An illustrational form tells you through the intelligence immediately what the form is about, whereas a non-illustrational form works first upon sensation and then slowly leaks back into the fact.
The worries that are the burden of which the privileged person makes an excuse in dealing with the oppressed person are in fact the worries about preserving his privileged condition.
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.
If I want to understand something, I must observe, I must not criticize, I must not condemn, I must not pursue it as pleasure or avoid it as non-pleasure. There must merely be the silent observation of a fact.
I must say that, beyond occasionally exposing me to laughter, my constitutional shyness has been no dis-advantage whatever. In fact I can see that, on the contrary, it has been all to my advantage.
In constructing concepts, we overlook the fact that no two things are the same. There is no such thing as the concept of a leaf, only billions and billions of leaves.
Newspapers. . . give us the bald, sordid, disgusting facts of life. They chronicle, with degrading avidity, the sins of the second-rate, and with the conscientiousness of the illiterate give us accurate and prosaic details. . .