But man postpones or remembers; he does not live in the present, but with reverted eye laments the past, or, heedless of the riches that surround him, stands on tiptoe to foresee the future. He cannot be happy and strong until he too lives with nature in the present, above time.
The ultimate truth is like the flavour of an apple which you can't see with the eye or hear with the ear. The only way to experience it is to put the teachings into practice. Once you taste it, you are no longer in any doubt about its flavour and you do not have to ask anyone else. The problem is solved.
There are flood and drought over the eyes and in the mouth, dead water and dead sand contending for the upper hand. The parched eviscerate soil gapes at the vanity of toil, laughs without mirth. This is the death of the earth.
With throbbing veins and burning skin, eyes wild and heavy, thoughts hurried and disordered, he felt as though the light were a reproach, and shrunk involuntarily from the day as if he were some foul and hideous thing.
In those days it was possible for a Greek to flee from an over-abundant reality as though it were but the tricky scheming off the imagination-and to flee, not like Plato into the land of eternal ideas, into the workshop off the world-creator, feasting one's eyes on the unblemished unbreakable archetypes, but into the rigor mortis off the coldest emptiest concept off all, the concept of being.
Design in art, is a recognition of the relation between various things, various elements in the creative flux. You can't invent a design. You recognize it, in the fourth dimension. That is, with your blood and your bones, as well as with your eyes.
In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.
Stahr's eyes and Kathleen's met and tangled. For an instant they made love as no one ever dares to do after. Their glance was slower than an embrace, more urgent than a call.
TELESCOPE, n. A device having a relation to the eye similar to that of the telephone to the ear, enabling distant objects to plague us with a multitude of needless details. Luckily it is unprovided with a bell summoning us to the sacrifice.
There is the fear that we shan't prove worthy in the eyes of someone who knows us at least as well as we know ourselves. That is the fear of God. And there is the fear of Man -fear that men won't understand us and we shall be cut of from them.
The greatest thing by far is to have a command of metaphor. This alone cannot be imparted by another; it is the mark of genius, for to make good metaphors implies an eye for resemblances.
We accepted a definition of ourselves which confined the self to the source and to the limitations of conscious attention. This definition is miserably insufficient, for in fact we know how to grow brains and eyes, ears and fingers, hearts and bones, in just the same way that we know how to walk and breathe, talk and think - only we can't put it into words. Words are too slow and too clumsy for describing such things, and conscious attention is too narrow for keeping track of all their details.
And in vain does the dreamer rummage about in his old dreams, raking them over as though they were a heap of cinders, looking into these cinders for some spark, however tiny, to fan it into a flame so as to warm his chilled blood by it and revive in it all that he held so dear before, all that touched his heart, that made his blood course through his veins, that drew tears from his eyes, and that so splendidly deceived him!
People forget that it is the eye which makes the horizon, and the rounding mind's eye which makes this or that man a type or representative of humanity with the name of hero or saint.