake, will change the whole face of the intellectual world. It will set about doing as nature does, mingling in its creations — but without confounding them — darkness and light, the grotesque and the sublime; in other words, the body and the soul, the beast and the intellect; for the starting-point of religion is always the starting-point of poetry. All things are connected.
Thus, then, we see a principle unknown to the ancients, a new type, introduced in poetry; and as an additional element in anything modifies the whole of the thing, a new form of the art is developed. This type is the grotesque; its new form is comedy.
Preface to Cromwell (1827) http://www.bartleby.com/39/41.html
Source: Tristes Tropiques (1955), Chapter 4 : The Quest for Power, p. 38
Context: The order and harmony of the Western world, its most famous achievement, and a laboratory in which structures of a complexity as yet unknown are being fashioned, demand the elimination of a prodigious mass of noxious by-products which now contaminate the globe. The first thing we see as we travel round the world is our own filth, thrown into the face of mankind.
George Herbert Mead (1926). "The Nature of Aesthetic Experience." International Journal of Ethics, Vol. 36, No. 4 (Jul., 1926), pp. 382-393; p. 382
