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.
Should one ask: 'how do I cope with a well-ordered enemy host about to attack me?' I reply: seize something he cherishes and he will conform to your desires.
. . . the triumph of my art is in thoroughly examining whether the thought which the mind of the young man brings forth is a false idol or a noble and true birth.
Seriously, if you want to get inside the head of a stand-up comic, you could do a lot worse than reading Steve Martin's Born Standing Up, all about how he developed his career and his creativity as a comedian. Lots of what he talks about is relevant to anyone in the creative arts - you find yourself, your voice, your technique and then maybe luck calls.
For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.
The finest emotion of which we are capable is the mystic emotion. Herein lies the germ of all art and all true science. Anyone to whom this feeling is alien, who is no longer capable of wonderment and lives in a state of fear is a dead man.
One of the surest tests of the superiority or inferiority of a poet is the way in which a poet borrows. Immature poets imitate mature poets steal bad poets deface what they take and good poets make it into something better or at least something different. The good poet welds his theft into a whole of feeling which is unique utterly different than that from which it is torn the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time or alien in language or diverse in interest.
A Classical style... is the syllogism of art, the only legitimate process from one world to another. Classicism is not the manner of any fixed age or of any fixed country; it is a constant state of the artistic mind. It is a temper of security and satisfaction and patience.
All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself.
The Art of Being: A state of wholeness in which the mind functions freely and easily, without the sensation of a second mind or ego standing over it with a club.
The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice; and, in furnishing so much work done to his hand, leaves him at leisure, and in full strength for the audacities of his imagination.
The idea of beauty is the fundamental idea of everything. In the world we see only distortions of the fundamental idea, but art, by imagination, may lift itself to the height of this idea. Art is therefore akin to creation.
Humility is the luxurious art of reducing ourselves to a point, not to a small thing or a large one, but to a thing with no size at all, so that to it all the cosmic things are what they really are - of immeasurable stature.