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Don't turn your back upon your doctrinal doubts and difficulties. Go up to them and examine them. Perhaps the ghastly object which looks to you in the twilight like a sheeted ghost may prove to be no more than a table-cloth hanging upon a hedge.
--
P. 194.

 

Andrew Kennedy Hutchison Boyd

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Those who remove our troubles, dispel our doubts, and bestow peace are true teachers. They perform a Godlike work. Their opposites (those who increase our doubts and difficulties) are harmful to us and should be avoided like poison.

 

Sri Yukteswar Giri

 

Also, you can't prove that there isn't a ghost of Bagpuss hovering right behind your head as you read this. He's right there, man! No, he disappeared right after you turned your head. I swear he's there. Look, he's back again now! (Meet the Crazy Moon Man)

 

Ben Croshaw

 

—You know what Aquinas says: The three things requisite for beauty are, integrity, a wholeness, symmetry and radiance. Some day I will expand that sentence into a treatise. Consider the performance of your own mind when confronted with any object, hypothetically beautiful. Your mind to apprehend that object divides the entire universe into two parts, the object, and the void which is not the object. To apprehend it you must lift it away from everything else: and then you perceive that it is one integral thing, that is a thing. You recognise its integrity. Isn't that so?
— And then?
—That is the first quality of beauty: it is declared in a simple sudden synthesis of the faculty which apprehends. What then? Analysis then. The mind considers the object in whole and in part, in relation to itself and to other objects, examines the balance of its parts, contemplates the form of the object, traverses every cranny of the structure. So the mind receives the impression of the symmetry of the object. The mind recognises that the object is in the strict sense of the word, a thing, a definitely constituted entity. You see?
— Let us turn back, said Cranly.

 

James Joyce

 

Schematically, the argument is as follows. Berkeley says: “Sensible objects must be sensible. A is a sensible object. Therefore A must be sensible.” But if “must” indicates logical necessity, the argument is only valid if A must be a sensible object. The argument does not prove that, from the properties of A other than its being sensible, it can be deduced that A is sensible. It does not prove, for example, that colours intrinsically indistinguishable from those that we see may not exist unseen. We may believe on physiological grounds that this does not occur, but such grounds are empirical; so far as logic is concerned, there is no reason why there should not be colours where there is no eye or brain.

 

George Berkely

 

It is the intense personal character which, I think, gives the superiority to Titian's portraits over all others, and stamps them with a living and permanent interest. Of other pictures you tire, if you have them constantly before you; of his, never. For other pictures have either an abstracted look, and you dismiss them, when you have made up your mind on the subject as a matter of criticism; or an heroic look, and you cannot be always straining your enthusiasm; or an insipid look, and you sicken of it. But whenever you turn to look at Titian's portraits, they appear to be looking at you; there seems to be some question pending between you, as though an intimate friend or inveterate foe were in the room with you; they exert a kind of fascinating power; and there is that exact resemblance of individual nature which is always new and always interesting, because you cannot carry away a mental abstraction of it, and you must recur to the object to revive it in its full force and integrity. I would as soon have Raphael's, or most other pictures, hanging up in a collection, that I might pay an occasional visit to them: Titian's are the only ones that I should wish to have hanging in the same room with me for company!

 

Titian