To wake the soul by tender strokes of art, To raise the genius, and to mend the heart; To make mankind, in conscious virtue bold, Live o'er each Seene, and be what they behold: For this the Tragic Muse first trod the stage.
The prince must consider, as has been in part said before, how to avoid those things which will make him hated or contemptible; and as often as he shall have succeeded he will have fulfilled his part, and he need not fear any danger in other reproaches.
Creativity is the quality that you bring to the activity that you are doing. It is an attitude, an inner approach - how you look at things . . . Whatsoever you do, if you do it joyfully, if you do it lovingly, if your act of doing is not purely economical, then it is creative.
I don't consider myself an artist necessarily, but craftsmen or people in the arts, their spiritualism is sort of when you're writing well or performing well or doing whatever you do well, there's an element of that that's either God-given, a talent that you're not necessarily responsible for.
The perennial architectural debate has always been, and will continue to be, about art versus use, visions versus pragmatism, aesthetics versus social responsibility. In the end, these unavoidable conflicts provide architecture's essential and productive tensions; the tragedy is that so little of it rises above the level imposed by compromise, and that this is the only work most of us see and know.
The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice; and, in furnishing so much work done to his hand, leaves him at leisure, and in full strength for the audacities of his imagination.
What a devil art thou, Poverty! How many desires - how many aspirations after goodness and truth - how many noble thoughts, loving wishes toward our fellows, beautiful imaginings thou hast crushed under thy heel, without remorse or pause!
Men love to wonder, and that is the seed of our science, and such is the mechanical determination of our age, and so recent are our best contrivances, that use has not dulled our joy and pride in them. These arts open great gates of a future, promising to make the world plastic and to lift human life out of its beggary to a godlike ease and power.
The Byzantines hammered away at their hard and orthodox symbols, because they could not be in a mood to believe that men could take a hint. The moderns drag out into lengths and reels of extravagance their new orthodoxy of being unorthodox, because they also cannot give a hint -- or take a hint. Yet all perfect and well-poised art is really a hint.
When I spoke, I was listened to; and I was at a loss to know how I had so easily acquired the art of commanding attention, and giving the tone to the conversation.
The best painters, as they progress in reputation and towards perfection, are found to dispense more and more with the technique of the art, for simpler methods. Simplicity never fails to charm.
But the virtues we get by first exercising them, as also happens in the case of the arts as well. For the things we have to learn before we can do them, we learn by doing them, e.g. men become builders by building and lyre players by playing the lyre; so too we become just by doing just acts, temperate by doing temperate acts, brave by doing brave acts.
Military tactics are like unto water; for water in its natural course runs away from high places and hastens downwards... Water shapes its course according to the nature of the ground over which it flows; the soldier works out his victory in relation to the foe whom he is facing. Therefore, just as water retains no constant shape, so in warfare there are no constant conditions. He who can modify his tactics in relation to his opponent and thereby succeed in winning, may be called a heaven-born captain.