It would be wrong to suppose that the man of any particular period always looks upon past times as below the level of his own, simply because they are past. It is enough to recall that to the seeming of Jorge Manrique, "Any time gone by was better."... From A.D. 150 on, this impression of a shrinking of vitality, of a falling from position, of decay and loss of pulse shows itself increasingly in the Roman Empire. Had not Horace already sung: "Our fathers, viler than our grandfathers, begot us who are even viler, and we shall bring forth a progeny more degenerate still"?

Tell me to what you pay attention and I will tell you who you are.

The form most contradictory to human life that can appear among the human species is the "self-satisfied man."

History tells us of innumerable retrogressions, of decadences and degenerations. But nothing tells us that there is no possibility of much more basic retrogressions than any so far known, including the most radical of all: the total disappearance of man as man and his silent return to the animal scale, to complete and definitive alteration. The fate of culture, the destiny of man, depends upon our maintaining this dramatic consciousness ever alive in our inmost being, and upon our being well aware, as of a murmuring counterpoint in our entrails, that we can only be sure of insecurity.

The metaphor is perhaps one of man's most fruitful potentialities. Its efficacy verges on magic, and it seems a tool for creation which God forgot inside one of His creatures when He made him. All our other faculties keep us within the realm of the real, of what is already there. The most we can do is to combine things or to break them up. The metaphor alone furnishes an escape; between the real things, it lets emerge imaginary reefs, a crop of floating islands. A strange thing, indeed, the existence in man of this mental activity which substitutes one thing for another - from an urge not so much to get at the first as to get rid of the second.

Nationalism is always an effort in a direction opposite to that of the principle which creates nations. The former is exclusive in tendency, the latter inclusive. In periods of consolidation, nationalism has a positive value, and is a lofty standard. But in Europe everything is more than consolidated, and nationalism is nothing but a mania, a pretext to escape from the necessity of inventing something new, some great enterprise.

Is this not an advantage? Is it not a sign of immense progress that the masses should have "ideas," that is to say, should be cultured? By no means. The "ideas" of the average man are not genuine ideas, nor is their possession culture. An idea is a putting truth in checkmate. Whoever wishes to have ideas must first prepare himself to desire truth and to accept the rules of the game imposed by it. It is no use speaking of ideas when there is no acceptance of a higher authority to regulate them, a series of standards to which it is possible to appeal in a discussion. These standards are the principles on which culture rests.

Man's being is made of such strange stuff as to be partly akin to nature and partly not, at once natural and extranatural, a kind of ontological centaur, half immersed in nature, half transcending it.

It must be emphasized that the warrior spirit is one thing and the military spirit quite another. Militarism was unknown in the Middle Ages. The soldier signifies the degeneration of the warrior, corrupted by the industrialist. The soldier is an armed industrialist, a bourgeois who has invented gunpowder. He was organized by the state to make war on the castles. With his coming, long-distance warfare appeared, the abstract war waged by cannon and machine gun.

The mass-man sees in the State an anonymous power, and feeling himself, like it, anonymous, he believes that the State is something of his own. Suppose that in the public life of a country some difficulty, conflict, or problem presents itself, the mass-man will tend to demand that the State intervene immediately and undertake a solution directly with its immense and unassailable resources. This is the gravest danger that to-day threatens civilisation: State intervention; the absorption of all spontaneous social effort by the State.

Every living creature is happy when he fulfills his destiny, that is, when he realizes himself, when he is being that which in truth he is. For this reason, Schlegel, inverting the relationship between pleasure and destiny, said, "We have a genius for what we like." Genius, man's superlative gift for doing something, always carries a look of supreme pleasure.

The primary meaning of the words "modern," "modernity," with which recent times have baptised themselves, brings out very sharply that feeling of "the height of time" which I am at present analysing. "Modern" is what is "in the fashion, "that is to say, the new fashion or modification which has arisen over against the old traditional fashions used in the past. The word "modern" then expresses a consciousness of a new life, superior to the old one, and at the same time an imperative call to be at the height of one's time. For the "modern" man, not to be "modern" means to fall below the historic level.

Scientific truth is characterized by its exactness and the certainty of its predictions. But these admirable qualities are contrived by science at the cost of remaining on a plane of secondary problems. leaving intact the ultimate and decisive questions. ... Yet science is but a small part of the human mind and organism. Where it stops, man does not stop.

The surrealist thinks he has outstripped the whole of literary history when he has written (here a word that there is no need to write) where others have written "jasmines, swans and fauns." But what he has really done has been simply to bring to light another form of rhetoric which hitherto lay hidden in the latrines.

Man does not exercise his thought because he finds it amusing, but because, obliged as he is to live immersed in the world and to force his way among things, he finds himself under the necessity of organizing his psychic activities, which are not very different from those of the anthropoid, in the form of thought - which is what the animal does not do.

Strictly speaking, the mass, as a psychological fact, can be defined without waiting for individuals to appear in mass formation. In the presence of one individual we can decide whether he is "mass" or not. The mass is all that which sets no value on itself - good or ill - based on specific grounds, but which feels itself "just like everybody," and nevertheless is not concerned about it; is, in fact, quite happy to feel itself as one with everybody else.

To imagine that Caesar aspired to do something in the way Alexander did it - and this is what almost all historians have believed - is definitely to give up trying to understand him. Caesar is very nearly the opposite of Alexander. ...[I]t is not merely a universal kingdom that Caesar has in view. His purpose is a deeper one. He wants a Roman empire which does not live on Rome, but on the periphery, on the provinces, and this implies the complete supersession of the City-State. It implies a State in which the most diverse peoples collaborate, in regard to which all feel solidarity.

When all these things are lacking there is no culture; there is in the strictest sense of the word, barbarism. And let us not deceive ourselves, this is what is beginning to appear in Europe under the progressive rebellion of the masses. The traveller who arrives in a barbarous country knows that in that territory there are no ruling principles to which it is possible to appeal. Properly speaking, there are no barbarian standards. Barbarism is the absence of standards to which appeal can be made.

Whether he be an original or a plagiarist, man is the novelist of himself.

The physical change in the thickness of walls since the Middle Ages could be shown in a diagram. In the fourteenth century each house was a fortress. Man spent the major portion of his day in them, in secret and well-defended solitude. That solitude, working on the soul hour after hour, forged it, like a transcendent blacksmith, into a compact and forceful character. Under its treatment, man consolidated his individual destiny and sallied forth with impunity, never yielding to the contamination from the public. It is only in isolation that we gain, almost automatically, a certain discrimination in ideas, desires, longings, that we learn which are ours, and which are anonymous, floating in the air, falling on us like dust in the street.

Spontaneous social action will be broken up over and over again by State intervention; no new seed will be able to fructify. Society will have to live for the State, man for the governmental machine. And as, after all, it is only a machine whose existence and maintenance depend on the vital supports around it, the State, after sucking out the very marrow of society, will be left bloodless, a skeleton, dead with that rusty death of machinery, more gruesome than the death of a living organism. Such was the lamentable fate of ancient civilisation. ... Already in the times of the Antonines (IInd Century), the State overbears society with its anti-vital supremacy. Society begins to be enslaved, to be unable to live except in the service of the State. The whole of life is bureaucratised. What results? The bureaucratisation of life brings about its absolute decay in all orders.

I have always thought that clarity is a form of courtesy that the philosopher owes; moreover, this discipline of ours considers it more truly a matter of honor today than ever before to be open to all minds ... This is different from the individual sciences which increasingly [interpose] between the treasure of their discoveries and the curiosity of the profane the tremendous dragon of their closed terminology.

Even to-day, in spite of some signs which are making a tiny breach in that sturdy faith, even to-day, there are few men who doubt that motorcars will in five years' time be more comfortable and cheaper than to-day. They believe in this as they believe that the sun will rise in the morning. The metaphor is an exact one. For, in fact, the common man, finding himself in a world so excellent, technically and socially, believes that it has been produced by nature, and never thinks of the personal efforts of highly-endowed individuals which the creation of this new world presupposed. Still less will he admit the notion that all these facilities still require the support of certain difficult human virtues, the least failure of which would cause the rapid disappearance of the whole magnificent edifice.... These traits together make up the well-known psychology of the spoilt child. Chap.

That science is incapable of solving in its own way those fundamental questions is no sufficient reason for slighting them.

Diogenes, in his mud-covered sandals, tramps over the carpets of Aristippus. The cynic pullulated at every corner, and in the highest places. This cynic did nothing but saboter the civilisation of the time. He was the nihilist of Hellenism. He created nothing, he made nothing. His role was to undo - or rather to attempt to undo, for he did not succeed in his purpose. The cynic, a parasite of civilisation, lives by denying it, for the very reason that he is convinced that it will not fail. What would become of the cynic among a savage people where everyone, naturally and quite seriously, fulfils what the cynic farcically considers to be his personal role?

The demagogues, impresarios of alteracion, who have already caused the death of several civilizations, harass men so that they shall not reflect, see to it that they are kept herded together in crowds so that they cannot reconstruct their individuality in the one place where it can be reconstructed, which is in solitude.

The characteristic of the hour is that the commonplace mind, knowing itself to be commonplace, has the assurance to proclaim the rights of the commonplace and to impose them wherever it will. As they say in the United States: "to be different is to be indecent." The mass crushes beneath it everything that is different, everything that is excellent, individual, qualified and select. Anybody who is not like everybody, who does not think like everybody, runs the risk of being eliminated. And it is clear, of course, that this "everybody" is not "everybody." "Everybody" was normally the complex unity of the mass and the divergent, specialised minorities. Nowadays, "everybody" is the mass alone.

[I]t would be a piece of ingenuousness to accuse the man of to-day of his lack of moral code. The accusation would leave him cold, or rather, would flatter him. Immoralism has become a commonplace, and anybody and everybody boasts of practising it.

Liberalism - it is well to recall this today-is the supreme form of generosity; it is the right which the majority concedes to minorities and hence it is the noblest cry that has ever resounded in this planet. It announces the determination to share existence with the enemy; more than that, with an enemy which is weak. It was incredible that the human species should have arrived at so noble an attitude, so paradoxical, so refined, so acrobatic, so anti-natural. Hence, it is not to be wondered at that this same humanity should soon appear anxious to get rid of it. It is a discipline too difficult and complex to take firm root on earth.

Be it well understood, I am free by compulsion, whether I wish to be or not. Freedom is not an activity pursued by an entity that, apart from and previous to such pursuit, is already possessed of a fixed being. To be free means to be lacking in constitutive identity, not to have subscribed to a determined being, to be able to be other than what one was, to be unable to install oneself once and for all in any given being. The only attribute of the fixed, stable being in the free being is this constitutive instability.

To regiment artists, to make them servants of some particular cause does violence to the very springs of artistic creation. But it does more than that. It betrays the very cause of a better future it would serve, for in its subjugation of the individuality of the artist it annihilates the source of that which is genuinely new. Where the regimentation is successful, it would cause the future to be but a rearrangement of the past.

The artist in realizing his own individuality reveals potentialities hitherto unrealized. The revelation is the inspiration of other individuals to make the potentialities real, for it is not sheer revolt against things as they are which stirs human endeavor to its depth, but vision of what might be and is not. Subordination of the artists to any special cause no matter how worthy does violence not only to the artist but to the living source of a new and better future.

Art is not the possession of the few who are recognized writers, painters, musicians; it is the authentic expression of any and all individuality. Those who have the gift of creative expression in unusually large measure disclose the meaning of the individuality of others to those others. In participating in the work of art, they become artists in their activity. They learn to know and honor individuality in whatever form it appears. The fountains of creative activity are discovered and released. The free individuality which is the source of art is also the final source of creative development in time.

What happens in the movement of art is emergence of new materials of experience demanding expression, and therefore involving in their expression new forms and techniques.

As we shall see later, the most important factor in the training of good mental habits consists in acquiring the attitude of suspended conclusion, and in mastering the various methods of searching for new materials to corroborate or to refute the first suggestions that occur. To maintain the state of doubt and to carry on systematic and protracted inquiry ― these are the essentials of thinking.

In ordinary visual perception, we see by means of light; we distinguish by means of reflected and refracted colors. But in ordinary perception, this medium of color is mixed, adulterated. While we see, we also hear; we feel pressures, and heat and cold. In a painting, color renders the scene without these alloys and impurities. They are part of the dross that is squeezed out and left behind in an act of intensified expression. The medium becomes color alone, and since color alone must now carry the qualities of movement, touch, sound, etc., that are present physically on their own account in ordinary vision, the expressiveness and energy of color are enhanced.

Classical science was based upon the belief that it is possible to formulate both the position and velocity at one time of any given particle. It followed that knowledge of the position and velocity of a given number of particles would enable the future behavior of the whole collection to be accurately predicted. The principle of Heisenberg is that given the determination of position, its velocity can be stated only as of a certain order of probability, while if its velocity is determined the correlative factor of position can be stated only as of a certain order of probability. Both cannot be determined at once, from which it follows necessarily that the future of the whole collection cannot possibly be foretold except in terms of some order of probability.

I do not think that the dancing and singing of even little children can be explained wholly on the basis of unlearned and unformed responses to then existing objective conditions. Clearly there must be something in the present to evoke happiness. But the act is expressive only a there is in it a unison of something stored from past experience, something therefore generalized, with present conditions. In the case of expressions of happy children the marriage of past values and present incidents takes place easily; there are few obstructions to be overcome, few wounds to heal, few conflicts to resolve. With maturer persons, the reverse is the case. Accordingly the achievement of complete unison is rare; but when it occurs it is so on a deeper level and with a fuller content of meaning. And then, even though after long incubation and after precedent pangs of labor, the final expression may issue with the spontaneity of the cadenced speech or rhythmic movement of happy childhood.

When there is genuine artistry in scientific inquiry and philosophic speculation, a thinker proceeds neither by rule nor yet blindly, but by means of meaning that exist immediately as feelings having qualitative color.

Because energy is not restrained by other elements that are at once antagonistic and cooperative, action proceeds by jerks and spasms. There is discontinuity.

The animating purpose of James was, on the other hand, primarily moral and artistic. It is expressed in his phrase, "block universe," employed as a term of adverse criticism. Mechanism and idealism were abhorrent to him because they both hold to a closed universe in which there is no room for novelty and adventure. Both sacrifice individuality and all the values, moral and aesthetic, which hang upon individuality; for according to absolute idealism, as to mechanistic materialism, the individual is simply a part determined by the whole of which he is a part. Only a philosophy of pluralism, of genuine indetermination, and of change which is real and intrinsic gives significance to individuality. It alone justifies struggle in creative activity and gives opportunity for the emergence of the genuinely new.

Every great advance in science has issued from a new audacity of imagination.

The recurrence of relations-not of elements-in different contexts, which constitutes transposition is qualitative and hence directly experienced in perception.

Freedom of thought and of expression are not mere rights to be claimed. They have their roots deep in the existence of individuals as developing careers in time. Their denial and abrogation is an abdication of individuality and a virtual rejection of time as opportunity.

Well both original seizure and subsequent critical discrimination have equal claims, each to its own complete development and must not be forgotten that direct and unreasoned impression comes first. There is such occasions something of the quality of the wind that bloweth where it listeth. Sometimes it comes and sometimes it does not, even in the presence of the same object. It cannot be forced and when it does not arrive it is not wise to seek to recover by direct action the first fine rapture.

It is a familiar and significant saying that a problem well-put is half-solved.

All the cases in which means and ends are external to one another are non-esthetic.

The utmost possible regarding an individual is a statement as to some order of probability about the future. Heisenberg's principle has been seized upon as a basis for wild statements to the effect that the doctrine of arbitrary free will and totally uncaused activity are now scientifically substantiated. Its actual force and significance is generalization of the idea that the individual is a temporal career whose future cannot logically be deduced from its past.

There are in our minds in solution a vast number of emotional attitudes, feelings ready to be re-excited when the proper stimulus arrives, and more than anything else it is these forms, this residue of experience, which, fuller and richer than in the mind if the ordinary man, constitute the artist's capital. What is called the magic of the artist resides in his ability to transfer these values from one field of experience to another, to attach them to objects of our common life, and by his imaginative insight make these objects poignant and momentous. Not colors, not sense qualities as such, are either matter or form, but these qualities as thoroughly imbued, impregnated, with transferred value. And then they are either matter or form according to the direction of our interest.

Form may then be defined as the operation of forces that carry the experience of an event, object, scene, and situation to its own integral fulfillment.