Music is of two kinds: one petty, poor, second-rate, never varying, its base the hundred or so phrasings which all musicians understand, a babbling which is more or less pleasant, the life that most composers live.
All men can bear a familiar, definite misfortune better than the cruel alternations of a fate which, from one moment to another, brings excessive joy or sorrow.
There are houses in certain provincial towns whose aspect inspires melancholy, akin to that called forth by sombre cloisters, dreary moorlands, or the desolation of ruins. Within these houses there is, perhaps, the silence of the cloister, the barrenness of moors, the skeleton of ruins; life and movement are so stagnant there that a stranger might think them uninhabited, were it not that he encounters suddenly the pale, cold glance of a motionless person, whose half-monastic face peers beyond the window-casing at the sound of an unaccustomed step.
In all lands, sailors form a race apart. They profess a congenital contempt for landlubbers. As for the tradesman, he understands nothing of sailors nor cares a fig about them. He is content to rob them if he can.
[Raphael's] great superiority is due to the instinctive sense which, in him, seems to desire to shatter form. Form is, in his figures, what it is in ourselves, an interpreter for the communication of ideas and sensations, an exhaustless source of poetic inspiration. Every figure is a world in itself, a portrait of which the original appeared in a sublime vision, in a flood of light, pointed to by an inward voice, laid bare by a divine finger which showed what the sources of expression had been in the whole past life of the subject.
Nature knows nothing but solid bodies; your science deals only with combinations of surfaces. And so nature constantly gives the lie to all your laws; can you name one to which no fact makes an exception?