You cannot set art off in a corner and hope for it to have vitality, reality, and substance.

Every great inspiration is but an experiment - though every experiment we know, is not a great inspiration.

All melodious poets shall be hoarse as street ballads, when once the penetrating keynote of nature and spirit is sounded-the earth-beat, sea-beat, heart-beat, which make the tune to which the sun rolls, and the globule of blood and the sap of the trees.

Vagueness is at times an indication of nearness to a perfect truth.

In some century to come, when the school children will whistle popular tunes in quarter-tones--when the diatonic scale will be as obsolete as the pentatonic is now--perhaps then these borderland experiences may be both easily expressed and readily recognized. But maybe music was not intended to satisfy the curious definiteness of man. Maybe it is better to hope that music may always be transcendental language in the most extravagant sense

Everyone should have the opportunity of not being over-influenced.

If idioms are more to be born than to be selected, then the things of life and human nature that a man has grown up with--(not that one man's experience is better than another's, but that it is 'his.')--may give him something better in his substance and manner than an over-long period of superimposed idiomatic education which quite likely doesn't fit his constitution. My father used to say, 'If a poet knows more about a horse than he does about heaven, he might better stick to the horse, and some day the horse may carry him into heaven'