I see it only that thyself is here, and art and nature, hope and fate, friends, angels and the supreme being shall not be absent from the chamber where thou sittest.
Thinking is seeing.... Every human science is based on deduction, which is a slow process of seeing by which we work up from the effect to the cause; or, in a wider sense, all poetry like every work of art proceeds from a swift vision of things.
The bulk of mankind believe in two gods. They are under one dominion here in the house, as friend and parent, in social circles, in letters, in art, in love, in religion; but in mechanics, in dealing with steam and climate, in trade, in politics, they think they come under another.
When strong, avoid them. If of high morale, depress them. Seem humble to fill them with conceit. If at ease, exhaust them. If united, separate them. Attack their weaknesses. Emerge to their surprise.
When he utilizes combined energy, his fighting men become as it were like unto rolling logs or stones. For it is the nature of a log or stone to remain motionless on level ground, and to move when on a slope; if four-cornered, to come to a standstill, but if round-shaped to go rolling down.
The business of every art is to bring something into existence, and the practice of an art involves the study of how to bring into existence something which is capable of having such an existence and has its efficient cause in the maker and not in itself.
We therefore work, not for the work's sake, but for money—and money is supposed to get us what we really want in our hours of leisure and play. In the United States even poor people have lots of money compared with the wretched and skinny millions of India, Africa, and China, while our middle andupper classes (or should we say "income groups") are as prosperous as princes. Yet, by and large, they have but slight taste for pleasure. Money alone cannot buy pleasure, though it can help. For enjoyment is an art and a skill for which we have little talent or energy.
When settling disputes between his subjects, he should ensure that his judgement is irrevocable; and he should be so regarded that no one ever dreams of trying to deceive or trick him.
The motive of art comes to us not from what exists, but from the notion that there is something higher, something nobler, something richer, and that what exists corresponds only partially to all of this.
All the arts, which have a tendency to raise man in the scale of being, have a certain common band of union, and are connected, if I may be allowed to say so, by blood-relationship with one another.
The book, the college, the school of art, the institution of any kind, stop with some past utterance of genius. . . . They look backward and not forward. But genius looks forward: the eyes of man are set in his forehead, not in his hindhead: man hopes: genius creates. Whatever talents may be, if the man create not, the pure efflux of the Deity is not his; - cinders and smoke there may be, but not yet flame.
The same thing may have all the kinds of causes, e.g. the moving cause of a house is the art or the builder, the final cause is the function it fulfils, the matter is earth and stones, and the form is the definitory formula.