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Great abilities are not requisite for an Historian; for in historical composition, all the greatest powers of the human mind are quiescent. He has facts ready to his hand; so there is no exercise of invention. Imagination is not required in any high degree; only about as much as is used in the lower kinds of poetry.
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July 6, 1763, p. 120.

 

Samuel Johnson

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The history of philosophy enjoys, in some measure, the advantages both of civil and natural history, whereby it is relieved from what is most tedious and disgusting in both. Philosophy exhibits the powers of nature, discovered and directed by human art. It has, therefore, in some measure, the boundless variety with the amazing uniformity of the one, and likewise every thing that is pleasing and interesting in the other. And the idea of continual rise and improvement is conspicuous in the whole study, whether we be attentive to the part which nature, or that which men are acting in the great scene.
It is here that we see the human understanding to its greatest advantage, grasping at the noblest objects, and increasing its own powers, by acquiring to itself the powers of nature, and directing them to the accomplishment of its own views; whereby the security, and happiness of mankind are daily improved. Human abilities are chiefly conspicuous in adapting means to ends, and in deducing one thing from another by the method of analogy; and where may we find instances of greater sagacity, than in philosophers diversifying the situations of things, in order to give them an opportunity of showing their mutual relations, affections, and influences; deducing one truth and one discovery from another, and applying them all to the useful purposes of human life.
If the exertion of human abilities, which cannot but form a delightful spectacle for the human imagination, give us pleasure, we enjoy it here in a higher degree than while we are contemplating the schemes of warriors, and the stratagems of their bloody art.

 

Joseph Priestley

 

I want a poetry that can learn as much from popular culture as from serious culture. A poetry that seeks the pleasure and emotionality of the popular arts without losing the precision, concentration, and depth that characterize high art. I want a literature that addresses a diverse audience distinguished for its intelligence, curiosity, and imagination rather than its professional credentials. I want a poetry that risks speaking to the fullness of our humanity, to our emotions as well as to our intellect, to our senses as well as our imagination and intuition. Finally I hope for a more sensual and physical art — closer to music, film, and painting than to philosophy or literary theory. Contemporary American literary culture has privileged the mind over the body. The soul has become embarrassed by the senses. Responding to poetry has become an exercise mainly in interpretation and analysis. Although poetry contains some of the most complex and sophisticated perceptions ever written down, it remains an essentially physical art tied to our senses of sound and sight. Yet, contemporary literary criticism consistently ignores the sheer sensuality of poetry and devotes its considerable energy to abstracting it into pure intellectualization. Intelligence is an irreplaceable element of poetry, but it needs to be vividly embodied in the physicality of language. We must — as artists, critics, and teachers — reclaim the essential sensuality of poetry. The art does not belong to apes or angels, but to us. We deserve art that speaks to us as complete human beings. Why settle for anything less?

 

Dana Gioia

 

There are many different styles of composition. I characterize them always as Mozart versus Beethoven. When Mozart began to write at that time he had the composition ready in his mind. He wrote the manuscript and it was 'aus einem Guss' (casted as one). And it was also written very beautiful. Beethoven was an indecisive and a tinkerer and wrote down before he had the composition ready and plastered parts over to change them. There was a certain place where he plastered over nine times and one did remove that carefully to see what happened and it turned out the last version was the same as the first one.

 

Edsger W. Dijkstra

 

The moral sense, or conscience, is as much a part of man as his leg or arm. It is given to all human beings in a stronger or weaker degree, as force of members is given them in a greater or less degree. It may be strengthened by exercise, as may any particular limb of the body. This sense is submitted, indeed, in some degree, to the guidance of reason; but it is a small stock which is required for this: even a less one than what we call common sense. State a moral case to a ploughman and a professor. The former will decide it as well, and often better than the latter, because he has not been led astray by artificial rules.

 

Thomas Jefferson

 

It is the historical mind, rather than the scientific (in the physicist's sense), that destroyed the mythical orientation of European culture; the historian, not the mathematician, introduced the "higher criticism," the standard of actual fact. It is he who is the real apostle of the realistic age. Science builds its structure of hypothetical "elements" and laws of their behavior, touching on reality at crucial points . . . . But the historian does not locate known facts in a hypothetical, general pattern of processes; his aim is to link fact to fact, one unique knowable event to another individual one that begot it.

 

Susanne Langer