A Quote by Samuel Johnson
There is ... scarcely any species of writing of which we can tell what is its essence, and what are its constituents; every new genius produces some innovation, which, when invented and approved, subverts the rules which the practice of foregoing authors had established.
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Every age and every nation has certain characteristic vices, which prevail almost universally, which scarcely any person scruples to avow, and which even rigid moralists but faintly censure. Succeeding generations change the fashion of their morals with the fashion of their hats and their coaches; take some other kind of wickedness under their patronage, and wonder at the depravity of their ancestors.
Gass once wrote: "Language serves not only to express thought but to make possible thoughts which could not exist without it." Here is the essence of mankind's creative genius: not the edifices of civilization nor the bang-flash weapons which can end it, but the words which fertilize new concepts like spermatozoa attacking an ovum. It might be argued that the Siamese twin infants of word/idea are the only contribution the human species can, will, or should make to the raveling cosmos.
It ought to be the first endeavour of a writer to distinguish nature from custom; or that which is established because it is right, from that which is right only because it is established; that he may neither violate essential principles by a desire of novelty, nor debar himself from the attainment of beauties within his view, by a needless fear of breaking rules which no literary dictator had authority to enact.
Every community is an association of some kind and every community is established with a view to some good; for everyone always acts in order to obtain that which they think good. But, if all communities aim at some good, the state or political community, which is the highest of all, and which embraces all the rest, aims at good in a greater degree than any other, and at the highest good.
It is paltry philosophy if in the old-fashioned way one lays down rules and principles in total disregard of moral values . As soon as these appear one regards them as exceptions, which gives them a certain scientific status, and thus makes them into rules. Or again one may appeal to genius , which is above all rules; which amounts to admitting that rules are not only made for idiots , but are idiotic in themselves.
It's very important, at least to me as a writer, that there be some rules on the table when I'm writing. Rules come from genres. You're writing in a genre, there are rules, which is great because then you can break the rules. That's when really exciting things happen.
Even though we have lost yardsticks by which to measure, and rules under which to subsume the particular, a being whose essence is a beginning may have enough of origin within himself to understand without preconceived categories and to judge without the set of customary rules which is morality.
The way in which modern German poetry follows theories reminds me of pupils who, scolded by their teacher for their insubordination, justify themselves by saying that they invented new rules of propriety according to which they are quite well- behaved.
I wonder whether any other generation has seen such astounding revolutions of data and values as those through which we have lived. Scarcely anything material or established which I was brought up to believe was permanent and vital, has lasted. Everything I was sure or taught to be sure was impossible, has happened.
Anyway, what is a country? When people say, "Tell me about India," I say, "Which India?.... The land of poetry and mad rebellion? The one that produces haunting music and exquisite textiles? The one that invented the caste system and celebrates the genocide of Muslims and Sikhs and the lynching of Dalits? The country of dollar billionaires? Or the one in which 800 million live on less than half-a-dollar a day? Which India?"
Genius is supposed to be a power of producing excellences which are put of the reach of the rules of art: a power which no precepts can teach, and which no industry can acquire.
The Man of Genius may at the same time be, indeed is commonly, an Artist, but the two are not to be confounded. The Man of Genius,referred to mankind, is an originator, an inspired or demonic man, who produces a perfect work in obedience to laws yet unexplored. The artist is he who detects and applies the law from observation of the works of Genius, whether of man or nature. The Artisan is he who merely applies the rules which others have detected. There has been no man of pure Genius, as there has been none wholly destitute of Genius.
We use the word "God" as representative of that which is timeless, immortal and infinite, that which produces order, which holds together the nucleus of an atom, which gives us life and death, neither masculine nor feminine, not a person, beyond any comprehension.
The laws of thought are natural laws with which we have no power to interfere, and which are of course not to be in any way confused with the artificial laws of a country, which are invented by men and can be altered by them. Every science is occupied in detecting and describing the natural laws which are inflexibly observed by the objects treated in the Science.
An established company which, in an age demanding innovation, is not able to innovation, is doomed to decline and extinction.
An EU without Britain, without 1 of Europe's strongest powers, a country which in many ways invented the single market, and which brings real heft to Europe's influence on the world stage which plays by the rules and which is a force for liberal economic reform would be a very different kind of European Union.
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