The art of war teaches us to rely not on the likelihood of the enemy's not coming, but on our own readiness to receive him; not on the chance of his not attacking, but rather on the fact that we have made our position unassailable.
In one dancing saloon I saw the only rational method of art criticism I have ever come across. Over the piano was printed a notice: 'Please do not shoot the pianist. He is doing his best.'
Cross out as many adjectives and adverbs as you can. ... It is comprehensible when I write: "The man sat on the grass," because it is clear and does not detain one's attention. On the other hand, it is difficult to figure out and hard on the brain if I write: "The tall, narrow-chested man of medium height and with a red beard sat down on the green grass that had already been trampled down by the pedestrians, sat down silently, looking around timidly and fearfully." The brain can't grasp all that at once, and art must be grasped at once, instantaneously.
War is not at all such a difficult art as people think. . . . In reality it would seem that he is vanquished who is afraid of his adversary and the the whole secret lies in that.
The motive of art comes to us not from what exists, but from the notion that there is something higher, something nobler, something richer, and that what exists corresponds only partially to all of this.
What thou meanest by seizing the whole earth; but because I do it with a petty ship, I am called a robber, whilst thou who dost it with a great fleet art styled emperor.
My reason for writing stories is to give myself the satisfaction of visualising more clearly and detailedly and stably the vague, elusive, fragmentary impressions of wonder, beauty, and adventurous expectancy which are conveyed to me by certain sights (scenic, architectural, atmospheric, etc.), ideas, occurrences, and images encountered in art and literature.
When the enemy's envoy's speak in humble terms, but continues his preparations, he will advance. When their language is deceptive but the enemy pretentiously advances, he will retreat. When the envoys speak in apologetic terms, he wishes a respite. When without a previous understanding the enemy asks for a truce, he is plotting. When the enemy sees an advantage but does not advance to seize it, he is fatigued.