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“A man may have spent his life among the great ones of the earth, who to him have been merely boring relatives or tedious acquaintances because a familiarity engendered in the cradle had stripped them of all glamour in his eyes.”

“The question so often asked of modern painting, "What is it?", contains more than the dull skepticism of the man who is not going to have the wool pulled over his eyes. It speaks of a fundamental placement in relation to the work, that of a voyager in the world coming upon a strange object. The reader reconstitutes the work by his active participation, by approaching the object, tapping it, shaking it, holding it to his ear to hear the roaring within. It is characteristic of the object that it does not declare itself all at once, in a rush of pleasant naïveté.”

“The Master persistently warned against the attempt to encompass Reality in a concept or a name. A scholar in mysticism once asked, "When you speak of BEING, sir, is it eternal, transcendent being you speak of, or transient, contingent being?" The Master closed his eyes in thought. Then he opened them, put on his most disarming expression, and said, "Yes!"”

“The Mackenzie had never met folk so poor in story and song and legends, and it moved him to a pity that pricked at his eyes. Without that tapestry of colour and words and ritual, what was life but eating and mating, sleeping and moving your bowels? All of them good and necessary, but not enough; and they themselves needed that framework too, to give them meaning.”

“The old man has been long at the fair. He is acquainted with the jugglers at the booths. His curiosity has been satisfied. He no longer cares for the exceptional, the monstrous, the marvelous and deformed. He looks through and beyond the gilding, the glitter and gloss, not only of things, but of conduct, of manners, theories, religions and philosophies. He sees clearer. The light no longer shines in his eyes.”

“Psychohistory, like psychoanalysis, is a science in which the researcher's feelings are as much or even more a part of his research equipment than his eyes or his hands. Weighing of complex motives can only be accomplished by identification with human actors, the usual suppression of all feeling preached and followed by most "science" simply cripples a psychohistorian as badly as it would cripple a biologist to be forbidden the use of a microscope. The emotional development of a psychohistorian is therefore as much a topic for discussion as his or her intellectual development.”

“One woman approached me as she walked past and, pointing to her four children who were manfully helping the smallest ones over the rough ground, whispered: 'How can you bring yourself to kill such beautiful, darling children? Have you no heart at all?' One old man, as he passed me, hissed: 'Germany will pay a heavy penance for this mass murder of the Jews.' His eyes glowed with hatred as he said this. Nevertheless he walked calmly into the gas-chamber.”

“This is a man with an old face, always old... There was pathos, in his face, and in his eyes. The early weariness; and sometimes tears in his eyes, Which he let slip unconsciously on his cheek, Or brushed away with an unconcerned hand. There were tears for human suffering, or for a glance Into the vast futility of life, Which he had seen from the first, being old When he was born.”

“Jesus, in fact, was typical of a certain kind of fanatical young idealist: at one moment holding forth, with tears in his eyes, about the need for universal love; at the next, furiously denouncing the morons, crooks and bigots who did not see eye to eye with him. It is very natural and very human behaviour. But it is not superhuman.”

“If God made no response except to perfect faith, who could hope for help? But God has regard for beginnings, and His eye perceives greatness in the germ. The hand of the woman in the crowd trembled as it was stretched toward Jesus, and the faith back of it was superstitiously reverent, trusting in the virtue of the robe, rather than in the One who wore it; yet the genuineness of that faith; feeble though it was, triumphed in God's loving sight. Real trust is real power, though the heart and hand be feeble.”

“It must be a prospect pleasing to God Himself to see His creation forever beautifying in His eyes, and drawing nearer Him by greater degrees of resemblance.”

“As a creator of character his peculiarity is that he creates wherever his eyes rest ... With such a power at his command Dickens made his books blaze up, not by tightening the plot or sharpening the wit, but by throwing another handful of people upon the fire.”

“The malcontent is neither well, full nor fasting; and though he abounds with complaints, yet nothing dislikes him but the present; for what he condemns while it was, once passed, he magnifies and strives to recall it out of the jaw of time. What he hath he seeth not, his eyes are so taken up with what he wants; and what he sees he careth not for, because be cares so much for that which is not.”

“Cupid and my Campaspe play'd At cards for kisses - Cupid paid: He stakes his quiver, bow, and arrows, His mother's doves, and team of sparrows; Loses them too; then down he throws The coral of his lips, the rose Growing one's cheek (but none knows how); With these, the crystal of his brow, And then the dimple of his chin: All these did my Campaspe win. At last he set her both his eyes - She won, and Cupid blind did rise. O Love! has she done this for thee? What shall, alas! become of me?”

“The source of each accordant strain Lies deeper than the Poet's brain. First from the people's heart must spring The passions which he learns to sing; They are the wind, the harp is he, To voice their fitful melody,-- The language of their varying fate, Their pride, grief, love, ambition, hate,-- The talisman which holds inwrought The touchstone of the listener's thought; That penetrates each vain disguise, And brings his secret to his eyes.”

“In the first seat, in robe of various dyes, A noble wildness flashing from his eyes, Sat Shakespeare: in one hand a wand he bore, For mighty wonders fam'd in days of yore: The other held a globe, which to his will Obedient turn'd, and own'd the master's skill: Things of the noblest kind his genius drew, And look'd through nature at a single view: A loose he gave to his unbounded soul, And taught new lands to rise, new seas to roll; Call'd into being scenes unknown before, And passing nature's bounds, was something more.”

“I know animals more gallant than the African warthog, but none more courageous. He is the peasant of the plains - the drab and dowdy digger in the earth. He is the uncomely but intrepid defender of family, home, and bourgeois convention, and he will fight anything of any size that intrudes upon his smug existence. ... His eyes are small and lightless and capable of but one expression - suspicion. What he does not understand, he suspects, and what he suspects, he fights.”

“The old stage coach was rumbling along the dusty road that runs from Maplewood to Riverboro. The day was as warm as midsummer, though it was only the middle of May, and Mr. Jeremiah Cobb was favoring the horses as much as possible, yet never losing sight of the fact that he carried the mail. The hills were many, and the reins lay loosely in his hands as he lolled back in his seat and extended one foot and leg luxuriously over the dashboard. His brimmed hat of worn felt was well pulled over his eyes, and revolved a quid of tobacco in his left cheek.”

“In Christ we see the strength of achievement, and the strength of endurance. He moved with a calm majesty, like the sun. The bloody sweat, and the crown of thorns, and the cross, were full in His eyes; but He was obedient unto death. In His perfect self-sacrifice we see the perfection of strength; in the love that prompted it we see the perfection of beauty. This combination of self-sacrifice and love must be commenced in every Christian; and when it shall be in its spirit complete in him, then will he also be perfect in strength and beauty.”