“He was a genius who could not only transcend all theoretical boundaries of a technique, but verily transport any category of listener to a sublime realm. No wonder, he had among his fans as many votaries of Hindustani style as its Carnatic counterpart.”

V. K. Subramanian (2013), in "101 Mystics of India", p, 181
About Swathi Thirunal

Source: The Warrior Within : The Philosophies of Bruce Lee (1996), p. 108-109
Context: The Three Stages of Cultivation — The first is the primitive stage. It is a stage of original ignorance in which a person knows nothing about the art of combat. In a fight, he simply blocks and strikes instinctively without a concern for what is right and wrong. Of course, he may not be so-called scientific, but, nevertheless, being himself, his attacks or defenses are fluid. The second stage — the stage of sophistication, or mechanical stage — begins when a person starts his training. He is taught the different ways of blocking, striking, kicking, standing, breathing, and thinking — unquestionably, he has gained the scientific knowledge of combat, but unfortunately his original self and sense of freedom are lost, and his action no longer flows by itself. His mind tends to freeze at different movements for calculations and analysis, and even worse, he might be called “intellectually bound” and maintain himself outside of the actual reality. The third stage — the stage of artlessness, or spontaneous stage — occurs when, after years of serious and hard practice, the student realizes that after all, gung fu is nothing special. And instead of trying to impose on his mind, he adjusts himself to his opponent like water pressing on an earthen wall. It flows through the slightest crack. There is nothing to try to do but try to be purposeless and formless, like water. All of his classical techniques and standard styles are minimized, if not wiped out, and nothingness prevails. He is no longer confined.

"Platonic Justice", Ethics, April 1938. Translated by Glenn Negley from "Die platonische Gerechtigkeit," Kantstudien, 1933. (The author corrected the translation in 1957), published in What is Justice? (1957)

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

Source: Monetary Equilibrium (1939), p. 32

Source: Tarzan of the Apes (1912), Ch. 12 : Man's Reason

29 June 1833
Table Talk (1821–1834)

Source: The Tales of Alvin Maker, Alvin Journeyman (1995), Chapter 14.

Sunni Hadith
Source: Ahmad, al-Musnad 14:331 #18859, al-Hakim, al-Mustadrak 4:421-422, al-Tabarani, al-Mu`jam al-Kabir 2:38 #1216, al-Haythami 6:218-219, al-Bukhari, al-Tarikh al-Kabir 2:81 and al-Saghir 1:306, Ibn `Abd al-Barr, al-Isti`ab 8:170, al-Suyuti, al-Jami` al-Saghir http://www.sunnah.org/msaec/articles/Constantinople.htm
Source: https://books.google.com/books?id=XAYXAQAAIAAJ] and in [Emiralioglu, Pinar, Geographical Knowledge and Imperial Culture in the Early Modern Ottoman Empire, 2014, Ashgate Publishing, 978-1-4724-1533-2, 61, https://books.google.com/books?id=Ot2HQMwah_gC&pg=PA61]. According with Emiralioglu, it is "disputable if the hadith is accurate (sahih)".