The power of both myth and art is this magical ability to open doors, to make connections - not only between us and the natural world, but between us and the rest of humanity. Myths show us what we have in common with every other human being, no matter what culture we come from, no matter what century we live in. . .and at the same time, mythic stories and art celebrate our essential differences.
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.
There is but one art, to omit! Oh, if I knew how to omit I would ask no other knowledge. A man who knows how to omit would make an Iliad of a daily paper.
On dispersive ground, therefore, fight not. On facile ground, halt not. On contentious ground, attack not. On open ground, do not try to block the enemy's way. On the ground of intersecting highways, join hands with your allies. On serious ground, gather in plunder. In difficult ground, keep steadily on the march. On hemmed-in ground, resort to stratagem. On desperate ground, fight.
The general who wins a battle makes many calculations in his temple ere the battle is fought. The general who loses a battle makes but few calculations beforehand. Thus do many calculations lead to victory, and few calculations to defeat: how much more no calculation at all! It is by attention to this point that I can foresee who is likely to win or lose.
I have now attained the true art of letter-writing, which we are always told, is to express on paper exactly what one would say to the same person by word of mouth.
If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination.
We may distinguish six kinds of terrain, to wit: (1) Accessible ground; (2) entangling ground; (3) temporising ground; (4) narrow passes; (5) precipitous heights; (6) positions at a great distance from the enemy.
Those who either from imprudence or want of sagacity avoid doing so, are always overwhelmed with servitude and poverty; for faithful servants are always servants, and honest men are always poor; nor do any ever escape from servitude but the bold and faithless, or from poverty, but the rapacious and fraudulent.
No generation is interested in art in quite the same way as any other; each generation, like each individual, brings to the contemplation of art its own categories of appreciation, makes its own demands upon art, and has its own uses for art.
Nevertheless, he must be cautious in believing and acting, and must not inspire fear of his own accord, and must proceed in a temperate manner with prudence and humanity, so that too much confidence does not render him incautious, and too much diffidence does not render him intolerant. From this arises the question whether it is better to be loved more than feared, or feared more than loved.