You must know that if a person, who has attained a certain degree of perfection, wishes to impart to others, either orally or in writing, any portion of the knowledge which he has acquired of these subjects, he is utterly unable to be as systematic and explicit as he could be in a science of which the method is well known. The same difficulties which he encountered when investigating the subject for himself will attend him when endeavouring to instruct others: viz., at one time the explanation will appear lucid, at another time, obscure: this property of the subject appears to remain the same both to the advanced scholar and to the beginner. For this reason, great theological scholars gave instruction in all such matters only by means of metaphors and allegories.
Maimonides
He who thinks he can have flesh and bones without being subject to any external influence, or any accidents of matter, unconsciously wishes to reconcile two opposites, viz., to be at the same time subject and not subject to change. If man were never subject to change there could be no generation; there would be one single being, but no individuals forming a species.
Maimonides
The Fourth Gospel is admitted by all Greek scholars to be, in parts, extraordinarily obscure. No honest writer of history is obscure, as a rule, except through carelessness or ignorance — ignorance, it may be, of the art of writing, or of the subject he is writing about, or of the persons he is addressing, or of the words he is using, but, in any case, ignorance of something. But an honest writer of poetry or prophecy may be consciously obscure because a message, so to speak, has come into his mind in a certain form, and he feels this likely to prove the best form — ultimately, when his readers have thought about it.
Edwin Abbot
From my earliest infancy I was possessed with a strange longing for the solar rays, so that when, as a boy, I cast my eyes upon the ethereal splendour, my soul felt seized and carried up out of itself. And not merely was it my delight to gaze upon the solar brightness, but at night also whenever I walked out in clear weather, disregarding all else, I used to fix my eyes upon the beauty of the heavens; so that I neither paid attention to what was said to me, nor took any notice of what was going on. On this account, people used to think me too much given to such pursuits, and far too inquisitive for my age: and they even suspected me, long before my beard was grown, of practising divination by means of the heavenly bodies. And. yet at that time no book on the subject had fallen into my hands, and I was utterly ignorant of what that science meant. But what use is it to quote these matters, when I have still stranger things to mention; if I should mention what I at that time thought about the gods? But let oblivion rest upon that epoch of darkness! How the radiance of heaven, diffused all round me, used to lift up my soul to its own contemplation! to such a degree that I discovered for myself that the moon's motion was in the opposite direction to that of the rest of the system, long before I met with any works giving the philosophy of such matters.
Julian (Emperor)
There is a rhetoric of knowledge, a characteristic way in which arguments, proofs, speculations, experiments, polemics, even humor are expressed. ...speaking or writing a subject is a performing art, and each subject requires a somewhat different kind of performance from every other. Historians, for example, do not speak or write history in the same way biologists speak or write biology. ...it is worth remembering that some scholars-one thinks of Veblen in sociology, Freud in psychology, Galbraith in economics - have exerted influence as much through their manner as their matter. The point is that knowledge is a form of literature, and the various styles of knowledge ought to be studied and discussed.
Neil Postman
Millet was one of those artists on whom a few formal ideas make so deep an impression that they feel compelled to spend the whole of their lives in trying to lever them out. Perhaps this is the chief distinguishing mark of the classical artist; certainly it is what distinguishes his use of subject matter from that of the illustrator. The illustrator is essentially a reporter, his subjects come from the outside, lit by a flash. A subject comes to the classical artist from inside, and when he discovers confirmation of it in the outside world he feels that it has been there all the time. He must give to his subjects an air of complete inevitability, and this becomes a problem of formal completeness. That is why the classic artists, Degas no less than Poussin, return to the same motives again and again, hoping each time to mould the subject closer to the idea.
Kenneth Clark
Maimonides
Mair, Eddie
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