The secret of the enjoyment of pleasure is to know when to stop. Man doesn't learn this secret easily, but to shun pleasure altogether is cowardly avoidance of a difficult job. For we have to learn the art of enjoying things BECAUSE they are impermanent.
I guess what concerns me always is the need for a field, a rich compost, for any art to flourish. But however isolate or unheard you may feel, if you have the need to write poetry, are compelled to write it, you go on, whether there is resonance or not.
Everything in creation has its appointed painter or poet and remains in bondage like the princess in the fairy tale 'til its appropriate liberator comes to set it free.
We understand hereby, that the family, the business, science, art and so forth are all social spheres, which do not owe their existence to the State, but obey a high authority within their own bosom; an authority which rules, by the grace of God, just as the sovereignty of the State does.
And what kind of habitation pleases God? What must our natures be like before he can feel at home within us? He asks nothing but a pure heart and a single mind. He asks no rich paneling, no rugs from the Orient, no art treasures from afar. He desires but sincerity, transparency, humility, and love. He will see to the rest.
Deliver me from writers who say the way they live doesn't matter. I'm not sure a bad person can write a good book, If art doesn't make us better, then what on earth is it for.
I think that one of the things is that, if you are going to decide to be a painter, you have got to decide that you are not going to be afraid of making a fool of yourself. I think another thing is to be able to find subjects which really absorb you to try and do. I feel that without a subject you automatically go back into decoration because you haven't got the subject which is always eating into you to bring it back - and the greatest art always returns you to the vulnerability of the human situation.
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.
Sabrina fair, Listen where thou art sitting Under the glassy, cool, translucent wave, In twisted braids of lilies knitting The loose train of thy amber-dropping hair.
The real resistance now is to an art which forces its audience to recognize and accept imaginatively, in their nerve ends, not the facts of life but the facts of death and violence: absurd, random, gratuitous, unjustified, and inescapably part of the society we have created.