Poetry, as nearly as I can understand it, is a statement in words about a human experience, whether the experience be real or hypothetical, major or minor; but it is a statement of a particular kind. Words are symbols for concepts, and the philosopher or scientist endeavors as far as may be to use them with reference to nothing save their conceptual content. Most words, however, connote feelings and perceptions, and the poet, like the writer of imaginative prose, endeavors to use them with reference not only to their denotations but to their connotations as well. Such writers endeavor to communicate not only concepts, arranged, presumably, either in rational order or in an order of apprehensible by the rational mind, but the feeling or emotion which the rational content ought properly to arouse.
Yvor WintersRelated topics
content experience far human hypothetical kind mind nothing order ought real save use well wordsRelated quotes
The systems view of nature and man is clearly non- anthropocentric, but it is not non-humanistic for all that. It allows us to understand that man is one species of system in a complex and embracing hierarchy of nature, and at the same time it tells us that all systems have value and intrinsic worth. They are goal-oriented, self-maintaining, and self-creating expressions of nature's penchant for order and adjustment. The status of man is not lessened by admitting the amoeba as his kin, nor by recognizing that sociocultural systems are his supersystems. Seeing himself as a connecting link in a complex natural hierarchy cancels man's anthropocentrism, but seeing the hierarchy itself as an expression of self-ordering and self-creating nature bolsters his self-esteem and encourages his humanism.
Ervin László
The purpose of art is expression. Of course this short sentence raises many questions. By itself it is uninformative. One should specify what art can and cannot express. One should specify what art should and should not express. These questions cannot be answered without having some notion of the nature of man. Here it is presupposed that God created man as essentially a rational being. This implies that man's most valuable expressions are rational and intellectual. Therefore, although man can express emotion, by screaming "Ouch,” art becomes more human and valuable in proportion to its intellectual content. This does not deny that excellent technique may express triviality, evil, and insanity. It asserts, however, that what should be expressed is rational and intelligent.
Gordon Clark
Language in its original imaginative form maybe said to have expressiveness, but no meaning. About such language we cannot distinguish between what the speaker says and what he means... Language in its intellectualized form has both expressiveness and meaning. As language, it expressed a certain emotion. As symbolism, it refers beyond that emotion to the thought whose emotional charge it is... The progressive intellectualization of language, its progressive conversion by the work of grammar and logic into a scientific symbolism, thus represents not a progressive drying-up of emotion, but its progressive articulation and specialization. We are not getting away from an emotional atmosphere into a dry, rational atmosphere; we are acquiring new emotions and new means of expressing them.
R. G. Collingwood
The predictions of physical theories for the most part concern situations where initial conditions can be precisely specified. If such initial conditions are not found in nature, they can be arranged. Such arrangements are considerably easier to realize with inanimate than with animate matter, because the properties of animate matter are much more sensitive to being tampered with than inanimate matter. In particular, living tissue in vitro may behave quite differently than in situ. Controlled biological experiments are, of course, possible, but they are more difficult and their scope is more limited than that of physical experiments. For this reason, biology has had to depend to a greater extent than physics on theories of larger speculative scope, in which reasoning by imaginative analogy plays a more important role.
Anatol Rapoport
Pride in one's work carries with it a determination to accept the demands imposed by that work: in the case of philosophy to follow the argument where it leads, in the case of history to discover what actually happened, in the case of literature to explore to its depths a particular theme. In consequence, this sort of pride demands freedom: it has to be laid low in any authoritarian State. The historian, in such a system, has to conform to official interpretations of the past, the philosopher to dogmas, the writer to stereotypes of human action, the craftsman to "production-schedules.” More subtly, attempts are made to lay pride low in a consumer's society: the film-director, the novelist, the craftsman are called upon to produce "what will sell” at whatever cost to their pride in workmanship.
John Passmore