Knowing how to fight made men more bold, because no one fears doing what it seems to him he has learned to do. Therefore, the ancients wanted their citizens to be trained in every warlike action.
Sublime Philosophy! Thou art the patriarch's ladder, reaching heaven; And bright with beckoning angelsbut alas! We see thee, like the patriarch, but in dreams, By the first step, dull slumbering on the earth.
A man must be clothed with society, or we shall feel a certain bareness and poverty, as of a displaced and unfurnished member. He is to be dressed in arts and institutions, as well as in body garments. Now and then a man exquisitely made can live alone, and must; but coop up most men and you undo them.
If we do not wish to fight, we can prevent the enemy from engaging us even though the lines of our encampment be merely traced out on the ground. All we need to do is to throw something odd and unaccountable in his way.
There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard.There are not more than five primary colors, yet in combination they produce more hues than can ever been seen.There are not more than five cardinal tastes, yet combinations of them yield more flavors than can ever be tasted.
Perpetual modernness is the measure of merit, in every work of art; since the author of it was not misled by anything short- livedor local, but abode by real and abiding traits.
If we know that our own men are in a condition to attack, but are unaware that the enemy is not open to attack, we have gone only halfway towards victory. If we know that the enemy is open to attack, but are unaware that our own men are not in a condition to attack, we have gone only halfway towards victory. If we know that the enemy is open to attack, and also know that our men are in a condition to attack, but are unaware that the nature of the ground makes fighting impracticable, we have still gone only halfway towards victory.
Art photography, although long since legitimized by all the conventional discourses of fine art, seems destined perpetually to recapitulate all the rituals of the arriviste. Inasmuch as one of those rituals consists of the establishment of suitable ancestry, a search for distinguished bloodlines, it inevitably happens that photographic history and criticism are more concern with notions of tradition and continuity than with those of rupture and change.