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.
Modern pictures are, no doubt, delightful to look at. At least, some of them are. But they are quite impossible to live with; they are too clever, too assertive, too intellectual. Their meaning is too obvious, and their method too clearly defined. One
Aestheticism is a search after the signs of the beautiful. It is the science of the beautiful through which men seek the correlation of the arts. It is, to speak more exactly, the search after the secret of life.
That's where the songs come from: that's what I'd most want people to understand. What sounds good or looks good, that's nothing. The only worthwhile thing in art is seeing someone else's heart.
Thus we may know that there are five essentials for victory: He will win who knows when to fight and when not to fight. He will win who knows how to handle both superior and inferior forces. He will win whose army is animated by the same spirit throughout all its ranks. He will win who, prepared himself, waits to take the enemy unprepared. He will win who has military capacity and is not interfered with by the sovereign.
Thou art slave to fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell, And poppy, or charms, can make us sleep as well, And better than thy stroke. Why swell'st thou then?
The life of our class, of the wealthy and the learned, was not only repulsive to me but had lost all meaning. The sum of our action and thinking, of our science and art, all of it struck me as the overindulgences of a spoiled child.
An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty.
Part of people's concern is just the sense that around the world the old order isn't holding and we're not quite yet to where we need to be in terms of a new order that's based on a different set of principles, that's based on a sense of common humanity, that's based on economies that work for all people.
In our age the common religious perception of men is the consciousness of the brotherhood of man - we know that the well-being of man lies in the union with his fellow men. True science should indicate the various methods of applying this consciousness to life. Art should transform this perception into feeling.
The duty of rhetoric is to deal with such matters as we deliberate upon without arts or systems to guide us, in the hearing of persons who cannot take in at a glance a complicated argument or follow a long chain of reasoning.
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.
Adde, quod ingénues didicisse fideliter artes Emollit mores, nec sinit esse fervos. To be instructed in the arts, softens the manners and makes men gentle.