Ordinary people waited till life disclosed to them its secrets, but to the few, to the elect, the mysteries of life were revealed before the veil was drawn away. Sometimes this was the effect of art, and chiefly of the art of literature, which dealt immediately with the passions and the intellect.
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.
I don't think it's worth discussing new directions in the context of Chinese art - there were no old directions, either. Chinese art has never had any clear orientation.
Our leading men are not of much account and never have been, but the average of the people is immense, beyond all history. Sometimes I think in all departments, literature and art included, that will be the way our superiority will exhibit itself. We will not have great individuals or great leaders, but a great average bulk, unprecedentedly great.
The Kafka paradox: art depends on truth, but truth, being indivisable, cannot know itself: to tell the truth is to lie. thus the writer is the truth, and yet when he speakes he lies.
Some imaginations help to break the bondage of the rest. The whole universe is imagination, but one set of imaginations will cure another set. Those that tell us that there is sin and sorrow and death in the world are terrible. But the other set - thou art holy, there is God, there is no pain - these are good, and help to break the bondage of the others. The highest imagination that can break all the links of the chain is that of the Personal God.
No one accuses the Gunner of maudlin affection for anything except his beasts and his weapons. He hasn't the time. He serves at least three jealous gods—his horse and all its saddlery and harness; his gun, whose least detail of efficiency is more important than men's lives; and, when these have been attended to, the never-ending mystery of his art commands him.