[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.
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.
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.
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.
When a man no longer confuses himself with the definition of himself that others have given him, he is at once universal and unique. He is universal by virtue of the inseparability of his organism from the cosmos. He is unique in that he is just this organism and not any stereotype of role, class, or identity assumed for the convenience of social communication.
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.
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.