There was a warmth of fury in his last phrases. He meant she loved him more than he her. Perhaps he could not love her. Perhaps she had not in herself that which he wanted. It was the deepest motive of her soul, this self-mistrust. It was so deep she dared neither realise nor acknowledge. Perhaps she was deficient. Like an infinitely subtle shame, it kept her always back. If it were so, she would do without him. She would never let herself want him. She would merely see.
They wanted genuine intimacy, but they could not get even normally near to anyone, because they scorned to take the first steps, they scorned the triviality which forms common human intercourse.
She let him come further, his lips came and surging, surging, soft, oh soft, yet on, like the powerful surge of water, irresistible, till with a little blind cry, she broke away.
Are you willing to be sponged out, erased, cancelled, made nothing? Are you willing to be made nothing? Dipped into oblivion? If not, you will never really change.
She wished some help would come from outside. But in the whole world there was no help. Society was terrible because it was insane. Civilized society is insane. Money and so-called love are its two great manias; money a long way first. The individual asserts himself in his disconnected insanity in these two modes: money and love.
The history of the cosmos
is the history of the struggle of becoming.
When the dim flux of unformed life
struggled, convulsed back and forth upon itself,
and broke at last into light and dark
came into existence as light,
came into existence as cold shadow
then every atom of the cosmos trembled with delight.
Design in art, is a recognition of the relation between various things, various elements in the creative flux. You can't invent a design. You recognize it, in the fourth dimension. That is, with your blood and your bones, as well as with your eyes.
Beauty is an experience, nothing else. It is not a fixed pattern or an arrangement of features. It is something felt, a glow or a communicated sense of fineness.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
But I like the feel of men on things, while they're alive. There's a feel of men about trucks, because they've been handled with men's hands, all of them.
And woman is the same as horses: two wills act in opposition inside her. With one will she wants to subject herself utterly. With the other she wants to bolt, and pitch her rider to perdition.
I believe that there was a great age, a great epoch when man did not make war: previous to 2000 B.C. Then the self had not reallybecome aware of itself, it had not separated itself off, the spirit was not yet born, so there was no internal conflict, and hence no permanent external conflict.