“The built house seems all so fit,- everyway as it should be, as if it came there by its own law and the nature of things,- we forget the rude disorderly quarry it was shaped from. The very perfection of the house, as if Nature herself had made it, hides the builder's merit. Perfect, more perfect than any other man, we may call Shakspeare in this: he discerns, knows as by instinct, what condition he works under, what his materials are, what his own force and its relation to them is. It is not a transitory glance of insight that will suffice; it is deliberate illumination of the whole matter; it is a calmly seeing eye; a great intellect, in short. How a man, of some wide thing that he has witnessed, will construct a narrative, what kind of picture and delineation he will give of it,- is the best measure you could get of what intellect is in the man. Which circumstance is vital and shall stand prominent; which unessential, fit to be suppressed; where is the true beginning, the true sequence and ending? To find out this, you task the whole force of insight that is in the man. He must understand the thing; according to the depth of his understanding, will the fitness of his answer be.”

— Thomas Carlyle

1840s, Heroes and Hero-Worship (1840), The Hero as Poet

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Thomas Carlyle 481

Scottish philosopher, satirical writer, essayist, historian… 1795–1881

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“Nature has willed that man should, by himself, produce everything that goes beyond the mechanical ordering of his animal existence, and that he should partake of no other happiness or perfection than that which he himself, independently of instinct, has created by his own reason.”

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“To understand political power aright, and derive from it its original, we must consider what estate all men are naturally in, and that is, a state of perfect freedom to order their actions, and dispose of their possessions and persons as they think fit, within the bounds of the law of Nature, without asking leave or depending upon the will of any other man.”

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“There is a law universal in nature, tending to render every reproductive being the best possible suited to its condition that its kind, or organized matter, is susceptible of, which appears intended to model the physical and mental or instinctive powers to their highest perfection and to continue them so. This law sustains the lion in his strength, the hare in her swiftness, and the fox in his wiles. As nature, in all her modifications of life, has a power of increase far beyond what is needed to supply the place of what falls by Time's decay, those individuals who possess not the requisite strength, swiftness, hardihood, or cunning, fall prematurely without reproducing — either a prey to their natural devourers, or sinking under disease, generally induced by want of nourishment, their place being occupied by the more perfect of their own kind, who are pressing on the means of subsistence.”

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“Or indeed we may say again, it is in what I called Portrait-painting, delineating of men and things, especially of men, that Shakspeare is great. All the greatness of the man comes out decisively here. It is unexampled, I think, that calm creative perspicacity of Shakspeare. The thing he looks at reveals not this or that face of it, but its inmost heart and generic secret: it dissolves itself as in light before him, so that he discerns the perfect structure of it. Creative, we said: poetic creation, what is this too but seeing the thing sufficiently? The word that will describe the thing, follows of itself from such clear intense sight of the thing. And is not Shakspeare's morality, his valour, candour, tolerance, truthfulness; his whole victorious strength and greatness, which can triumph over such obstructions, visible there too? Great as the world!”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1840s, Heroes and Hero-Worship (1840), The Hero as Poet

“The natural world has its laws, and no man must interfere with them in the way of presentment any more than in the way of use; but they themselves may suggest laws of other kinds, and man may, if he pleases, invent a little world of his own, with its own laws; for there is that in him which delights in calling up new forms — which is the nearest, perhaps, he can come to creation. When such forms are new embodiments of old truths, we call them products of the Imagination; when they are mere inventions, however lovely, I should call them the work of the Fancy: in either case, Law has been diligently at work.”

George MacDonald (1824–1905) Scottish journalist, novelist

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“Though a man has all other perfections, and wants discretion, he will be of no great consequence in the world; but if he has this single talent in perfection, and but a common share of others, he may do what he pleases in his station of life.”

Joseph Addison (1672–1719) politician, writer and playwright

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“Thus the universe is to be conceived as attaining the active self-expression of its own variety of opposites of its own freedom and its own necessity, of its own multiplicity and its own unity, of its own imperfection and its own perfection. All the opposites are elements in the nature of things, and are incorrigibly there. The concept of God is the way in which we understand this incredible fact that what cannot be, yet is.”

Alfred North Whitehead (1861–1947) English mathematician and philosopher

1920s, Process and Reality: An Essay in Cosmology (1929)

“We can see that in putting the question "what is man?" what we mean is: what can man become? That is, can man dominate his own destiny, can he "make himself," can he create his own life? We maintain therefore that man is a process and, more exactly, the process of his actions. If you think about it, the question itself "what is man?" is not an abstract or "objective" question. It is born of our reflection about ourselves and about others, and we want to know, in relation to what we have thought and seen, what we are and what we can become; whether we really are, and if so to what extent, "makers of our own selves," of our life and of our destiny. And we want to know this "today," in the given conditions of today, the conditions of our daily life, not of any life or any man”

Antonio Gramsci (1891–1937) Italian writer, politician, theorist, sociologist and linguist

Selections from the Prison Notebooks (1971).

“The artist's mission is to give shape to what is eternal in nature, to reveal its inherent beauty; he sublimates the shapes of the human body. He shows an enlarged and simplified nature, liberated from all the details, which do not tell us anything. He shows us a work according to the size of his own experience, of his heart and his spirit.”

Ferdinand Hodler (1853–1918) Swiss artist

Quote from a speech of Ferdinand Hodler: 'The artist's mission' (held in Freibourg in 1897), first published in 1923 in Zurich; as cited by Paul Westheim in Confessions of Artists - Letters, Memoirs and Observations of Contemporary Artists, Propyläen Publishing House, Berlin, 1925

“Whoever has received from the divine bounty a large share of temporal blessings, whether they be external and material, or gifts of the mind, has received them for the purpose of using them for the perfecting of his own nature, and, at the same time, that he may employ them, as the steward of God's providence, for the benefit of others.”

Pope Leo XIII Rerum Novarum

Rerum novarum (1891), p. 22

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