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“We shall never learn the affinities of beauty”
Stevenson treats beauty as deeper than any complete technical explanation, warning that analysis of artistic mechanism does not exhaust why form can move or delight.
Source note: Essays in the Art of Writing, “On Some Technical Elements of Style in Literature,” represented by the 1905 Chatto & Windus edition in Project Gutenberg #492. The collection is posthumous; the excerpt concerns literary aesthetics.
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“What is now proved was once only imagined.”
Blake’s proverb compresses a recurring imaginative pattern: possibilities can exist first as conceived ideas before later work, discovery or demonstration makes some of them real or provable.
Source note: The Marriage of Heaven and Hell, “Proverbs of Hell,” represented by Project Gutenberg #45315 at printed page 16. Gutenberg regularizes the line to “imagined”; Blake’s engraved text is often transcribed with historical spelling and punctuation. The proverb is part of Blake’s deliberately paradoxical infernal-wisdom sequence, not a literal claim that every imagined thing will eventually be proved.
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“All art constantly aspires towards the condition of music.”
Pater uses music as his model for the closest possible union of form and content, a critical claim about artistic structure rather than a literal hierarchy of media.
Source note: The Renaissance, “The School of Giorgione”; Project Gutenberg #2398. The surrounding paragraph explains that other arts strive to reduce the separation between matter and form.
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“To “give style” to one’s character—that is a grand and a rare art!”
Nietzsche treats character not as a fixed inventory but as material that can be consciously shaped into a more coherent form through sustained work.
Source note: The Joyful Wisdom, aphorism 290, “One Thing is Needful”; Thomas Common translation in the 1910 Oscar Levy edition.
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“Beauty is truth, truth beauty,—that is all ye know on earth, and all ye need to know.”
The famous closing joins beauty and truth in a deliberately compressed claim that continues to invite debate rather than a single easy reading.
Source note: “Ode on a Grecian Urn,” closing lines.
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“truth, in morals, has ever appeared to me the essence of the sublime; and, in taste, simplicity the only criterion of the beautiful.”
Wollstonecraft makes moral truth and aesthetic simplicity standards of seriousness, rejecting ornate politeness when it conceals what a writer actually believes.
Source note: A Vindication of the Rights of Men, opening letter to Edmund Burke, second edition (1790); this sentence follows Wollstonecraft’s refusal to disguise her sentiments behind courtly politeness.