In general I do not draw well with literary men -- not that I dislike them but I never know what to say to them after I have praised their last publication.
The reason is that nature has so created men that they are able to desire everything but are not able to attain everything: so that the desire being always greater than the acquisition, there results discontent with the possession and little satisfaction to themselves from it. From this arises the changes in their fortunes; for as men desire, some to have more, some in fear of losing their acquisition, there ensues enmity and war, from which results the ruin of that province and the elevation of another.
The secret of the enjoyment of pleasure is to know when to stop. Man doesn't learn this secret easily, but to shun pleasure altogether is cowardly avoidance of a difficult job. For we have to learn the art of enjoying things BECAUSE they are impermanent.
Art is not, as the metaphysicians say, the manifestation of some mysterious idea of beauty or God; it is not, as the aesthetical physiologists say, a game in which man lets off his excess of stored-up energy; it is not the expression of man's emotions by external signs; it is not the production of pleasing objects; and, above all, it is not pleasure; but it is a means of union among men, joining them together in the same feelings, and indispensable for the life and progress toward well-being of individuals and of humanity.
In your deliberations, when seeking to determine the military conditions, let them be made the basis of a comparison, in this wise: which of the two generals has the most ability? on which side is Discipline most rigorously enforced? which army is stronger? on which side are the officers and men more highly trained? in which army is there the greater constancy both in reward and punishment?
It makes him contemptible to be considered fickle, frivolous, effeminate, mean-spirited, irresolute, from all of which a prince should guard himself as from a rock; and he should endeavour to show in his actions greatness, courage, gravity, and fortitude; and in his private dealings with his subjects let him show that his judgments are irrevocable, and maintain himself in such reputation that no one can hope either to deceive him or to get round him.
The art of war teaches us to rely not on the likelihood of the enemy's not coming, but on our own readiness to receive him; not on the chance of his not attacking, but rather on the fact that we have made our position unassailable.
That's what education should be," I said, "the art of orientation. Educators should devise the simplest and most effective methods of turning minds around. It shouldn't be the art of implanting sight in the organ, but should proceed on the understanding that the organ already has the capacity, but is improperly aligned and isn't facing the right way.
... art approaches as a saving sorceress, expert at healing. She alone knows how to turn these nauseous thoughts about the horror or absurdity of existence into notions with which one can live.
By altering his arrangements and changing his plans, the skillful general keeps the enemy without definite knowledge. By shifting his camp and taking circuitous routes, he prevents the enemy from anticipating his purpose. At the critical moment, the leader of an army acts like one who has climbed up a height and then kicks away the ladder behind him.