“We are tired who follow after
Phantasy and truth that flies:
You with only look and laughter
Stain our hearts with richest dyes.”

St. 18
To a Skylark (1821)
Source: The Complete Poems

Iraq? They just need to think it through (2007)
Context: What happened was, 2,400 years ago, the Greek Gang of Three, by whom I mean Aristotle, Plato and Socrates, started to think based on analysis, judgment and knowledge. At the same time, church people, who ran the schools and universities, wanted logic to prove the heretics wrong. As a result, design and perceptual thinking was never developed. People assumed philosophers were doing it and so they blocked anyone else from doing it. But philosophers were not. Philosophers may look out at the world from a stained-glass window, but after a while they stop looking at the world and start looking at the stained glass.

A Relíquia (1887); The Relic, trans. Margaret Jull Costa (1994), epigraph.

Christmas in India, Stanza 5.
Departmental Ditties and other Verses (1886)

Quote in 'Culture: Caspar D. Friedrich and the Wasteland', by Gjermund E. Jansen in Bits of News (3 March 2005) http://www.bitsofnews.com/content/view/154/42/
Variant translation: The heart is the only true source of art, the language of a pure, child-like soul. Any creation not sprung from this origin can only be artifice. Every true work of art is conceived in a hallowed hour and born in a happy one, from an impulse in the artist's heart, often without his knowledge. (as quoted in the article 'Caspar David Friedrich's Medieval Burials', Karl Whittington - http://www.19thc-artworldwide.org/spring12/whittington-on-caspar-david-friedrichs-medieval-burials)
undated
Context: The pure, frank sentiments we hold in our hearts are the only truthful sources of art. A painting which does not take its inspiration from the heart is nothing more than futile juggling. All authentic art is conceived at a sacred moment and nourished in a blessed hour; an inner impulse creates it, often without the artist being aware of it.

Song 22: "Against Pride in Clothes".
1710s, Divine Songs Attempted in the Easy Language of Children (1715)

Children of Gods, Scions of Apes
The Vision: Reflections on the Way of the Soul (1994)

33
The Sublime Object of Ideology (1989)

Tragedy and the Common Man (1949)
Context: The possibility of victory must be there in tragedy. Where pathos rules, where pathos is finally derived, a character has fought a battle he could not possibly have won. The pathetic is achieved when the protagonist is, by virtue of his witlessness, his insensitivity, or the very air he gives off, incapable of grappling with a much superior force.
Pathos truly is the mode for the pessimist. But tragedy requires a nicer balance between what is possible and what is impossible. And it is curious, although edifying, that the plays we revere, century after century, are the tragedies. In them, and in them alone, lies the belief — optimistic, if you will, in the perfectibility of man.
It is time, I think, that we who are without kings, took up this bright thread of our history and followed it to the only place it can possibly lead in our time — the heart and spirit of the average man.