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Patrick Swift

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In so far as it is concerned with truth that goes beyond appearance and form, art is transcendental. The consciousness of this is often a snare for the painter who is led by a false preoccupation with some literary or intellectual conception of reality into a time-conscious literary form. Nano Reid realised with the instinct of a painter that for her the whole truth existed in the head, the body, the structure of life: it lay there revealed in the form, the line, a timeless and profound reality.

Patrick Swift

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Nano Reid does not begin a portrait with any ideas about the person she draws. She is concerned with the head, its existence as a structure with certain characteristics. She is so much concerned with this that her portraits are inevitably deep studies of character and personality. The head, the face, the lines and features, contain everything for the painter who understands well enough to put it down.

Patrick Swift

Both Hopkins and Lawrence were religious not just in the ritualistic sense but in the sense of being obsessed with the word — the word made life and truth — with the need to invent a language as direct as religious utterance. Both were poets, but outside the literary fashions of their time. Both felt that among the poets of their time was an absorption in literary manners, fashions and techniques which separated the line of the writing from that of religious truth. Both felt that the modern situation imposed on them the necessity to express truth by means of a different kind of poetic writing from that used in past or present. Both found themselves driven into writing in a way which their contemporaries did not understand or respond to yet was inevitable to each in his pursuit of truth. Here of course there is a difference between Hopkins and Lawrence, because Hopkins in his art was perhaps over-worried, over-conscientious, whereas Lawrence was an instinctive poet who, in his concern for truth, understood little of the problems of poetic form, although he held strong views about them.

Stephen Spender

Cosmic Consciousness ... is a higher form of consciousness than that possessed by the ordinary man. This last is called Self Consciousness and is that faculty upon which rests all of our life (both subjective and objective) which is not common to us and the higher animals, except that small part of it which is derived from the few individuals who have had the higher consciousness above named. To make the matter clear it must be understood that there are three forms or grades of consciousness. (1) Simple Consciousness, which is possessed by say the upper half of the animal kingdom. By means of this faculty a dog or a horse is just as conscious of the things about him as a man is; he is also conscious of his own limbs and body and he knows that these are a part of himself. (2) Over and above this Simple Consciousness, which is possessed by man as by animals, man has another which is called Self Consciousness. By virtue of this faculty man is not only conscious of trees, rocks, waters, his own limbs and body, but he becomes conscious of himself as a distinct entity apart from all the rest of the universe. It is as good as certain that no animal can realize himself in that way. ... The animal is, as it were, immersed in his consciousness as a fish in the sea, he cannot, even in imagination, get outside of it for one moment so as to realize it. ... Cosmic Consciousness is a third form which is as far above Self Consciousness as is that above Simple Consciousness. With this form, of course, both simple and self consciousness persist (as simple consciousness persists when self consciousness is acquired), but added to them is the new faculty ... The prime characteristic of cosmic consciousness is, as its name implies, a consciousness of the cosmos, that is, of the life and order of the universe ... Along with the consciousness of the cosmos there occurs an intellectual enlightenment or illumination which alone would place the individual on a new plane of existence — would make him almost a member of a new species. To this is added a state of moral exaltation, an indescribable feeling of elevation, elation and joyousness, and a quickening of the moral sense, which is fully as striking and more important both to the individual and to the race than is the enhanced intellectual power. With these come, what may be called, a sense of immortality, a consciousness of eternal life, not a conviction that he shall have this, but the consciousness that he has it already.

Richard Maurice Bucke

Each work of art is a complete entity existing in its own right and by its own particular logic. It has its own reality and is independent of any particular creed or theory as a justification for its existence. This is not to say that artistic development may be considered as a self-sufficient process unrelated to social reality, because art is always concerned with the deeper and fundamentally human things; and any consideration of art is a consideration of humanity. But it does mean that we cannot apply the principles and logic of the past to a new work of art and hope to understand it. The eternal verities with which the artist is concerned do not change, but our conception of art does, as does our conception of form, and these must be extended if we are to understand fully and basically the meaning of a new work. It is a complex matter, but the elemental principles are always simple. The mass of modern art theory that developed around the fantastic changes of this century's painting can be largely ignored; only one or two fundamental principles are important. Probably most important in the new aesthetics from the painter's point of view was the statement of Degas, seventy years ago, in his unheeded advice to the Impressionists. He spoke then of a "Transformation in which imagination collaborates with memory... It is very well to copy what one sees; it is much better to draw what one has retained in one's memory”…This attitude, and all it implies, underlines the work of practically every painter of importance since 1900. Ultimately, it meant that the day of stage props and models was gone, and that imagination was recognised as the most important quality in an artist.

Patrick Swift

Once one is caught up into the material world not one person in ten thousand finds the time to form literary taste, to examine the validity of philosophic concepts for himself, or to form what, for lack of a better phrase, I might call the wise and tragic sense of life.

F. Scott Fitzgerald
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