Nathan

“When one has apparently made up one’s mind to spend the evening at home and has donned one’s house-jacket and sat down at the lamplit table after supper and do the particular job or play the particular game on completion of which one is in the habit of going to bed, when the weather out is so unpleasant as to make staying in the obvious choice, when one has been sitting quietly at the table for so long already that one’s leaving must inevitably provoke general astonishment, when the stairwell is in any case in darkness and the street door locked, and when in spite of all this one stands up, suddenly ill at ease, changes one’s coat, reappears immediately in street clothes, announces that one has to go out and after a brief farewell does so, feeling that one has left behind one a degree of irritation commensurate with the abruptness with which one slammed the apartment door, when one then finds oneself in the street possessed of limbs that respond to the quite unexpected freedom one has procured for them with out-of-the-ordinary agility, when in the wake of this one decision one feels capable, deep down, of taking any decision, when one realizes with a greater sense of significance than usual that one has, after all, more ability than one has need easily to effect and endure the most rapid change, and when in this frame of mind one walks the long city streets—then for that evening one has stepped completely outside one’s family, which veers into inessentiality, while one’s own person, rock solid, dark with definition, thighs thrusting rhythmically, assumes it true form.
The whole experience is enhanced when at that late hour one looks up a friend to see how he is.”
― Franz Kafka, The Complete Stories

“From time to time, too, and for the space of two or three paces, an image or an echo would rise up from the recesses of time: in the little streets of the beaters of silver and gold, for instance, there was a clear, unhurried tinkling, as if a djinn with a thousand arms was absent-mindedly practising on a xylophone.”
― Claude Lévi-Strauss, Tristes Tropiques

“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.”
― George Bernard Shaw, Man and Superman

“Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know”
― John Keats, The Complete Poems