Alas, sir, how fell you besides your five wits?" Malvolio: "Fool, there was never a man so notoriously abused. I am as well in my wits, fool, as thou art." Feste: "But as well? Then you are mad indeed, if you be no better in you wits than a fool.
Some collaboration has to take place in the mind between the woman and the man before the art of creation can be accomplished. Some marriage of opposites has to be consummated. The whole of the mind must lie wide open if we are to get the sense that the
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.
This fellow is wise enough to play the fool; And to do that well craves a kind of wit: He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before his eye. This is a practise As full of labour as a wise man's art For folly that he wisely shows is fit; But wise men, folly-fall'n, quite taint their wit.
Thinking is seeing.... Every human science is based on deduction, which is a slow process of seeing by which we work up from the effect to the cause; or, in a wider sense, all poetry like every work of art proceeds from a swift vision of things.
It is a doctrine of war not to assume the enemy will not come, but rather to rely on one's readiness to meet him; not to presume that he will not attack, but rather to make one's self invincible.
Persons of genius, and those who are most capable of art, are always most fond of nature: as such are chiefly sensible, that all art consists in the imitation and study of nature.
Why is it that all those who have become eminent in philosophy, politics, poetry, or the arts are clearly of an atrabilious temperament and some of them to such an extent as to be affected by diseases caused by black bile?
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.
Creativity is basically a feminine process. I'm convinced that we have in our soul, everybody, this masculine side and this feminine side. So at the end of the day, you always use this feminine creative energy to write or to do any type of art or creativity. So if I see that my protagonist is feminine, it's not more difficult, no. And even when my protagonist is masculine, I'm writing from using this feminine energy.
The arts of speech are rhetoric and poetry. Rhetoric is the art of transacting a serious business of the understanding as if it were a free play of the imagination; poetry that of conducting a free play of the imagination as if it were a serious business of the understanding.
There is no luck in literary reputation. They who make up the final verdict upon every book are not the partial and noisy readers of the hour when it appears; but a court as of angels, a public not to be bribed, not to be entreated, and not to be overawed, decides upon every man's title to fame.