A Quote by Ralph Waldo Emerson
The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice; and, in furnishing so much work done to his hand, leaves him at leisure, and in full strength for the audacities of his imagination.
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The master in the art of living makes little distinction between his work and his play, his labor and his leisure, his mind and his body, his information and his recreation, his love and his religion. He hardly knows which is which. He simply pursues his vision of excellence at whatever he does, leaving others to decide whether he is working or playing. To him he's always doing both.
A master in the art of living draws no sharp distinction between his work and his play; his labor and his leisure; his mind and his body; his education and his recreation. He hardly knows which is which.
No man is happier than he who loves and fulfills that particular work for the world which falls to his share. Even though the full understanding of his work, and of its ultimate value, may not be present with him; if he but love it--always assuming that his conscience approves--it brings an abounding satisfaction.
It is far. But there is no journey upon this earth that a man may not make if he sets his heart to it. There is nothing, Umbopa, that he cannot do, there are no mountains he may not climb, there are no deserts he cannot cross; save a mountain and a a desert of which you are spared the knowledge, if love leads him and he holds his life in his hand counting it as nothing, ready to keep it or to lose it as Providence may order.
What a man does, that he has. What has he to do with hope or fear? In himself is his might. Let him regard no good as solid but that which is in his nature, and which must grow out of him as long as he exists. The goods of fortune may come and go like summer leaves; let him scatter them on every wind as the momentary signs of his infinite productiveness.
A poet or philosopher should have no fault to find with his age if it only permits him to do his work undisturbed in his own corner; nor with his fate if the corner granted him allows of his following his vocation without having to think about other people.
Where it is in his own interest, every organism may reasonably be expected to aid his fellows. Where he has no alternative, he submits to the yoke of communal servitude. Yet given a full chance to act in his own interest, nothing but expediency will restrain him from brutalizing, from maiming, from murdering his brother, his mate, his parent, or his child. Scratch an 'altruist' and watch a 'hypocrite' bleed.
The epic poet collaborates with the spirit of his time in the composition of his work. That is, if he is successful; the time may refuse to work with him, but he may not refuse to work with his time.
And so take away his work, which was his life [. . .] and all his glory and his great deeds? Make a child and a dotard of him? Keep him to myself at that cost? Make him so mine that he was no longer his?
It is a mistake to talk about the artist looking for his subject. In fact, the subject grows within him like a fruit and begins to demand expression. It is like childbirth. The poet has nothing to be proud of. He is not master of the situation, but a servant. Creative work is his only possible form of existence, and his every work is like a deed he has no power to annul. For him to be aware that the sequence of such deeds is due and ripe, that it lies in the very nature of things, he has to have faith in the idea; for only faith interlocks the system of images for which read system of life.
What makes a free thinker is not his beliefs, but the way in which he holds them. If he holds them because his elders told him they were true when he was young, or if he holds them because if he did not he would be unhappy, his thought is not free; but if he holds them because, after careful thought, he finds a balance in their favor, then his thought is free, however odd his conclusions may seem.
The art of using troops is this:
......When ten to the enemy's one, surround him;
......When five times his strength, attack him;
......If double his strength, divide him;
......If equally matched you may engage him;
......If weaker numerically, be capable of withdrawing;
......And if in all respects unequal, be capable of eluding him,
..........for a small force is but booty for one more powerful.
It is the consciousness of the threefold joy of the Lord, His joy in ransoming us, His joy in dwelling within us as our Saviour and Power for fruitbearing and His joy in possessing us, as His Bride and His delight; it is the consciousness of this joy which is our real strength. Our joy in Him may be a fluctuating thing: His joy in us knows no change.
As a guy develops and practices his masculinity, he is accompanied by an invisible male chorus of all the other guys, who hiss orcheer as he attempts to approximate the masculine ideal, who push him to sacrifice more of his humanity for the sake of his masculinity, and who ridicule him when he holds back. The chorus is made up of all the guy's comrades and rivals, his buddies and bosses, his male ancestors and his male cultural heroes--and above all, his father, who may have been a real person in his life, or may have existed only as the myth of the man who got away.
A man vows, and yet will not east away the means of breaking his vow. Is it that he distinctly means to break it? Not at all; but the desires which tend to break it are at work in him dimly, and make their way into his imagination, and relax his muscles in the very moments when he is telling himself over again the reasons for his vow.
Though an inheritance of acres may be bequeathed, an inheritance of knowledge and wisdom cannot. The wealthy man may pay others for doing his work for him; but it is impossible to get his thinking done for him by another, or to purchase any kind of self-culture.
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