A Quote by George Steiner
For it is a plain fact that, most certainly in the West, the writings, works of art, musical compositions which are of central reference, comport that which is "grave and constant" (Joyce's epithets) in the mystery of our condition.
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The censors have always had a field day with James Joyce, specifically with 'Ulysses,' but also with his other writings. The conventional wisdom is that this is because of sexually explicit passages (and there certainly are those). I have always thought that what the critics hated and feared about Joyce is his cry for human freedom.
What strikes me is the fact that in our society, art has become something which is related only to objects and not to individuals, or to life. That art is something which is specialized or which is done by experts who are artists. But couldn't everyone's life become a work of art? Why should the lamp or the house be an art object, but not our life?
Worship is to feel in your heart and express in some appropriate manner a humbling but delightful sense of admiring awe and astonished wonder and overpowering love in the presence of that most Ancient Mystery, that Majesty which philosophers call the first cause, but which we call our Father which art in heaven.
The fact that there could be an ISIS West Bank, the fact that the Palestinian government in Gaza doesn't even acknowledge Israel's right to exist, the fact of constant terror, delegitimization campaigns in the Palestinian schools, these are all much bigger facts. And for the Barack Obama administration to focus on this one fact, almost, not to the expense, but to diminish some of the others which are much more important, is to cast all the blame on Israel and to take the U.N. policy toward Israel, which has been longstanding, and sort of surrender to it.
One should aim, seriously, at disregarding ups and downs; a compliment here, silence there ... the central fact remains stable, which is the fact of my own pleasure in the art.
Music is the art... which most completely realizes the artistic idea and is the condition to which all the other arts are constantly aspiring.
Give me a mystery - just a plain and simple one - a mystery which is diffidence and silence, a slim little bare-foot mystery: give me a mystery - just one!
[Hermogenes] despises God's law in his painting, maintains repeated marriages [almost certainly a reference to remarrying after divorce or perhaps even widowhood, which Tertullian, who became a Montanist, opposed], alleges the law of God in defense of lust [likely same reference], and yet despises it in respect of his art.
Antique art has come down to us in a fragmentary condition, and we have virtuously adapted our taste to this necessity. Almost all our favorite specimens of Greek sculpture, from the sixth century onward, were originally parts of compositions, and if we were faced with the complete group in which the Charioteer of Delphi was once a subsidiary figure, we might well experience a moment of revulsion. We have come to think of the fragment as more vivid, more concentrated, and more authentic.
There was after all no mystery in the end of love, no mystery but the mystery of love itself, which was large certainly but as real as grass, as natural and unaccountable as bloom and branch and their growth.
Certainly the central Platonic idea, which is the idea of the ideas, these archetypal forms which stand outside of time is one which is confirmed by the psychedelic experience.
What I want to show in my work is the idea which hides itself behind so-called reality. I am seeking for the bridge which leans from the visible to the invisible through reality. It may sound paradoxical, but it is in fact reality which forms the mystery of our existence.
The real security of Christianity is to be found in its benevolent morality, in its exquisite adaptation to the human heart, in the facility with which its scheme accommodates itself to the capacity of every human intellect, in the consolation which it bears to the house of mourning, in the light with which it brightens the great mystery of the grave.
Even such isTime, which takes in trust Our youth, our joys, and all we have, And pays us but with age and dust, Who in the dark and silent grave When we have wandered all our ways Shuts up the story of our days, And from which earth, and grave, and dust The Lord shall raise me up, I trust.
Art is a nation's most precious heritage. For it is in our works of art that we reveal to ourselves and to others the inner vision which guides us as a nation. And where there is no vision, the people perish.
Originality is another criterion of aesthetic value. We may formulate an originality principle, according to which highly valuable works of art provide hitherto unavailable insights.... Notice that, although originality is a necessary condition of high aesthetic value, it is far from a sufficient condition. Many original works have little or no aesthetic value. An artwork may present a novel but uninteresting perspective, or one that is original but wrong.
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