Blake and Goethe were individualists par excellence, uncompromisingly protective of their single vision. In both Faust Part II and... The Four Zoas, emphasis on the universality of the poet's message contrasts with the resistant texture of a compressed style and the striking complexity of the mythological machinery. Blake likes to emphasize that he is not writing for the simple-minded; Goethe takes a teasing pleasure in keeping philologists busy. Faust and The Four Zoas are dramatic epics of Humanity, but embodied in a mythic language whose uniqueness and quirkiness are jealously guarded. Blake never published The Four Zoas, though it culminates his early prophecies and provides the indispensable key to the later ones. And Goethe refused to allow Faust Part II to be printed in its entirety until after his death. Both poets postponed the public's discovery of their central works; secrecy was enforced as long as it could be.LESSATTRIBUTION DETAIL »
Let us say, then, that both the realist and the antirealist accept the results of scientific investigations as "true," on a par wi...th more homely truths.... And call this acceptance of scientific truths the "core position." What distinguishes realists from antirealists, then, is what they add onto this core position ... a third alternative emerges--and an attractive one at that. It is the core position itself, and all by itself.... Let me introduce the acronym NOA (pronounced as in "Noah"), for natural ontological attitude, and, henceforth, refer to the core position under that designation.LESSATTRIBUTION DETAIL »
Man is the yokel par excellence, the booby unmatchable, the king dupe of the cosmos. He is chronically and unescapably deceived, n...ot only by the other animals and by the delusive face of nature herself--by his incomparable talent for searching out and embracing what is false, and for overlooking and denying what is true.LESSATTRIBUTION DETAIL »
Well then! Wagner was a revolutionary--he fled the Germans.... As an artist one has no home in Europe outside Paris: the délicate...sse in all five artistic senses that is presupposed by Wagner's art, the fingers for nuances, the psychological morbidity are found only in Paris. Nowhere else is this passion in questions of form to be found, this seriousness in mise en scène--which is Parisian seriousness par excellence.LESSATTRIBUTION DETAIL »
If we are a metaphor of the universe, the human couple is the metaphor par excellence, the point of intersection of all forces and... the seed of all forms. The couple is time recaptured, the return to the time before time.LESSATTRIBUTION DETAIL »
When we returned ... a Province man was betraying his greenness to the Yankees by his questions. Why Province money won't pass her...e at par, when States' money is good at Fredericton,--though this, perhaps, was sensible enough. From what I saw then, it appears that the Province man was now the only real Jonathan, or raw country bumpkin, left so far behind by his enterprising neighbors that he didn't know enough to put a question to them. No people can long continue provincial in character who have the propensity for politics and whittling, and rapid traveling, which the Yankees have, and who are leaving the mother country behind in the variety of their notions and inventions. The possession and exercise of practical talent merely are a sure and rapid means of intellectual culture and independence.LESSATTRIBUTION DETAIL »
Humor does not wear well. It is commonly enough said, that a joke will not bear repeating. The deepest humor will not keep. Humors... do not circulate, but stagnate, or circulate partially. In the oldest literature, in the Hebrew, the Hindoo, the Persian, the Chinese, it is rarely humor, even the most divine, which still survives, but the most sober and private, painful or joyous thoughts, maxims of duty, to which the life of all men may be referred. After time has sifted the literature of a people, there is left only their SCRIPTURE, for that is WRITING, par excellence. This is as true of the poets, as of the philosophers and moralists by profession; for what subsides in any of these is the moral only, to reappear as dry land at some remote epoch.LESSATTRIBUTION DETAIL »
For the musician, before he has begun his work, all is in readiness so that the operation of his creative spirit may find, right f...rom the start, the appropriate matter and means, without any possibility of error. He will not have to make this matter and means submit to any modification; he need only assemble elements which are clearly defined and ready-made. But in how different a situation is the poet! Before him is ordinary language, this aggregate of means which are not suited to his purpose, not made for him. There have not been physicians to determine the relationships of these means for him; there have not been constructors of scales; no diapason, no metronome, no certitude of this kind. He has nothing but the coarse instrument of the dictionary and the grammar. Moreover, he must address himself not to a special and unique sense like hearing, which the musician bends to his will, and which is, besides, the organ par excellence of expectation and attention; but rather to a general and diffused expectation, and he does so through a language which is a very odd mixture of incoherent stimuli.LESSATTRIBUTION DETAIL »
Meanwhile, if the fear of falling into error sets up a mistrust of Science, which in the absence of such scruples gets on with the... work itself, and actually cognizes something, it is hard to see why we should not turn round and mistrust this very mistrust.... What calls itself fear of error reveals itself rather as fear of the truth.LESSATTRIBUTION DETAIL »