“A proposition is completely logically analyzed if its grammar is made completely clear: no matter what idiom it may be written or expressed in…”

Source: Language (1921), p. 39

Source: Carnap’s intellectual biography (1963), p. 62

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.

2 quotes in Monet's letter to , July 15, 1864; as cited in Mary M. Gedo (2013) Psychoanalytic Perspectives on Art. p. 114-15 / p. 60
1850 - 1870
Context: It seems to me, when I see nature, that I see it ready made, completely written — but then, try to do it! All this proves that one must think of nothing but them [impressions]; it is by dint of observation and reflection that one makes discoveries.

Mutual Aid: A Factor of Evolution (1902)
Context: Mutual aid, even though it may represent one of the factors of evolution, covers nevertheless one aspect only of human relations; that by the side of this current, powerful though it may be, there is, and always has been, the other current — the self-assertion of the individual, not only in its efforts to attain personal or caste superiority, economical, political, and spiritual, but also in its much more important although less evident function of breaking through the bonds, always prone to become crystallized, which the tribe, the village community, the city, and the State impose upon the individual. In other words, there is the self-assertion of the individual taken as a progressive element.
It is evident that no review of evolution can be complete, unless these two dominant currents are analyzed. However, the self-assertion of the individual or of groups of individuals, their struggles for superiority, and the conflicts which resulted therefrom, have already been analyzed, described, and glorified from time immemorial. In fact, up to the present time, this current alone has received attention from the epical poet, the annalist, the historian, and the sociologist. History, such as it has hitherto been written, is almost entirely a description of the ways and means by which theocracy, military power, autocracy, and, later on, the richer classes' rule have been promoted, established, and maintained.

Source: Enemies of Promise (1938), Part 1: Predicament, Ch. 3: The Challenge to the Mandarins (p. 17-18)
Context: The Mandarin style at its best yields the richest and most complete expression of the English language. It is the diction of Donne, Browne, Addison, Johnson, Gibbon, de Quincey, Landor, Carlyle and Ruskin as opposed to that of Bunyan, Dryden, Locke, Defoe, Cowper, Cobbett, Hazlitt, Southey and Newman. It is characterized by long sentences with many dependent clauses, by the use of the subjunctive and conditional, by exclamations and interjections, quotations, allusions, metaphors, long images, Latin terminology, subtlety and conceits. Its cardinal assumption is that neither the writer nor the reader is in a hurry, that both are possessed of a classical education and a private income. It is Ciceronian English.

Sita Ram Goel quoted in S. Talageri, The Aryan Invasion Theory and Indian Nationalism (1993)

Un Art de Vivre (The Art of Living) (1939), The Art of Friendship

Thoughts about the Bulgarian language (1858)