“We are now committed to an unqualified art, not illustrating outworn myths or contemporary alibis. One must accept total responsibility for what he executes. And the measure of his greatness will be in the depth of his insight and his courage in realizing his own vision.”

Attributed to Hugo in Old Gods Almost Dead : The 40-year Odyssey of the Rolling Stones (2001), by Stephen Davis, p. 557; but sourced to Illuminations by Arthur Rimbaud in Jaco : The Extraordinary and Tragic Life of Jaco Pastorius (2006) by Bill Milkowski, p. iii
Disputed

Source: Perfume: The Story of a Murderer

Quotes, 1940-1950, Stella Vespertina. (1947)

On Actors and the Art of Acting (Leipzig: Bernhard Tauchnitz, 1875) p. 13

As A Man Thinketh (1902), Visions and Ideals

Beguiled

The Wings of Joy (1997)
Context: The very acceptance of the spiritual life demands enormous courage. This courage is not the courage of a haughty, rough person who will strike others to assert his superiority; it is totally different. This courage is our constant awareness of what we are entering into, of what we are going to become, of what we are going to reveal.

The Aristos (1964)
Context: The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity. <!-- no. 61