The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother’s milk and blackens it to make printer’s ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of child-bearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a blood-sucker, a hypocrite, and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist’s work is to shew us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another.

I rather liked him.I asked him to come and see us.'‘Oh Christ !’‘But, Bradley, you mustn’t reject people,you musn't just write them of. You must be curious about them. Curiosity is kind of charity.’‘I don’t think curiosity is a kind of charity. I think it’s a kind of malice.’‘That’s what makes a writer, knowing the details.’‘It may make your kind of writer. It doesn’t make mine.’‘Here we go again,’ said Arnold.‘Why pile up a jumble of “details”? When you start really imagining something you have to forget the details anyhow, they just get in the way. Art isn’t the reproduction of oddments out of life.’‘I never said it was!’ said Arnold. ‘I don’t draw direct from life.’‘Your wife thinks you do.’‘Oh that. Oh God.’‘Inquisitive chatter and cataloguing of things one’s spotted isn’t art. ‘‘Of course it isn’t -‘‘Vague romantic myth isn’t art either. Art is imagination. Imagination changes, fuses. Without imagination you have stupid details on one side and empty dreams on the othet.’‘Bradley, I know you -‘‘Art isn’t chat plus fantasy. Art comes out of endless restraint and silnce.’‘If the silence is endless there isn’t any art! It’s people without creative gifts who say that more mean worse!’‘One should only complete something when one feels one’s bloody privileged to have it all. Those who only do what’s easy will never be rewarded by -‘‘Nonsense. I write whether I feel like it or not. I complete things whether I think they’re perfect or not. Anything else is hypocrisy. I have no muse. That’s what being a professional writer is.’‘Then thank God I’m not one.’…

There are some people about whom it is difficult to say anything which would describe them immediately and fully in their most typical and characteristic aspects; these are the people who are usually called "ordinary" and accounted as "the majority," and who actually do make up the great majority of society. In their novels and stories writers most often try to choose and present vividly and artistically social types which are extremely seldom encountered in real life, and which are nevertheless more real than real life itself. Podkolyosin, viewed as a type, in perhaps exaggerated, but he is hardly unknown. How many clever people having learned from Gogol about Podkolyosin at once discover that great numbers of their friends bear a terrific resemblance to Podkolyosin. They knew before Gogol that their friends were like Podkolyosin, except they did not know yet that that was their name...Nevertheless the question remains before us: what is the novelist to do with the absolutely "ordinary" people, and how can he present them to readers so that they are at all interesting? To leave them out of a story completely is not possible, because ordinary people are at every moment, by and large, the necessary links in the chain of human affairs; leaving them out, therefore, means to destroy credibility. To fill a novel entirely with types or, simply for the sake of interest, strange and unheard-of people, would be improbable and most likely not even interesting. In our opinion the writer must try to find interesting and informative touches even among commonplace people. When, for example, the very nature of certain ordinary persons consists precisely of their perpetual and unvarying ordinariness, or, better still, when in spite of their most strenuous efforts to life themselves out of the rut of ordinariness and routine, then such persons acquire a certain character of their own-the typical character of mediocrity which refuses to remain what it is and desires at all costs to become original and independent, without having the slightest capacity for independence.

I have no idea how long Quisser was gone from the table. My attention became fully absorbed by the other faces in the club and the deep anxiety they betrayed to me, an anxiety that was not of the natural, existential sort but one that was caused by peculiar concerns of an uncanny nature. What a season is upon us, these faces seemed to say. And no doubt their voices would have spoken directly of certain peculiar concerns had they not been intimidated into weird equivocations and double entendres by the fear of falling victim to the same kind of unnatural affliction that had made so much trouble in the mind of the art critic Stuart Quisser. Who would be next? What could a person say these days, or even think, without feeling the dread of repercussion from powerfully connected groups and individuals? I could almost hear their voices asking, "Why here, why now?" But of course they could have just as easily been asking, "Why not here, why not now?" It would not occur to this crowd that there were no special rules involved; it would not occur to them, even though they were a crowd of imaginative artists, that the whole thing was simply a matter of random, purposeless terror that converged upon a particular place at a particular time for no particular reason. On the other hand, it would also not have occurred to them that they might have wished it all upon themselves, that they might have had a hand in bringing certain powerful forces and connections into our district simply by wishing them to come. They might have wished and wished for an unnatural evil to fall upon them but, for a while at least, nothing happened. Then the wishing stopped, the old wishes were forgotten yet at the same time gathered in strength, distilling themselves into a potent formula (who can say!), until one day the terrible season began. Because had they really told the truth, this artistic crowd might also have expressed what a sense of meaning (although of a negative sort), not to mention the vigorous thrill (although of an excruciating type), this season of unnatural evil had brought to their lives.("Gas Station Carnivals")

There was an artist in the city of Kouroo who was disposed to strive after perfection. One day it came into his mind to make a staff. Having considered that in an imperfect work time is an ingredient, but into a perfect work time does not enter, he said to himself, It shall be perfect in all respects, though I should do nothing else in my life. He proceeded instantly to the forest for wood, being resolved that it should not be made of unsuitable material; and as he searched for and rejected stick after stick, his friends gradually deserted him, for they grew old in their works and died, but he grew not older by a moment. His singleness of purpose and resolution, and his elevated piety, endowed him, without his knowledge, with perennial youth. As he made no compromise with Time, Time kept out of his way, and only sighed at a distance because he could not overcome him. Before he had found a stock in all respects suitable the city of Kouroo was a hoary ruin, and he sat on one of its mounds to peel the stick. Before he had given it the proper shape the dynasty of the Candahars was at an end, and with the point of the stick he wrote the name of the last of that race in the sand, and then resumed his work. By the time he had smoothed and polished the staff Kalpa was no longer the pole-star; and ere he had put on the ferule and the head adorned with precious stones, Brahma had awoke and slumbered many times. But why do I stay to mention these things? When the finishing stroke was put to his work, it suddenly expanded before the eyes of the astonished artist into the fairest of all the creations of Brahma. He had made a new system in making a staff, a world with full and fair proportions; in which, though the old cities and dynasties had passed away, fairer and more glorious ones had taken their places. And now he saw by the heap of shavings still fresh at his feet, that, for him and his work, the former lapse of time had been an illusion, and that no more time had elapsed than is required for a single scintillation from the brain of Brahma to fall on and inflame the tinder of a mortal brain. The material was pure, and his art was pure; how could the result be other than wonderful?

I always felt that someone, a long time ago, organized the affairs of the world into areas that made sense-catagories of stuff that is perfectible, things that fit neatly in perfect bundles. The world of business, for example, is this way-line items, spreadsheets, things that add up, that can be perfected. The legal system-not always perfect, but nonetheless a mind-numbing effort to actually write down all kinds of laws and instructions that cover all aspects of being human, a kind of umbrella code of conduct we should all follow.Perfection is crucial in building an aircraft, a bridge, or a high-speed train. The code and mathematics residing just below the surface of the Internet is also this way. Things are either perfectly right or they will not work. So much of the world we work and live in is based upon being correct, being perfect.But after this someone got through organizing everything just perfectly, he (or probably a she) was left with a bunch of stuff that didn't fit anywhere-things in a shoe box that had to go somewhere.So in desperation this person threw up her arms and said, 'OK! Fine. All the rest of this stuff that isn't perfectible, that doesn't seem to fit anywhere else, will just have to be piled into this last, rather large, tattered box that we can sort of push behind the couch. Maybe later we can come back and figure where it all is supposed to fit in. Let's label the box ART.'The problem was thankfully never fixed, and in time the box overflowed as more and more art piled up. I think the dilemma exists because art, among all the other tidy categories, most closely resembles what it is like to be human. To be alive. It is our nature to be imperfect. The have uncategorized feelings and emotions. To make or do things that don't sometimes necessarily make sense.Art is all just perfectly imperfect.Once the word ART enters the description of what you're up to , it is almost getting a hall pass from perfection. It thankfully releases us from any expectation of perfection.In relation to my own work not being perfect, I just always point to the tattered box behind the couch and mention the word ART, and people seem to understand and let you off the hook about being perfect a go back to their business.

The differences between religions are reflected very clearly in the different forms of sacred art: compared with Gothic art, above all in its “flamboyant” style, Islamic art is contemplative rather than volitive: it is “intellectual” and not “dramatic”, and it opposes the cold beauty of geometrical design to the mystical heroism of cathedrals. Islam is the perspective of “omnipresence” (“God is everywhere”), which coincides with that of “simultaneity” (“Truth has always been”); it aims at avoiding any “particularization” or “condensation”, any “unique fact” in time and space, although as a religion it necessarily includes an aspect of “unique fact”, without which it would be ineffective or even absurd. In other words Islam aims at what is “everywhere center”, and this is why, symbolically speaking, it replaces the cross with the cube or the woven fabric: it “decentralizes” and “universalizes” to the greatest possible extent, in the realm of art as in that of doctrine; it is opposed to any individualist mode and hence to any “personalist” mysticism. To express ourselves in geometrical terms, we could say that a point which seeks to be unique, and which thus becomes an absolute center, appears to Islam—in art as in theology—as a usurpation of the divine absoluteness and therefore as an “association” (shirk); there is only one single center, God, whence the prohibition against “centralizing” images, especially statues; even the Prophet, the human center of the tradition, has no right to a “Christic uniqueness” and is “decentralized” by the series of other Prophets; the same is true of Islam—or the Koran—which is similarly integrated in a universal “fabric” and a cosmic “rhythm”, having been preceded by other religions—or other “Books”—which it merely restores. The Kaaba, center of the Muslim world, becomes space as soon as one is inside the building: the ritual direction of prayer is then projected toward the four cardinal points.If Christianity is like a central fire, Islam on the contrary resembles a blanket of snow, at once unifying and leveling and having its center everywhere.

بكيت .. حتى انتهت الدموعصليت .. حتى ذابت الشموعسألت عن محمد فيك .. وعن يسوعيا قدس يا مدينة تفوح أنبياءيا أقصر الدروب بين الأرض والسماءيا قدس يا منارة الشرائعيا طفلة جميلة محروقة الأصابعحزينة عيناك يا مدينة البتوليا واحة ظليلة مرّ بها الرسولحزينة حجارة الشوارعحزينة مآذن الجوامعيا قدس يا جميلة تلف بالسوادمن يقرع الأجراس في كنيسة القيامة ؟صبيحة الآحاد ..يا قدس يا مدين الأحزانيا دمعة كبيرة تجول بالأجفانمن يوقف العدوان ؟؟

L'amour ne peut pas se passer d'échange, de petits billets doux que l'on s'adresse et se renvoie. L'amour est peut-être la plus belle forme du dialogue que l'homme a inventé pour se répondre à lui-même. Et c'est là justement que l'art du ventriloque a un rôle immense à jouer. Les grands ventriloques ont été avant tout des libérateurs : ils nous permettent de sortir de nos cachots solitaires et de fraterniser avec l'univers. C'est nous qui faisons parler le monde, la matière inanimée, c'est ce qu'on appelle la culture, qui fait parler le néant et le silence. La libération, tout est là. Je donne des leçons à Fresnes; les prisonniers apprennent à faire parler les barreaux, les murs, à humaniser le monde. Philoloque a dit qu'une seule définition de l'homme est possible : l'homme est une déclaration d'intention, et j'ajouterais qu'il fait qu'elle soit faite hors du contexte. Je reçois ici toutes sortes de muets intérieurs pour causes extérieures, pour cause de contexte, et je les aide à se libérer. Tous mes clients cachent honteusement une voix secrète, car ils savent que la société se défend. Par exemple, elle ferme les bordels, pour fermer les yeux. C'est ce qu'on appelle morale, bonnes moeurs et suppression de la prostitution authentique et noble, celle qui ne se sert pas du cul mais des principes, des idées, du parlement, de la grandeur, de l'espoir, du peuple, puisse continuer par des voies officielles. Il vient donc un moment où vous n'en pouvez plus et où vous êtes dévoré par le besoin de vérité et d'authenticité, de poser des questions et de recevoir des réponses, bref, de communiquer - de communiquer avec tout, avec le tout, et c'est là qu'il convient de faire appel à l'art. C'est là que le ventriloque entre en jeu et rend la création possible. Je suis reconnu d'utilité publique par monsieur Marcellin, notre ancien Ministre de l'Intérieur, et monsieur Druon, notre ancien Ministre de la Culture et j'ai reçu l'autorisation d'exercer de l'Ordre des Médecins, car il n'y a aucun risque. Tout demeure comme avant, mais on se sent mieux.

Това е едва началото, за да постигнеш каквото и да било в живота. Природната дарба е като силата на един атлет. Човек може да се роди с повече или по-малко способности, но все пак никой не става атлет само защото се е родил висок, силен или бърз. Трудът, опитът и техниката - те са тези, които създават атлета или човека на изкуството. Уменията, с които идваш на бял свят, са просто боеприпаси. За да постигнеш нещо с тях, е нужно да превърнеш ума си в точно оръдие.

- لا تعتب علي يا صديقي إن قلت لك إن لي في الحياة رأيا غير رأيك وغير ما يراه الناس جميعا..إنني لا أعرف سعادة في الحياة غير سعادة النفس ، ولا أفهم من المال إلا أنه وسيلة من وسائل تلك السعادة، فإن تمت بدونه فلا حاجة إليه، وإن جاءت بقليله فلا حاجة إلى كثيره..ماذا ينفعني من المال وماذا يغني عني يوم أقلب طرفي حولي فلا أرى بجانبي ذلك الإنسان الذي أحبه وأوثره، وأرى في مكانه إنسانا آخر لا شأن لي معه ولا صلة لقلبي بقلبه، فكأنني وأنا خال به خال بنفسي منقطع عن العالم وما فيه.

Miss Mapp moved towards the screen."What a delicious big screen," she said."Yes, but don't go behind it, Mapp," said Irene, "or you'll see my model undressing."Miss Mapp retreated from it precipitately, as from a wasp's nest, and examined some of the studies on the wall, for it was more than probable from the unfinished picture on the easel that Adam lurked behind the delicious screen. Terrible though it all was, she was conscious of an unbridled curiosity to know who Adam was. It was dreadful to think that there could be any man in Tilling so depraved as to stand to be looked at with so little on...Irene strolled round the walls with her."Studies of Lucy," she said."I see, dear," said Miss Mapp. "How clever! Legs and things! But when you have your bridge-party, won't you perhaps cover some of them up, or turn them to the wall? We should all be looking at your pictures instead of attending to our cards. And if you were thinking of asking the Padre, you know..."They were approaching the corner of the room where the screen stood, when a movement there as if Adam had hit it with his elbow made Miss Mapp turn round. The screen fell flat on the ground and within a yard of her stood Mr. Hopkins, the proprietor of the fish-shop just up the street. Often and often had Miss Mapp had pleasant little conversations with him, with a view to bringing down the price of flounders. He had little bathing-drawers on..."Hullo, Hopkins, are you ready," said Irene. "You know Miss Mapp, don't you?"Miss Mapp had not imagined that Time and Eternity combined could hold so embarrassing a moment. She did not know where to look, but wherever she looked, it should not be at Hopkins. But (wherever she looked) she could not be unaware that Hopkins raised his large bare arm and touched the place where his cap would have been, if he had had one."Good morning, Hopkins," she said. "Well, Irene darling, I must be trotting, and leave you to your--" she hardly knew what to call it--"to your work."She tripped from the room, which seemed to be entirely full of unclothed limbs, and redder than one of Mr. Hopkins's boiled lobsters hurried down the street. She felt that she could never face him again, but would be obliged to go to the establishment in the High Street where Irene dealt, when it was fish she wanted from a fish-shop... Her head was in a whirl at the brazenness of mankind, especially womankind. How had Irene started the overtures that led to this? Had she just said to Hopkins one morning: "Will you come to my studio and take off all your clothes?" If Irene had not been such a wonderful mimic, she would certainly have felt it her duty to go straight to the Padre, and, pulling down her veil, confide to him the whole sad story. But as that was out of the question, she went into Twemlow's and ordered four pounds of dried apricots.

What is the use of beauty in woman? Provided a woman is physically well made and capable of bearing children, she will always be good enough in the opinion of economists.What is the use of music? -- of painting? Who would be fool enough nowadays to prefer Mozart to Carrel, Michael Angelo to the inventor of white mustard?There is nothing really beautiful save what is of no possible use. Everything useful is ugly, for it expresses a need, and man's needs are low and disgusting, like his own poor, wretched nature. The most useful place in a house is the water-closet.For my part, saving these gentry's presence, I am of those to whom superfluities are necessaries, and I am fond of things and people in inverse ratio to the service they render me. I prefer a Chinese vase with its mandarins and dragons, which is perfectly useless to me, to a utensil which I do use, and the particular talent of mine which I set most store by is that which enables me not to guess logogriphs and charades. I would very willingly renounce my rights as a Frenchman and a citizen for the sight of an undoubted painting by Raphael, or of a beautiful nude woman, -- Princess Borghese, for instance, when she posed for Canova, or Julia Grisi when she is entering her bath. I would most willingly consent to the return of that cannibal, Charles X., if he brought me, from his residence in Bohemia, a case of Tokai or Johannisberg; and the electoral laws would be quite liberal enough, to my mind, were some of our streets broader and some other things less broad. Though I am not a dilettante, I prefer the sound of a poor fiddle and tambourines to that of the Speaker's bell. I would sell my breeches for a ring, and my bread for jam. The occupation which best befits civilized man seems to me to be idleness or analytically smoking a pipe or cigar. I think highly of those who play skittles, and also of those who write verse. You may perceive that my principles are not utilitarian, and that I shall never be the editor of a virtuous paper, unless I am converted, which would be very comical.Instead of founding a Monthyon prize for the reward of virtue, I would rather bestow -- like Sardanapalus, that great, misunderstood philosopher -- a large reward to him who should invent a new pleasure; for to me enjoyment seems to be the end of life and the only useful thing on this earth. God willed it to be so, for he created women, perfumes, light, lovely flowers, good wine, spirited horses, lapdogs, and Angora cats; for He did not say to his angels, 'Be virtuous,' but, 'Love,' and gave us lips more sensitive than the rest of the skin that we might kiss women, eyes looking upward that we might behold the light, a subtile sense of smell that we might breathe in the soul of the flowers, muscular limbs that we might press the flanks of stallions and fly swift as thought without railway or steam-kettle, delicate hands that we might stroke the long heads of greyhounds, the velvety fur of cats, and the polished shoulder of not very virtuous creatures, and, finally, granted to us alone the triple and glorious privilege of drinking without being thirsty, striking fire, and making love in all seasons, whereby we are very much more distinguished from brutes than by the custom of reading newspapers and framing constitutions.

إذا كان العمل جيداً كفن، فإن الإحساس الذي يعبر عنه الفنان سينتقل إلى الناس سواء كان أخلاقياً أم غير أخلاقي، وإذا انتقل الإحساس إلى الناس الآخرين، فإنهم يعيشونه، ولكن لا يعيشونه فحسب، إنما كل واحد منهم يعايشه وفق طريقته. والتفسيرات الأخرى كلها زائدة لا حاجة إليها. شرح أعمال الفنان أمر لا يجوز القيام به. فلو كان من الممكن تفسير ما أراده الفنان بالكلمات لقاله الفنان ذاته بالكلمات. أما هو فقاله من خلال فنه لأنه من المحال نقل الإحساس الذي يعيشه بوسيلة اخرى. إن شرح النتاجات الفنية بالكلمات يؤكد على أن الذي يشرحها غير قادر أن يُعدى بالفن.هكذا كان الأمر دائماً، ومهما بدا هذا غريباً فإن النقّاد كانوا دائماً جماعة أقل قدرة من الآخرين على تلقي الفن والتأثر به وأن القسم الأكبر من هؤلاء الناس الذين يكتبون بخفة هم من المثقفين والأذكياء، غير أن قدراتهم في تلقي الفن والتأثر به ضامرة أو منحرفة تماماً. ولذلك فإن هؤلاء الناس يساعدون بكتاباتهم إلى درجة كبيرة في إفساد الجمهور الذي يقرؤهم ويثق بهم.