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01Undated
You never see animals going through the absurd and often horrible fooleries of magic and religion. . . . Dogs do not ritually urinate in the hope of persuading heaven to do the same and send down rain. Asses do not bray a liturgy to cloudless skies. Nor do cats attempt, by abstinence from cat's meat, to wheedle the feline spirits into benevolence. Only man behaves with such gratuitous folly. It is the price he has to pay for being intelligent but not, as yet, quite intelligent enough.
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05Undated
And along with indifference to space, there was an even more complete indifference to time. "There seems to be plenty of it", was all I would answer when the investigator asked me to say what I felt about time. Plenty of it, but exactly how much was entirely irrelevant. I could, of course, have looked at my watch but my watch I knew was in another universe. My actual experience had been, was still, of an indefinite duration. Or alternatively, of a perpetual present made up of one continually changing apocalypse.
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08Undated
Only the middle distance and what may be called the remoter foreground are strictly human. When we look very near or very far, man either vanishes altogether or loses his primacy. The astronomer looks even further afield than the Sung painter and sees even less of human life. At the other end of the scale the physicist, the chemist, the physiologist pursue the close-up – the cellular close-up, the molecular, the atomic and subatomic. Of that which, at twenty feet, even at arm’s length, looked and sounded like a human being no trace remains.Something analogous happens to the myopic artist and the happy lover. In the nuptial embrace personality is melted down; the individual (it is the recurrent theme of Lawrence’s poems and novels) ceases to be himself and becomes a part of the vast impersonal universe.And so it is with the artist who chooses to use his eyes at the near point. In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of ‘mere things,’ when isolated from their utilitarian context and rendered as they are, in and for themselves. Alternatively (or, at an earlier stage of artistic development, exclusively), the nonhuman world of the near-point is rendered in patterns. These patterns are abstracted for the most part from leaves and flowers – the rose, the lotus, the acanthus, palm, papyrus – and are elaborated, with recurrences and variations, into something transportingly reminisce
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12Undated
The man who wishes to know the "that" which is "thou" may set to work in any one of three ways. He may begin by looking inwards into his own particular thou and, by a process of "dying to self" --- self in reasoning, self in willing, self in feeling --- come at last to knowledge of the self, the kingdom of the self, the kingdom of God that is within. Or else he may begin with the thous existing outside himself, and may try to realize their essential unity with God and, through God, with one another and with his own being. Or, finally (and this is doubtless the best way), he may seek to approach the ultimate That both from within and from without, so that he comes to realize God experimentally as at once the principle of his own thou and of all other thous, animate and inanimate.
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19Undated
It must be something voluntary, something self induced - like getting drunk, or talking yourself into believing some piece of foolishness because it happens to be in the Scriptures. And then look at their idea of what's normal. Believe it or not, a normal human being is one who can have an orgasm and is adjusted to society. It's unimaginable! No question about what you do with your orgasms. No question about the quality of your feelings and thoughts and perceptions. And then what about the society you're supposed to be adjusted to? Is it a mad society or a sane one? And even if it's pretty sane, is it right that anybody should be completely adjusted to it?
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21Undated
On the levels of politics and theology, beauty is perfectly compatible with nonsense and tyranny. Which is very fortunate; for if beauty were incompatible with non­sense and tyranny, there would be precious little art in the world. The masterpieces of painting, sculpture and architecture were produced as religious or political propaganda, for the greater glory of a god, a govern­ment or a priesthood. But most kings and priests have been despotic and all religions have been riddled with superstition. Genius has been the servant of tyranny and art has advertised the merits of the local cult. Time, as it passes, separates the good art from the bad meta­physics. Can we learn to make this separation, not after the event, but while it is actually taking place? That is the question.
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