No generation is interested in art in quite the same way as any other; each generation, like each individual, brings to the contemplation of art its own categories of appreciation, makes its own demands upon art, and has its own uses for art.
Millions of couples out there practiced the art of sadomasochism every day, without even realizing it. They went to work, came back, complained about everything, insulted their wife or were insulted by her, felt wretched, but were, nonetheless, tightly bound to their own unhappiness, not realizing that all it would take was a single gesture, a final goodbye, to free them from that oppression.
Not by way of the forced and worn formula of Romaticism, but throught the closeness of an imagination that has never broken kinship with nature. Art must accept such gifts, and revaluate the giver.
But where only a free play of our presentational powers is to be sustained, as in the case of pleasure gardens, room decoration, all sorts of useful utensils, and so on, any regularity that has an air of constraint is [to be] avoided as much as possible. That is why the English taste in gardens, or the baroque taste in furniture, carries the imagination's freedom very far, even to the verge of the grotesque, because it is precisely this divorce from any constraint of a rule that the case is posited where taste can show its greatest perfection in designs made by the imagination.
Blow, blow, thou winter wind, Thou art not so unkind As mans ingratitude Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. Heigh-ho sing, heigh-ho unto the green holly Most friendship is feigning, most loving mere folly. Then heigh-ho the holly This life is most jolly. Freeze, freeze, thou bitter sky, That dost not bite so nigh As benefits forgot Though thou the waters warp, Thy sting is not so sharp As friend rememberd not.
When one is young, one venerates and despises without that art of nuances which constitutes the best gain of life, and it is only fair that one has to pay dearly for having assaulted men and things in this manner with Yes and No. Everything is arranged so that the worst of tastes, the taste for the unconditional, should be cruelly fooled and abused until a man learns to put a little art into his feelings and rather to risk trying even what is artificial — as the real artists of life do.
O call not me to justify the wrong, That thy unkindness lays upon my heart, Wound me not with thine eye but with thy tongue, Use power with power, and slay me not by art.
We may distinguish six kinds of terrain, to wit: (1) Accessible ground; (2) entangling ground; (3) temporising ground; (4) narrow passes; (5) precipitous heights; (6) positions at a great distance from the enemy.
On dispersive ground, therefore, fight not. On facile ground, halt not. On contentious ground, attack not. On open ground, do not try to block the enemy's way. On the ground of intersecting highways, join hands with your allies. On serious ground, gather in plunder. In difficult ground, keep steadily on the march. On hemmed-in ground, resort to stratagem. On desperate ground, fight.
Stick to God! Who cares what comes to the body or to anything else! Through the terrors of evil, say-my God, my love! Through the pangs of death, say-my God, my love! Through all the evils under the sun, say-my God, my love! Thou art here, I see Thee. Thou art with me, I feel Thee. I am Thine, take me. I am not of the world's but Thine, leave not then me.