I was dominated, soul, brain, and power by you. You became to me the visible incarnation of that unseen ideal whose memory haunts us artists like an exquisite dream.
What needs my Shakespeare for his honour'd bones,- The labour of an age in piled stones? Or that his hallow'd relics should be hid Under a star-y-pointing pyramid? Dear son of memory, great heir of fame, What need'st thou such weak witness of thy name?
We can never found the soul, just as we can never wound God, but we become imprisoned by our memories, and that makes our lives wretched, even when we have everything we need in order to be happy.
All propaganda must be confined to a few bare necessities and then must be expressed in a few stereotyped formulas . . . Only constant repetition will finally succeed in imprinting an idea upon the memory of a crowd.
Introspection is self-improvement and therefore introspection is self-centeredness. Awareness is not self-improvement. On the contrary, it is the ending of the self, of the “I,” with all its peculiar idiosyncrasies, memories, demands, and pursuits. In introspection there is identification and condemnation. In awareness there is no condemnation or identification; therefore, there is no self-improvement. There is a vast difference between the two.
That's because only a real artist knows the actual anatomy of the terrible or the physiology of fear - the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.
All goes to show that the soul in man is not an organ, but animates and exercises all the organs; is not a function, like the power of memory, of calculation, of comparison, but uses these as hands and feet; is not a faculty, but a light, is not the intellect or the will, but the master of the intellect and the will; is the background of our being, in which they lie,--an immensity not possessed and that cannot be possessed.
Love, however, is very materially assisted by a warm and active imagination: which has a long memory, and will thrive, for a considerable time, on very slight and sparing food.
That's because only a real artist knows the actual anatomy of the terrible or the physiology of fear - the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.
We love the old saints, missionaries, martyrs, and reformers. Our Luthers, Bunyans, Wesleys and Asburys, etc... We will write their biographies, reverence their memories, frame their epitaphs, and build their monuments. We will do anything except imitate them. We cherish the last drop of their blood, but watch carefully over the first drop of our own.
The first experience can never be repeated. The first love, the first sun-rise, the first South Sea Island, are memories apart, and touched a virginity of sense.
In that part of the book of my memory before the which is little that can be read, there is a rubric, saying, Incipit Vita Nova. Under such rubric I find written many things; and among them the words which I purpose to copy into this little book; if not all of them, at the least their substance.