“The perfect disciplinary apparatus would make it possible for a single haze to see everything constantly. A central point would be both the source of light illuminating everything, and a locus of convergence for everything that must be known: a perfect eye that nothing would escape and a centre towards which all gazes would be turned.”

Source: Alice's Adventures in Wonderland & Through the Looking-Glass

Siddhartha (1922)
Context: Listen my friend! I am a sinner and you are a sinner, but someday the sinner will be Brahma again, will someday attain Nirvana, will someday become a Buddha. Now this "someday" is illusion; it is only a comparison. The sinner is not on his way to a Buddha-like state; he is not evolving, although our thinking cannot conceive things otherwise. No, the potential Buddha already exists in the sinner; his future is already there. The potential hidden Buddha must be recognized in him, in you, in everybody. The world, Govinda, is not imperfect or slowly evolving along a path to perfection. No, it is perfect at every moment; every sin already carries grace within it, all small children are potential old men, all sucklings have death within them, all dying people — eternal life. It is not possible for one person to see how far another is on the way; the Buddha exits in robber and the dice player; the robber exists in the Brahmin. During deep meditation it is possible to dispel time, to see simultaneously all the past, present, and future, and then everything is good, everything is perfect, everything is Brahman.

"While the Sign Sleeps," p. 17
The Sign and Its Children (2000), Sequence: “The Sign and Nothing”

Source: The Alchemist (1988), p. 22.

Sin esa tonta vanidad que es el mostrarnos y que es de todos y de todo, no veríamos nada y no existiría nada. [[]]
Voces (1943)

Broadcast of 15th Annual Grammy Awards, directed by Marty Pasetta for CBS, 3 March 1973

"Where Desert Spirits Crowd the Night", p. 289
The Ivory and the Horn (1996)

The Notebooks of Leonardo da Vinci (1883), I Prolegomena and General Introduction to the Book on Painting