
Vol. I, Ch. 3: Of the vision of the Image composed of four Metals
Observations upon the Prophecies of Daniel, and the Apocalypse of St. John (1733)
Preface
A Course of Lectures on Natural Philosophy and the Mechanical Arts (1807)
Vol. I, Ch. 3: Of the vision of the Image composed of four Metals
Observations upon the Prophecies of Daniel, and the Apocalypse of St. John (1733)
"Natural History: The Forgotten Science" [1938]; Published in Round River, Luna B. Leopold (ed.), Oxford University Press, 1966, p. 63-64.
1930s
Source: Foundations of Psychohistory (1982), Ch. 2, The Independence of Psychohistory, p. 85.
Source: Sex, Art and American Culture : New Essays (1992), Junk Bonds and Corporate Raiders : Academe in the Hour of the Wolf, p. 223
Locus interview (1998)
Context: The only people who have the long view are some scientists and some science fiction writers. I have always lived in a world in which I'm just a spot in history. My life is not the important point. I'm just part of the continuum, and that continuum, to me, is a marvelous thing. The history of life, and the history of the planet, should go on and on and on and on. I cannot conceive of anything in the universe that has more meaning than that.
Nonconformity (1953/1996)
Context: The American middle class's faith in personal comfort as an end in itself is, in essence, a denial of life. And it has been imposed upon American writers and playwrights strongly enough to cut them off from their deeper sources. The shortcut to comfort is called “specialization,” and in an eye-ear-nose-and-throat doctor this makes sense. But in a writer it is fatal. The less he sees of other writers the more of a writer he will ultimately become. When he sees scarcely anyone except other writers, he is ready for New York.
...replacer, autant que possible, les œuvres dans les conditions concrètes où elles ont été écrites, conditions spirituelles d’une part, c’est-à-dire tradition philosophique, rhétorique ou poétique, conditions matérielles d’autre part, c’est-à-dire milieu scolaire et social, contraintes venues du support matériel de l’écriture, circonstances historiques. Toute œuvre doit être replacée dans la praxis dont elle émane.
La Philosophie comme manière de vivre (2001)