The relative size of your force as against that of your adversary is by itself of no consequence. What controls is the relative size of your force at the point where you join in battle. You can strike with the few and be many if you strike your adversary in his gaps. Seek out places where the defense is not strict, the place not tightly guarded, the generals weak, the troops disorderly, the supplies are scarce and the forces are isolated.
I am damnably sick of Italy, Italian and Italians, outrageously, illogically sick.... I hate to think that Italians ever did anything in the way of art.... What did they do but illustrate a page or so of the New Testament! They themselves think they have a monopoly in the line. I am dead tired of their bello and bellezza.
The perennial architectural debate has always been, and will continue to be, about art versus use, visions versus pragmatism, aesthetics versus social responsibility. In the end, these unavoidable conflicts provide architecture's essential and productive tensions; the tragedy is that so little of it rises above the level imposed by compromise, and that this is the only work most of us see and know.
Drama is the most difficult of all arts. In it two things are to be satisfied - first, the ears, and second, the eyes. To paint a scene, if one thing be painted, it is easy enough; but to paint different things and yet to keep up the central interest is very difficult. Another difficult thing is stage - management, that is, combining different things in such a manner as to keep the central interest intact.
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.
O good old man, how well in thee appears The constant service of the antique world, When service sweat for duty, not for meed! Thou art not for the fashion of these times, Where none will sweat but for promotion, And having that do choke their service up Even with the having. . . .
In time truth and science and nature will adapt themselves to art. Things will happen logically, and the villain be discomfited instead of being elected to the board of directors. But in the meantime fiction must not only be divorced from fact, but must pay alimony and be awarded custody of the press despatches.
It is with artworks as it is with wine: it is much better when we do not need either one, when we stick with water, and when out of our own inner fire, the inner sweetness of our own soul, we turn the water over and over again into wine ourselves.
But thou art fair, and at thy birth, dear boy,
Nature and Fortune join'd to make thee great:
Of Nature's gifts thou mayst with lilies boast,
And with the half-blown rose; but Fortune, O!
Whatever man may stand, whatever he may do, to whatever he may apply his hand - in agriculture, in commerce, and in industry, or his mind, in the world of art, and science - he is, in whatsoever it may be, constantly standing before the face of God. He is employed in the service of his God. He has strictly to obey his God. And above all, he has to aim at the glory of his God.
Music is the purest form of art, and therefore the most direct expression of beauty, with a form and spirit which is one and simple, and least encumbered with anything extraneous. We seem to feel that the manifestation of the infinite in the finite forms of creation is music itself, silent and visible.
(Title: To the Moon) Art thou pale for weariness Of climbing heaven, and gazing on the earth, Wandering companionless Among the stars that have a different birth,-- And ever-changing, like a joyless eye That finds no object worth its constancy?