Viewed freely, the English language is the accretion and growth of every dialect, race, and range of time, and is both the free and compacted composition of all.
[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.
Reconnaissance memoranda should always be written in the simplest style and be purely descriptive. They should never stray from their objective by introducing extraneous ideas.
We cannot describe the natural history of the soul, but we know that it is divine. All things are known to the soul. It is not to be surprised by any communication. Nothing can be greater than it, let those fear and those fawn who will. The soul is in her native realm; and it is wider than space, older than time, wide as hope, rich as love. Pusillanimity and fear she refuses with a beautiful scorn; they are not for her who putteth on her coronation robes, and goes out through universal love to universal power.
Air power can either paralyze the enemy's military action or compel him to devote to the defense of his bases and communications a share of his straitened resources far greater that what we need in the attack.
One should not wrongly reify 'cause' and 'effect,' as the natural scientists do (and whoever, like them, now 'naturalizes' in his thinking), according to the prevailing mechanical doltishness which makes the cause press and push until it 'effects' its end; one should use 'cause' and 'effect' only as pure concepts, that is to say, as conventional fictions for the purpose of designation and communication-not for explanation.
The purest lesson our era has taught is that man, at his highest, is an individual, single, isolate, alone, in direct soul-communication with the unknown God, which prompts within him.
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.
The future of cinema and communications is all about collaboration and the decentralized control of storytelling. We're all part of the story; we can all contribute and participate.
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair.
The words of language, as they are written or spoken, do not seem to play any role in my mechanism of thought. The physical entities which seem to serve as elements in thought are certain signs and more or less clear images.