“Adversity presents itself in various forms from mild to the intensive extreme. Therefore, each form necessitates a different approach that matches or exceeds the intensity in the moment.”

The Concept of the Political (1927)

Beware of Pity (1939)

1970's
Source: Movements in art since 1945, Edward Lucie-Smith, Thames and Hudson 1975, p. 153

The Law of Mind (1892)

The Race of My Life: An Autobiography Milkha Singh (2013)

Sādhanā : The Realisation of Life http://www.spiritualbee.com/spiritual-book-by-tagore/ (1916)
Context: In love all the contradictions of existence merge themselves and are lost. Only in love are unity and duality not at variance. Love must be one and two at the same time.
Only love is motion and rest in one. Our heart ever changes its place till it finds love, and then it has its rest. But this rest itself is an intense form of activity where utter quiescence and unceasing energy meet at the same point in love.
In love, loss and gain are harmonised. In its balance-sheet, credit and debit accounts are in the same column, and gifts are added to gains. In this wonderful festival of creation, this great ceremony of self-sacrifice of God, the lover constantly gives himself up to gain himself in love. Indeed, love is what brings together and inseparably connects both the act of abandoning and that of receiving.

Myth and Reality (1963)
Context: Myth is an extremely complex cultural reality, which can be approached and interpreted from various and complementary viewpoints.
Speaking for myself, the definition that seems least inadequate because most embracing is this: Myth narrates a sacred history; it relates an event that took place in primordial Time, the fabled time of the "beginnings." In other words myth tells how, through the deeds of Supernatural Beings, a reality came into existence, be it the whole of reality, the Cosmos, or only a fragment of reality — an island, a species of plant, a particular kind of human behavior, an institution. Myth, then, is always an account of a "creation"; it relates how something was produced, began to be. Myth tells only of that which really happened, which manifested itself completely. The actors in myths are Supernatural Beings. They are known primarily by what they did in the transcendent times of the "beginnings." hence myths disclose their creative activity and reveal the sacredness (or simply the "supernaturalness") of their works. In short, myths describe the various and sometimes dramatic breakthroughs of the sacred (or the "supernatural") into the World. It is this sudden breakthrough of the sacred that really establishes the World and makes it what it is today. Furthermore, it is as a result of the intervention of Supernatural Beings that man himself is what he is today, a mortal, sexed, and cultural being.

X magazine (1959-62)
Context: The Art of painting is itself an intensely personal activity. It may be labouring the obvious to say so but it is too little recognised in art journalism now that a picture is a unique and private event in the life of the painter: an object made alone with a man and a blank canvas... A real painting is something which happens to the painter once in a given minute; it is unique in that it will never happen again and in this sense is an impossible object. It is judged by the painter simply as a success or failure without qualification. And it is something which happens in life not in art: a picture which was merely the product of art would not be very interesting and could tell us nothing we were not already aware of. The old saying, “what you don’t know can’t hurt you”, expresses the opposite idea to that which animates the painter before his canvas. It is precisely what he does not know which may destroy him.