“SPAN ID=A_human_being> A human being, then, is never dependent on his own experience alone for his information. Even in a primitive culture he can make use of the experience of his neighbors, friends, and relatives, which they communicate to him by means of language. Therefore, instead of remaining helpless because of the limitations of his own experience and knowledge, instead of having to discover what others have already discovered, instead of explporing the false traits they explored and repeating their errors, he can go on from where they left off.”

Speech https://hansard.parliament.uk/Commons/1979-11-26/debates/294bd8ba-7ace-4fab-9f9c-12be13ccb2ad/CommonsChamber#contribution-6ae9a2db-2e77-4e8d-8630-d90f5f7d8d0e in the House of Commons (26 November 1979)
1970s

Foreword
The Still Centre (1939)
Context: A poet can only write about what is true to his own experience, not about what he would like to be true to his experience.
Poetry does not state truth, it states the conditions within which something felt is true. Even while he is writing about the little portion of reality which is part of his experience, the poet may be conscious of a different reality outside. His problem is to relate the small truth to the sense of a wider, perhaps theoretically known, truth outside his experience.

Source: The War Hound and the World's Pain (1981), Chapter 18 (p. 168)

Source: The Mind of the Maker

The Great Movies II (2005), p. 94
Context: It's said that Chaplin wanted you to like him, but Keaton didn't care. I think he cared, but was too proud to ask. His films avoid the pathos and sentiment of the Chaplin pictures, and usually feature a jaunty young man who sees an objective and goes for it in the face of the most daunting obstacles. Buster survives tornados, waterfalls, avalanches of boulders, and falls from great heights, and never pauses to take a bow: He has his eye on his goal. And his movies, seen as a group, are like a sustained act of optimism in the face of adversity; surprising, how without asking, he earns our admiration and tenderness.
Because he was funny, because he wore a porkpie had, Keaton's physical skills are often undervalued … no silent star did more dangerous stunts than Buster Keaton. Instead of using doubles, he himself doubled for his actors, doing their stunts as well as his own.

"Real Charity"
What Buddhists Believe (1993)

Unsere übertragungen, auch die besten, gehen von einem falschen grundsatz aus, sie wollen das indische, griechische, englische verdeutschen, anstatt das deutsche zu verindischen, vergriechischen, verenglischen. ... Der grundsätzliche irrtum des übertragenden ist, daß er den zufälligen stand der eigenen sprache festhält, anstatt sie durch die fremde gewaltig bewegen zu lassen.
Die Krisis der europäischen Kultur (1917), as translated in Walter Benjamin, Selected Writings: Volume 1, 1913-1926 (1996), pp. 261-262

Emile, or On Education (1762), Book III

"The Imaginative Mind in Art" (1978)