Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical. And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art - it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence.
Patrick SwiftRelated topics
art catch concern constant effect ethical existence experience hand imagination material matter moral move mysteries nothing object occasion order particular personal public reality rejoicing resignation speak spring time transcendent transformation triumph vague working world awareness factsRelated quotes
Indeed, if any man can say, that it is not an interesting question, whether his existence terminate at death, or is to be resumed at a future period, and then to continue for ever, he must be of a low and abject mind. To a rational being, capable of contemplating the wonders of nature, and of investigating the laws of it, and to a being of a social disposition, his existence, and the continuance of his rational faculties, must be an object of unspeakable value to him; and consequently he must ardently wish that christianity... may be true. For to a philosopher, who forms his judgment by what he actually observes, the doctrine of soul, capable of subsisting and acting when the body is in the grave, will never give any satisfaction. To every person, therefore, who is capable of enjoying his existence, the christian doctrine of a resurrection opens a glorious and transporting prospect.
Joseph Priestley
First of all I want to remind you of the essential features of models. In my opinion they are: (i) drawing up a list of the variables to be considered; (ii) drawing up a list of the equations or relations the variables have to obey and (iii) testing the validity of the equations, which implies the estimation of their coefficients, if any. As a consequence of especially (iii) we may have to revise (i) and (ii) so as to arrive at a satisfactory degree of realism of the theory embodied in the model. Then, the model may be used for various purposes, that is, for the solution of various problems. The advantages of models are, on one hand, that they force us to present a "complete" theory by which I mean a theory taking into account all relevant phenomena and relations and, on the other hand, the confrontation with observation, that is, reality. Of course these remarks are far from new.
Jan Tinbergen
It is not necessary to stress the general desire of all the people of this country for the promotion of peace. It is the leading principle of all our foreign relations. We have on every occasion tried to cooperate to this end in all ways that were consistent with our proper independence and our traditional policies. It will be my constant effort to maintain these principles, and to reinforce them by all appropriate agreements and treaties. While we desire always to cooperate and to help, we are equally determined to be independent and free. Right and truth and justice and humanitarian efforts will have the moral support of this country all over the world. But we do not wish to become involved in the political controversies of others. Nor is the country disposed to become a member of the League of Nations or to assume the obligations imposed by its covenant.
Calvin Coolidge
Do they lie? Fervently. Do they steal? Only silver and gold. Do they remember? I am in constant touch. Hardly a day passes. The children. Some can't spell, still. Took a walk in the light-manufacturing district, where everything's been converted. Lots of little shops, wine bars. Saw some strange things. Saw a group of square steel plates arranged on a floor. Very interesting. Saw a Man Mountain Dean dressed in heavenly blue. Wild, chewing children. They were small. Petite. Out of scale. They came and went. Doors banging. They were of different sexes but wore similar clothes. Wandered away, then they wandered back. They're vague, you know, they tell you things in a vague way. Asked me to leave, said they'd had enough. Enough what? I asked. Enough of my lip, they said. Although the truth was that I had visited upon them only the palest of apothegms-the one about the salt losing its savor, the one about the fowls of the air.
Donald Barthelme
We are told that Shakespeare's plays were generally performed in barns and that no great trouble was taken over the production. The constant changes of scene which, incidentally, seem the sign of a decadent art rather than one which is progressing, were shown by placards with the inscription: "A Forest," "A Prison," and so on. Within this conventional setting the onlooker's imagination was free to follow the actions of the various characters who were animated by passions drawn from nature, and that was enough for him. So-called innovations are gratefully seized on as an excuse for poverty of invention and in the same way, the long descriptive passages that so overburden modern novels are a sign of sterility, for it is obviously easier to describe a dress or the outward appearance of an object than to trace the subtle development of a character or portray the emotions of the heart.
Eugène Delacroix
