“The romantics of the 19th century thought that the artist is at war with society, and must be destroyed by it eventually; this is the theme of all of Hoffmann's stories. I suggested -- in The Outsider and the subsequent five books of the 'cycle' -- that the fault lies partly with the artist, for preferring pessimism and self-pity to serious thought, and that the 'outsider' must eventually learn to accept his position as a spiritual leader of society. The church once provided the link between 'outsiders' and society, standing for the world of values, of 'meanings; beyond the present. The artists of the 19th century found themselves without this visible symbol of non-material values, and were, as Hoffmann says, frequently destroyed by society, or by their own destiny of standing outside it. I concluded that they must learn to stand alone, to be twice as strong, for half the problems of our civilization are due to 'the treason of the intellectual', their tendency to opt out and collapse in self-pity.”

Source: The Outsider (1956), Chapter one, The Country of the Blind

Section 1.16 <!-- p. 50 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: Detachment and involvement: the artist must have both. The link between them is compassion. It has taken me over fifty years to get a glimmer of what this means.

Attributed to Rodin in: Southwestern Art Vol. 6 (1977). p. 20; Partly cited in: A Toolbox for Humanity: More Than 9000 Years of Thought (2004) by Lloyd Albert Johnson, p. 7
1930s and later

Lyrics, S.C.I.E.N.C.E. (1997)

The Dagger with Wings (1926)

Quote from Three Nineteenth-Century French Writer/Artists & the Maghreb; Günther Narr, Verlag Tübingen, 1994, p. 51

Source: The Bell Jar

1963, Speech at Amherst College
Context: If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth.
Context: If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth. And as Mr. MacLeish once remarked of poets, there is nothing worse for our trade than to be in style. In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society — in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost's hired man, the fate of having "nothing to look backward to with pride, and nothing to look forward to with hope."

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 31.