The Virtuoso (1737), stanza x, lines 89–90
Source: Crossways (1889), The Song Of The Happy Shepherd, l. 1–5.
“Why should we defer our joys?
Fame and rumour are but toys.”
Song, To Celia, lines 1-10.
Compare Catullus, Carmina V
The Works of Ben Jonson, First Folio (1616), The Forest
Context: Come my Celia, let us prove,
While we can, the sports of love;
Time will not be ours forever,
He at length our good will sever.
Spend not then his gifts in vain;
Suns that set may rise again,
But if once we lose this light,
'Tis with us perpetual night.
Why should we defer our joys?
Fame and rumour are but toys.
“Painting is first of all the art of imitation, and not the servant of some imaginary 'purity”
as cited on Wikipedia: Maurice Denis https://en.wikipedia.org/wiki/Maurice_Denis - reference [42]
Nouvelles théories sur l'art moderne..., 1922
La scienza conduce a grandi conquiste, che, giustamente, colmano di gioia chi cerca la verità, ma, se approfondita, ci insegna che in altre fonti occorre cercare la verità ultima e trovare le risposte alle domande esistenziali sul senso della vita e sul mistero della morte.
Knowing the universe. For whom? at the XXVII edition of the “Meeting for Friendship Among Peoples”, Rimini meeting 2006, August 23, 2006.
“Joy is deeper than sorrow, for all joy seeks eternity.”
Academy of Achievement interview (2006)
Context: In our culture, we think that happy and color is trivial, that black and darkness is deeper. But Nietzsche said — which is a line that I firmly believe — "Joy is deeper than sorrow, for all joy seeks eternity." And if you see Grendel, you'll see, as he's on the edge of the abyss, ready to leap to his death, he sings, "Is it joy I feel? Is it joy I feel?" And it's so, so moving. You can have a lot of different explanations for the ending of that opera, but there is something so palpable that you will feel when he sings those lines.
Letter to "The Keicomolo"—Kleiner, Cole, and Moe (October 1916), in Selected Letters I, 1911-1924 edited by August Derleth and Donald Wandrei, pp. 26-27
Non-Fiction, Letters
Context: Frankly, I cannot conceive how any thoughtful man can really be happy. There is really nothing in the universe to live for, and unless one can dismiss thought and speculation from his mid, he is liable to be engulfed by the very immensity of creation. It is vastly better that he should amuse himself with religion, or any other convenient palliative to reality which comes to hand. … There is much relief from the burden of life to be derived from many sources. To the man of high animal spirits, there is the mere pleasure of being alive; the Joi de vivre, as our Gallick friends term it. To the credulous there is religion and its paradisal dreams. To the moralist, there is a certain satisfaction in right conduct. To the scientist there is the joy in pursuing truth which nearly counteracts the depressing revelations of truth. To the person of cultivated taste, there are the fine arts. To the man of humour, there is the sardonic delight of spying out pretensions and incongruities of life. To the poet there is the ability and privilege to fashion a little Arcadia in his fancy, wherein he may withdraw from the sordid reality of mankind at large. In short, the world abounds with simple delusions which we may call "happiness", if we be but able to entertain them.
Nano Reid (1950)
Context: Each work of art is a complete entity existing in its own right and by its own particular logic. It has its own reality and is independent of any particular creed or theory as a justification for its existence. This is not to say that artistic development may be considered as a self-sufficient process unrelated to social reality, because art is always concerned with the deeper and fundamentally human things; and any consideration of art is a consideration of humanity. But it does mean that we cannot apply the principles and logic of the past to a new work of art and hope to understand it. The eternal verities with which the artist is concerned do not change, but our conception of art does, as does our conception of form, and these must be extended if we are to understand fully and basically the meaning of a new work. It is a complex matter, but the elemental principles are always simple. The mass of modern art theory that developed around the fantastic changes of this century's painting can be largely ignored; only one or two fundamental principles are important. Probably most important in the new aesthetics from the painter's point of view was the statement of Degas, seventy years ago, in his unheeded advice to the Impressionists. He spoke then of a "Transformation in which imagination collaborates with memory... It is very well to copy what one sees; it is much better to draw what one has retained in one's memory”…This attitude, and all it implies, underlines the work of practically every painter of importance since 1900. Ultimately, it meant that the day of stage props and models was gone, and that imagination was recognised as the most important quality in an artist.
Description: from the The Dhammapada
Source: The Conspiracy Against the Human Race: A Contrivance of Horror (2010)
