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Gilbert Keith Chesterton

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Imagination does not breed insanity. Exactly what does breed insanity is reason. Poets do not go mad; but chess-players do. Mathematicians go mad, and cashiers; but creative artists very seldom. I am not, as will be seen, in any sense attacking logic: I only say that this danger does lie in logic, not in imagination.
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Chapter II : The Maniac

 
Gilbert Keith Chesterton

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The imagination eulogized by Baudelaire is in his own case more often than not a synonym for desire or despair. His critical exigencies are, like those of the profoundly sick man that he was, harsh and imperative and illusory in the sense of release temporarily obtained. Yet imagination is also the faculty that gives Baudelaire a royal sense of equality with other creative artists; he uses his status as a poet to boost his activities as a critic, claiming, with total justification in his case, that criticism is a creative affair, a fine rather than applied art.

 
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The logic and necessity of the new generation — and what they are so furiously opposed to — must be seen against a background of what has gone wrong in America. It must be understood in light of the betrayal and loss of the American dream, the rise of the Corporate State of the 1960's, and the way in which that State dominates, exploits, and ultimately destroys both nature and man. Its rationality must be measured against the insanity of existing "reason" — reason that makes impoverishment, dehumanization, and even war appear to be logical and necessary. Its logic must be read from the fact that Americans have lost control of the machinery of their society, and only new values and a new culture can restore control. Its emotions and spirit can be comprehended only by seeing contemporary America through the eyes of the new generation.

 
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Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God.

 
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First, we must consider what soul is. It is, then, that by which the animate differs from the inanimate. The difference lies in motion, sensation, imagination, intelligence. Soul therefore, when irrational, is the life of sense and imagination; when rational, it is the life which controls sense and imagination and uses reason. The irrational soul depends on the affections of the body; it feels desire and anger irrationally. The rational soul both, with the help of reason, despises the body, and, fighting against the irrational soul, produces either virtue or vice, according as it is victorious or defeated.

 
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I have always said that you do not see a thing until you look away from it. In other words, an object or a fact in nature has not become itself until it has been projected in the realm of the imagination. Therefore what has been retained in the mind’s eye is what lives. I have seldom or never worked from nature for this reason and so what I see is what I believe to be true, and that becomes the truism of the creative artist.

 
Marsden Hartley
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