/lit/ - Literature

the cherubinic wanderer - Angelus Silesius

memorable deeds and sayings - Valerius Maximus

certain chapters in Plutarch's moralia like the one about spartan laconism

don't stare at it
chew it

>great mischief with mediocre artistic doings derives because many mistake a strong external stimulus for their true artistic vocation.
t. eta hoffmann in "der artushof"

>the weakest candelight flares up sometimes and in the life of every man there's a moment where one feels ignited or enabled for a great deed. but what really counts are the long intervals in between and the small daily occasions are the real touchstone where most of our philosopher's gold sinks to the level of ordinary metal.
t. carl maria von weber in his unfinished novel

>>21452605
one never knows enough but always too much

intelligence: not to repeating mistakes
wisdom: avoid mistakes
knowledge: mistake

>The intrinsic value of a book does not depend on the importance of its subject (else the theologians would prevail, and mightily), but on the manner of approaching the accidental and the insignificant, of mastering the infinitesimal. The essential has never required the least talent.
t. cioran

dont judge a fish by its flying ability

his biographer mochulsky cited dostoyevski's own private admissions that he had "less poetry" and imagination than tolstoy or turgenev, it almost became an inferiority complex. he focussed on his other strengths instead, which is always smart.

a novel is more valuable and noble when it depicts more of the inner world than of outer world. the art consists in exciting a maximum inner life with minimum effort. the task of a novelist isn't to depict big events but to make small ones interesting.

t. schopenhauer

>Oh the People-Person! he acts childish around children;
>But the tree and the child seek what is above it.

t. hölderlin

ede! bibe! lude!

>in the novel, it is chiefly sentiments and events that are exhibited; in the drama, it is characters and deeds. The novel must go slowly forward; and the sentiments of the hero, by some means or another, must restrain the tendency of the whole to unfold itself and to conclude. The drama, on the other hand, must hasten: and the character of the hero must press forward to the end: it does not restrain, but is restrained. The novel-hero must be suffering, — at least he must not in a high degree be active: in the dramatic one, we look for activity and deeds.
t. goethe

they are fake seraphim: ignore them

Common curiosity never comes close to the light.
Only those who seek the truth are allowed to knock on the gate.

you prepare yourself, so you can meet inspiration halfway, when it comes, if it comes.

fortify your head with philosophical ideas, but dont fill it with them.

there is no forbidden knowledge

everything that is true is simple but difficult

everything wrong is complex but easy