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Robert Gascoyne-Cecil

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Conciliatory legislation only conciliates when there is a full belief on the part of those with whom you are dealing that you are acting on a principle of justice and not on motives of fear.
--
Speech (5 June 1882), from in G. Cecil, The Life of Robert, Marquis of Salisbury. Volume III, p. 48.

 
Robert Gascoyne-Cecil

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Apart from selfish reasons, such as fear of punishments, fear of blame, of dishonour, etc, there remains only two motives that can stop (or prevent, "empâecher", Fr.) men from acting badly; the natural sense of commiseration (or "sympathy", - "commisération", Fr.) for one's fellow men - compassion, and the influence of education, by association of ideas ("par l'association d'idées", Fr.) - habit.

 
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Do not be frightened from this inquiry by any fear of its consequences. If it ends in a belief that there is no god, you will find incitements to virtue in the comfort and pleasantness you feel in its exercise, and the love of others which it will procure you. If you find reason to believe there is a God, a consciousness that you are acting under his eye, and that he approves you, will be a vast additional incitement; if that there be a future state, the hope of a happy existence in that increases the appetite to deserve it; if that Jesus was also a god, you will be comforted by a belief of his aid and love.

 
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There science is dealing with physical facts, in art we are dealing with psychic effects. With this I come to my first statement: The source of art – that is, where it comes from – is the discrepancy between physical fact and psychic effect. That’s what I’m talking about. When I want to speak about why I am doing the same thing now, which is squares, for – how long? – 19 years. Because there is no final solution in any visual formulation. Although this may be just a belief on my part, I have some assurances that that is not the most stupid thing to do, through Cézanne, whom I consider as one of the greatest painters. From Cézanne we have, so the historians tell us – 250 paintings of Mont St. Victoire. But we know that Cézanne has left in the fields often more than he took home because he was disappointed with his work. So we may conclude he did many more than 250 of the same problem.

 
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