“That terrible mood of depression of whether it's any good or not is what is known as The Artist's Reward.”

Source: The Marriage Plot

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 477.

Replying to a fan criticising the poor seats a reviewer of a concert received. "Ask Al" Q&As for September 6, 2004 http://www.weirdal.com/aaarchive.htm#090604.

Chronicle "Interdit aux hommes" (Forbidden to men), by Doris Veillette-Hamel, Journal Le Nouvelliste, February 8, 1972, page 13.
Chronicle "Forbidden to men", 1972

The Future of Civilization (1938)
Context: We see the world as it is now, after these defeats of the League, and we can compare it with what it was six or seven years ago. The comparison is certainly depressing; the contrast is terrible. And we have not yet reached a time when we can estimate the full material losses and human suffering which have been the direct result of the ambitions of one set of powers and the weakness of the others. Nor is there any purpose in attempting to do so. Let us, rather, examine where we now stand and what steps we ought to take in order to strengthen the international system and thrust back again the forces of reaction.
In the first place, let us admit that the first ten years of the League were in a sense unnatural. The horror of war to which I have already alluded was necessarily far more vivid than it can be expected long to remain. That tremendous argument for peace, the horror of war, was a diminishing asset. Most of us, at that time, were, I think, quite well aware that unless we could get the international system into solidly effective working order in the first ten years, we were likely to have great difficulties in the succeeding period, and so it has proved.

pp. 57–58 https://babel.hathitrust.org/cgi/pt?id=nyp.33433068235500;view=1up;seq=87
Ecce Homo (1866)

As quoted in The Artist Observed: 28 interviews with contemporary artists (1991) by John Gruen, p. 3
Context: I feel ever so strongly that an artist must be nourished by his passions and his despairs. These things alter an artist whether for the good or the better or the worse. It must alter him. The feelings of desperation and unhappiness are more useful to an artist than the feeling of contentment, because desperation and unhappiness stretch your whole sensibility.

Present at the Creation: My Years in the State Department (1969), Purpose of the Book

Suffocating Rubber Clown Suit, p. 8
Catching the Big Fish (2006)
Context: When I started meditating, I was filled with anxieties and fears. I felt a sense of depression and anger.
I often took out this anger on my first wife. After I had been meditating for about two weeks, she came to me and said, "What's going on?" I was quiet for a moment. But finally I said, "What do you mean?" And she said, "This anger, where did it go?" And I hadn't even realized that it had lifted.
I call that depression and anger the Suffocating Rubber Clown Suit of Negativity. It's suffocating, and that rubber stinks. But once you start meditating and diving within, the clown suit starts to dissolve. You finally realize how putrid was the stink when it starts to go. Then, when it dissolves, you have freedom.
Anger and depression and sorrow are beautiful things in a story, but they are like poison to the filmmaker or artist. They are like a vise grip on creativity. If you're in that grip, you can hardly get out of bed, much less experience the flow of creativity and ideas. You must have clarity to create. You have to be able to catch ideas.