“She had no desire for accuracy, no desire for precise information. Innate sensuousness rarely has. It basks in sunshine, bathes in color, dwells in a sense of the impressive and the gorgeous, and rests there. Accuracy is not necessary except in the case of aggressive, acquisitive natures, when it manifests itself in a desire to seize. True controlling sensuousness cannot be manifested in the most active dispositions, nor again in the most accurate.”

— Theodore Dreiser , book The Financier

Source: The Financier (1912), Ch. XIII

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Theodore Dreiser 20

Novelist, journalist 1871–1945

Rufus M. Jones (1863–1948) American writer

Social Law in the Spiritual World (1904)
Context: Mysticism has been for the most part sporadic. It has found an exponent now here, now there, but it has shown little tendency toward organizing and it has manifested small desire to propagate itself. There have been types of mystical religion which have persisted for long periods and which have spread over wide areas, but in all centuries such mystical religion has spread itself by a sort of spiritual contagion rather than by system and organization.
It has broken forth where the Spirit listed, and its history is mainly the story of the saintly lives through which it has appeared. The Quaker movement, which had its rise in the English Commonwealth, is an exception. It furnishes some material for studying a "mystical group" and it supplies us with an opportunity of discovering a test and authority even for mystical insights

“Most People have a desire to look for the exception instead of the desire to become exceptional.”

John C. Maxwell (1947) American author, speaker and pastor

“It continually manifests an ardent desire to refashion the world which presents itself to waking man, so that it will be as colorful, irregular, lacking in results and coherence, charming, and eternally new as the world of dreams.”

Friedrich Nietzsche (1844–1900) German philosopher, poet, composer, cultural critic, and classical philologist

On Truth and Lie in an Extra-Moral Sense (1873)
Context: The drive toward the formation of metaphors is the fundamental human drive, which one cannot for a single instant dispense with in thought, for one would thereby dispense with man himself. This drive is not truly vanquished and scarcely subdued by the fact that a regular and rigid new world is constructed as its prison from its own ephemeral products, the concepts. It seeks a new realm and another channel for its activity, and it finds this in myth and in art generally. This drive continually confuses the conceptual categories and cells by bringing forward new transferences, metaphors, and metonymies. It continually manifests an ardent desire to refashion the world which presents itself to waking man, so that it will be as colorful, irregular, lacking in results and coherence, charming, and eternally new as the world of dreams. Indeed, it is only by means of the rigid and regular web of concepts that the waking man clearly sees that he is awake; and it is precisely because of this that he sometimes thinks that he must be dreaming when this web of concepts is torn by art.

“Sometimes she did not know what she feared, what she desired: whether she feared or desired what had been or what would be, and precisely what she desired, she did not know.”

Leo Tolstoy book Anna Karenina

Source: Anna Karenina

“In art, immorality cannot exist. Art is always sacred even when it takes for a subject the worst excesses of desire; since it has in view only the sincerity of observation, it cannot debase itself. A true work of art is always noble, even when it translates the stirrings of the brute, for at that moment, the artist who has produced it had as his only objective, the most conscientious rendering possible of the impression he has felt.”

Auguste Rodin (1840–1917) French sculptor

Albert Edward Elsen (1985). The Gates of Hell by Auguste Rodin. p. 131
1930s and later

“We must also point out that it is precisely the metaphysical element of painting that provokes the creation of a physical substance that corresponds to its necessities, a material that permits the metaphysical element to manifest itself in the painted form it desires.”

Giorgio de Chirico (1888–1978) Italian artist

Quote from De Cirico's text 'A DISCOURSE ON THE MATERIAL SUBSTANCE OF PAINT', 1942 http://www.fondazionedechirico.org/wp-content/uploads/541-547Metafisica5_6.pdf, p. 542
1920s and later