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592 results · Page 21 of 25Play this collection ▷
04c. 515 BC
1. The Master said, 'My children, why do you not study the Book of Poetry? 2. 'The Odes serve to stimulate the mind. 3. 'They may be used for purposes of self-contemplation. 4. 'They teach the art of sociability. 5. 'They show how to regulate feelings of resentment. 6. 'From them you learn the more immediate duty of serving one's father, and the remoter one of serving one's prince. 7. 'From them we become largely acquainted with the names of birds, beasts, and plants.'
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06Undated
1. The highest excellence is like (that of) water. The excellence of water appears in its benefiting all things, and in its occupying, without striving (to the contrary), the low place which all men dislike. Hence (its way) is near to (that of) the Tao. 2. The excellence of a residence is in (the suitability of) the place; that of the mind is in abysmal stillness; that of associations is in their being with the virtuous; that of government is in its securing good order; that of (the conduct of) affairs is in its ability; and that of (the initiation of) any movement is in its timeliness. 3. And when (one with the highest excellence) does not wrangle (about his low position), no one finds fault with him.
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07Undated
1. Colour's five hues from th' eyes their sight will take; Music's five notes the ears as deaf can make; The flavours five deprive the mouth of taste; The chariot course, and the wild hunting waste Make mad the mind; and objects rare and strange, Sought for, men's conduct will to evil change. 2. Therefore the sage seeks to satisfy (the craving of) the belly, and not the (insatiable longing of the) eyes. He puts from him the latter, and prefers to seek the former.
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08Undated
1. If we could renounce our sageness and discard our wisdom, it would be better for the people a hundredfold. If we could renounce our benevolence and discard our righteousness, the people would again become filial and kindly. If we could renounce our artful contrivances and discard our (scheming for) gain, there would be no thieves nor robbers. 2. Those three methods (of government) Thought olden ways in elegance did fail And made these names their want of worth to veil; But simple views, and courses plain and true Would selfish ends and many lusts eschew.
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09Undated
1. The sage has no invariable mind of his own; he makes the mind of the people his mind. 2. To those who are good (to me), I am good; and to those who are not good (to me), I am also good;—and thus (all) get to be good. To those who are sincere (with me), I am sincere; and to those who are not sincere (with me), I am also sincere;—and thus (all) get to be sincere. 3. The sage has in the world an appearance of indecision, and keeps his mind in a state of indifference to all. The people all keep their eyes and ears directed to him, and he deals with them all as his children.
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10Undated
1. He who has in himself abundantly the attributes (of the Tao) is like an infant. Poisonous insects will not sting him; fierce beasts will not seize him; birds of prey will not strike him. 2. (The infant's) bones are weak and its sinews soft, but yet its grasp is firm. It knows not yet the union of male and female, and yet its virile member may be excited;—showing the perfection of its physical essence. All day long it will cry without its throat becoming hoarse;—showing the harmony (in its constitution). 3. To him by whom this harmony is known, (The secret of) the unchanging (Tao) is shown, And in the knowledge wisdom finds its throne. All life-increasing arts to evil turn; Where the mind makes the vital breath to burn, (False) is the strength, (and o'er it we should mourn.) 4. When things have become strong, they (then) become old, which may be said to be contrary to the Tao. Whatever is contrary to the Tao soon ends.
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12Undated
1. When a reconciliation is effected (between two parties) after a great animosity, there is sure to be a grudge remaining (in the mind of the one who was wrong). And how can this be beneficial (to the other)? 2. Therefore (to guard against this), the sage keeps the left-hand portion of the record of the engagement, and does not insist on the (speedy) fulfilment of it by the other party. (So), he who has the attributes (of the Tao) regards (only) the conditions of the engagement, while he who has not those attributes regards only the conditions favourable to himself. 3. In the Way of Heaven, there is no partiality of love; it is always on the side of the good man.
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14c. 1486 AD
Cornelius Celsus: Knowledge is the supreme good, the supreme evil is physical pain. We are composed of two separate parts, the soul and the the body; the soul is the greater of these two, the body the lesser. Knowledge appertains to the greater part, the supreme evil belongs to the lesser and baser part. Knowledge is an excellent thing for the mind, and pain is the most grievous thing for the body. Just as the supreme evil is physical pain, so is wisdom the supreme good of the soul, that is to say of the wise man, and no other thing can be compared with it.
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17c. 1486 AD
If the painter wishes to see beautiful things which will enchant him he is able to beget them; if he wishes to see monstrous things which terrify, or grotesque and laughable things, or truly piteous things, he can dispose of all these; if he wishes to evoke places and deserts, shady or dark retreats in the hot season, he represents them, and likewise warm places in the cold season. If he wishes valleys, if he wishes to descry a great plain from the high summits of the mountains, and if he wishes after this to see the horizon of the sea, he can do so; and from the low valleys he can gaze on the high mountains, or from the high mountains he can scan the low valleys and shores; and in truth all quantities of things that exist in the universe, either real or imaginary, he has first in his mind and then in his hands; and these things are of so great excellence that they beget a harmonious concord in one glance, as do the things of nature.
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19c. 1486 AD
The mind of the painter must be like unto a mirror, which ever takes the colour of the object it reflects, and contains as many images as there are objects before it. Therefore realize, O painter, that thou canst not succeed unless thou art the universal master of imitating by thy art every variety of nature's forms, and this thou canst not do save by perceiving them and retaining them in thy mind; wherefore when thou walkest in the country let thy mind play on various objects, observe now this thing and now that thing, making a store of various objects selected and chosen from those of lesser value. And thou shalt not do as some painters, who, when weary of plying their fancy, dismiss their work from their mind and take exercise in walking for relaxation, but retain fatigue in the mind, which, though they see various objects, does not apprehend them, but often when they meet friends and relations and are saluted by them, they are no more conscious of them than if they had met empty air.
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20c. 1486 AD
I cannot but mention among these precepts a new means of study, which, although it may seem trivial and almost ridiculous, is nevertheless extremely useful in arousing the mind to various inventions. It is as follows: when you look at walls mottled with various stains or stones made of diverse substances, if you have to invent some scene, you may discover on them the likeness of various countries, adorned with mountains, rivers, rocks, trees, plains, great valleys and hills in diverse arrangement; again, you may be able to see battles and figures in action and strange effects of physiognomy and costumes, and infinite objects which you could reduce to complete and harmonious forms. And the effect produced by these mottled walls is like that of the sound of bells, in the vibrating of which you may recognize any name or word you choose to imagine. I have seen blots in the clouds and in mottled walls which have stimulated me to the invention of various objects, and although the blots themselves were altogether devoid of perfection in any one of their parts, they lacked not perfection in their movement and circumstance.
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21c. 1486 AD
Mathematics, such as appertain to painting, are necessary to the painter, also the absence of companions who are alien to his studies: his brain must be versatile and susceptible to the variety of objects which it encounters, and free from distracting cares. And if in the contemplation and definition of one subject a second subject intervenes,—as happens when the mind is filled with an object,—in such cases he must decide which of the two objects is the more difficult of definition, and pursue that one until he arrives at perfect clearness of definition, and then turn to the definition of the other. And above all things his mind should be like the surface of the mirror, which shows as many colours as there are objects it reflects; and his companions should study in the same manner, and if such cannot be found he should meditate in solitude with himself, and he will not find more profitable company.
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22c. 1486 AD
In the study of natural causes and reasons light affords the greatest pleasure to the student; among the great facts of mathematics the certainty of demonstration most signally elevates the mind of the student. Perspective must therefore be placed at the head of all human study and discipline, in the field of which the radiant line is rendered complex by the methods of demonstration; in it resides the glory of physics as well as of mathematics, and it is adorned with flowers of both these sciences. The laws of those sciences which are capable of extensive analysis I will confine in brief conclusions, and according to the nature of the material I will interweave mathematical demonstrations, at times deducing results from causes, and at times tracing causes by results. I will add to my conclusions some which are not contained in these, but which can be deduced from them, if the Lord, the Supreme Light, illuminates me, so that I may treat of light.
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23c. 1486 AD
These rules are only to be used in correcting the figures, since every man makes some mistakes in his first composition, and he who is not aware of them cannot correct them; but thou being conscious of thine errors wilt correct thy work and amend errors where thou findest them, and take care not to fall into them again. But if thou attemptest to apply these rules in composition thou wilt never finish anything, and confusion will enter into thy work. Through these rules thou shalt acquire a free and sound judgement, since sound judgement and thorough understanding proceed from reason arising from sound rules, and sound rules are the offspring of sound experience, the common mother of all the sciences and arts. Hence if thou bearest in mind the precepts of my rules thou shalt be able, merely by thy corrected judgement, to judge and recognize any lack of proportion in a work, in perspective, in figures or anything else.
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