A Quote by John Milton
Beauty stands In the admiration only of weak minds Led captive.
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. . . for beauty stands
In the admiration only of weak minds
Led captive. Cease to admire, and all her plumes
Fall flat and shrink into a trivial toy,
At every sudden slighting quite abash'd.
The resurrection power of Jesus broke Satan's captive power. When He led the Old Testament saints from paradise to heaven, He led captivity captive!
True love survives all shocks: an affection originally produced by admiration for unusual beauty may not only survive the loss of that beauty, but may become more intense if the beauty has changed into ugliness through causes that bind the lovers together in tender associations.
The esthete stands in the same relation to beauty as the pornographer stands to love, and the politician stands to life.
I was trapped in admiration for what I had once admired, as a fly in amber remains the captive of some long-vanished pine.
Novels do not force their fair readers to sin, they only instruct them how to sin; the consequences of which are fully detailed, and not in a way calculated to seduce any but weak but weak minds; few of their heroines are happily disposed of.
Idleness is only the refuge of weak minds.
I say that almost everywhere there is beauty enough to fill a person's life if one would only be sensitive to it. but Henry says No: that broken beauty is only a torment, that one must have a whole beauty with man living in relation to it to have a rich civilization and art. . . . Is it because I am a woman that I accept what crumbs I may have, accept the hot-dog stands and amusement parks if I must, if the blue is bright beyond them and the sunset flushes the breasts of sea birds?
A “collective” mind does not exist. It is merely the sum of endless numbers of individual minds. If we have an endless number of individual minds who are weak, meek, submissive and impotent – who renounce their creative supremacy for the sake of the “whole” and accept humbly that the “whole’s” verdict – we don’t get a collective super-brain. We get only the weak, meek, submissive and impotent collective mind.
Nothing, indeed, is more dangerous to the young artist than any conception of ideal beauty: he is constantly led by it either into weak prettiness or lifeless abstraction: whereas to touch the ideal at all, you must not strip it of vitality.
The fact of the matter is that you can use your beauty and use your charm and be flirtatious, and you can get people interested in your beauty. But you cannot maintain that. In the end, talent is the only thing. My work is the only thing that's going to change any minds.
There is more beauty in truth, even if it is a dreadful beauty. The storytellers at the city gate twist life so that it looks sweet to the lazy and the stupid and the weak, and this only strengthens their infirmities and teaches nothing, cures nothing, nor does it let the heart soar.
There's only one passion in most artists more violent than their desire for admiration: their fear of identifying the nature of such admiration as they do receive.
It's only led me to complete awesomeness at all times. It's only led me to awesome truth and awesomeness. Beauty, truth, awesomeness. That's all it is.
The beauty of a woman transcends all other forms of beauty, as well in the sweetness of its suggestions, as in the fervor of the admiration it awakens. The beauty of a lovely woman is an inspiration, a sweet delirium, a gentle madness. Her looks are love-potions. Heaven itself is never so clearly revealed to us as in the face of a beautiful woman.
All truths are erroneous. This is the very essence of the dialectical process: today's truths become errors tomorrow; there is no final number. This truth (the only one) is for the strong alone. Weak-nerved minds insist on a finite universe, a last number; they need, in Nietzsche's words, "the crutches of certainty". The weak-nerved lack the strength to include themselves in the dialectic syllogism.
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