Most contemporary novels are not really "written." They obtain what reality they have largely from an accurate rendering of the noises that human beings currently make in their daily simple needs of communication; and what part of a novel is not composed of these noises consists of a prose which is no more alive than that of a competent newspaper writer or government official. A prose that is altogether alive demands something of the reader that the ordinary novel-reader is not prepared to give.
Individual; that means he has his own special way to communicate, which creates the form of him. In the information age, this expression and communication has become so different.
We live in an age where there is both more expression and more self-censorship than existed even a decade ago. Alas, laws have immunized internet carriers from many of the usual rules that govern public dialogue. Rights must always stay ahead of technology to assure that constitutional protections apply to all forms of communication.
The great poet makes us feel our own wealth, and then we think less of his compositions. His best communication to our mind is to teach us to despise all he has done.
For it is probable that when people talk aloud, the selves (of which there may be more than two thousand) are conscious of disserverment, and are trying to communicate but when communication is established there is nothing more to be said.
All religions bear traces of the fact that they arose during the intellectual immaturity of the human race - before it had learned the obligations to speak the truth. Not one of them makes it the duty of its god to be truthful and understandable in his communications.
We advance in years somewhat in the manner of an invading army in a barren land; the age that we have reached, as the saying goes, we but hold with an outpost, and still keep open communications with the extreme rear and first beginnings of the march.
Manners or etiquette ('accessibility, affability, politeness, refinement, propriety, courtesy, and ingratiating and captivating behavior') call for no large measure of moral determination and cannot, therefore, be reckoned as virtues. Even though manners are no virtues, they are a means of developing virtue.... The more we refine the crude elements in our nature, the more we improve our humanity and the more capable it grows of feeling the driving force of virtuous principles.
[Raphael's] great superiority is due to the instinctive sense which, in him, seems to desire to shatter form. Form is, in his figures, what it is in ourselves, an interpreter for the communication of ideas and sensations, an exhaustless source of poetic inspiration. Every figure is a world in itself, a portrait of which the original appeared in a sublime vision, in a flood of light, pointed to by an inward voice, laid bare by a divine finger which showed what the sources of expression had been in the whole past life of the subject.