The good fighters of old first put themselves beyond the possibility of defeat, and then waited for an opportunity of defeating the enemy. To secure ourselves against defeat lies in our own hands, but the opportunity of defeating the enemy is provided by the enemy himself. Thus the good fighter is able to secure himself against defeat, but cannot make certain of defeating the enemy.
The difference between architecture and building is that the former expresses an idea, while the latter is merely a structure built on economical principles. The value of matter depends solely on its capacities of expressing ideas.
Those who either from imprudence or want of sagacity avoid doing so, are always overwhelmed with servitude and poverty; for faithful servants are always servants, and honest men are always poor; nor do any ever escape from servitude but the bold and faithless, or from poverty, but the rapacious and fraudulent.
As for borrowing Mr. Whistler's ideas about art, the only thoroughly original ideas I have heard him express have had reference to his own superiority as a painter over painters greater than himself.
By all means they try to hold me secure who love me in this world. But it is otherwise with thy love which is greater than theirs, and thout keepst me free. Lest I forgot them they never venture to leave me alone. But day passes by after day and thou art not seen. If I call not thee in my prayers, if I keep not thee in my heart, thy love for me still waits for my love.
One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.