the ordinary man's experience is chaotic, irregular, fragmentary. [He] falls in love or reads Spinoza, and these two experiences have nothing to do with each other, or with the noise of the typewriter, or the smell of cooking; in the mind of the poet these experiences are always forming new wholes
To the man who loves art for its own sake, it is frequently in its least important and lowliest manifestations that the keenest pleasure is to be derived.
The General who in advancing does not seek personal fame, and in withdrawing is not concerned with avoiding punishment, but whose only purpose is to protect the people and promote the best interests of his sovereign, is the precious jewel of the state.
Behind all art is an element of desire...Love of life, of existence, love of another human being, love of human beings is in some way behind all art — even the most angry, even the darkest, even the most grief-stricken, and even the most embittered art has that element somewhere behind it. Because how could you be so despairing, so embittered, if you had not had something you loved that you lost?
Enjoyment is an art and a skill for which we have little talent or energy... your entire education has has deprived you of this capacity because it was preparing you for the future, instead of showing you how to be alive now.
No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead.
The web, then, or the pattern, a web at once sensuous and logical, an elegant and pregnant texture: that is style, that is the foundation of the art of literature.
Yet again, the more you strive for some kind of perfection or mastery—in morals, in art or in spirituality—the more you see that you are playing a rarified and lofty form of the old ego-game, and that your attainment of any height is apparent to yourself and to others only by contrast with someone else's depth or failure.
The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula for that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.