Yquotes.com

 

The difference between men is in their principle of association. Some men classify objects by color and size and other accidents of appearance; others by intrinsic likeness, or by the relation of cause and effect. The progress of the intellect is to the clearer vision of causes, which neglects surface differences. To the poet, to the philosopher, to the saint, all things are friendly and sacred, all events profitable, all days holy, all men divine. For the eye is fastened on the life, and slights the circumstance. Every chemical substance, every plant, every animal in its growth, teaches the unity of cause, the variety of appearance.

 

Ralph Waldo Emerson

» Ralph Waldo Emerson - all quotes »

Similar quotes

 

He [ Ezekiel] further says, "As the appearance of the bow that is in the cloud in the day of the rain, so was the appearance of the brightness round about. This was the appearance of the likeness of the glory," (i. 28). The substance and the true essence of the bow described here is well known. The simile and comparison is in this case very extraordinary, and is undoubtedly part of the prophecy; and note it well.

 

Maimonides

 

That divine and all-beauteous World, which from the highest vault of Heaven down to the lowest Earth is held together by the immutable providence of God, and which has existed from all eternity, without creation, and shall be eternal for all time to come, and which is not regulated by anything, except approximately by the Fifth Body (of which the principle is the solar light) placed, as it were, on the second step below the world of intelligence; and finally by the means of the "Sovereign of all things, around whom all things stand." This Being, whether properly to be called "That which is above comprehension," or the "Type of things existing," or "The One," (inasmuch as Unity appears to be the most ancient of all things), or "The Good," as Plato regularly designates Him, This, then, is the Single Principle of all things, and which serves to the universe as a model of indescribable beauty, perfection, unity, and power. And after the pattern of the primary substance that dwells within the Principle, He hath sent forth out of Himself, and like in all things unto Himself, the Sun, a mighty god, made up of equal parts of intelligible and creative causes. And this is the sense of the divine Plato, where he writes, "You may say (replied I) that I mean the offspring of the Good, whom the Good has produced, similar to itself; in order that, what the Good is in the region of intelligence, and as regards things only appreciable by the mind, its offspring should be the same in the region that is visible, and in the things that are appreciable by the sight." For this reason I believe that the light of the Sun bears the same relation to things visible as Truth does to things intelligible. But this Whole, inasmuch as it emanates from the Model and "Idea" of the primal and supreme Good, and exists from all eternity around his immutable being, has received sovereignty also over the gods appreciable by the intellect alone, and communicates to them the same good things, (because they belong to the world of intelligence), as are poured down from the Supreme Good upon the other objects of Intelligence. For to these latter, the Supreme Good is the source, as I believe, of beauty, perfection, existence, and union; holding them together and illuminating them by its own virtue which is the "Idea" of the Good.

 

Julian (Emperor)

 

You don't need something more to get something more. That's what emergence means. Life can emerge from physics and chemistry plus a lot of accidents. The human mind can arise from neurobiology and a lot of accidents, the way the chemical bond arises from physics and certain accidents. Doesn't diminish the importance of these subjects to know they follow from more fundamental things plus accidents.

 

Murray Gell-Mann

 

At bottom, it is the Poet's first gift, as it is all men's, that he have intellect enough. He will be a Poet if he have: a Poet in word; or failing that, perhaps still better, a Poet in act. Whether he write at all; and if so, whether in prose or in verse, will depend on accidents: who knows on what extremely trivial accidents, — perhaps on his having had a singing-master, on his being taught to sing in his boyhood! But the faculty which enables him to discern the inner heart of things, and the harmony that dwells there (for whatsoever exists has a harmony in the heart of it, or it would not hold together and exist), is not the result of habits or accidents, but the gift of Nature herself; the primary outfit for a Heroic Man in what sort soever. To the Poet, as to every other, we say first of all, See. If you cannot do that, it is of no use to keep stringing rhymes together, jingling sensibilities against each other, and name yourself a Poet; there is no hope for you. If you can, there is, in prose or verse, in action or speculation, all manner of hope. The crabbed old Schoolmaster used to ask, when they brought him a new pupil, 'But are ye sure he's not a dunce?' Why, really one might ask the same thing, in regard to every man proposed for whatsoever function; and consider it as the one inquiry needful: Are ye sure he's.

 

Thomas Carlyle

 

We find the following words:— "Whether it is the human figure, and animal, or even inanimate objects, there is nothing, however unpromising in appearance, but may be raised into dignity, convey sentiment, and produce emotion, in the hands of a painter of genius. What was said of Virgil, that he threw even the dung about the ground with an air of dignity, may be applied to Titian; whatever he touched, however naturally mean, and habitually familiar, by a kind of magic he invested with grandeur and importance."—No, not by magic, but by seeking and finding in individual nature, and combined with details of every kind, that grace and grandeur and unity of effect which Sir Joshua supposes to be a mere creation of the artist's brain! Titian's practice was, I conceive, to give general appearances with individual forms and circumstances. Sir Joshua's theory goes too often, and in its prevailing bias, to separate the two things as inconsistent with each other, and thereby to destroy or bring into question that union oi striking effect with accuracy of resemblance, in which the essence of sound art (as far as relates to imitation) consists.

 

Titian