[Mathematics] unceasingly calls forth the faculties of observation and comparison; one of its principal weapons is induction: it has frequent recourse to trial and verification; and it affords a boundless scope for the exercise of the highest efforts of imagination and invention.

A mathematical idea should not be petrified in a formalised axiomatic setting, but should be considered instead as flowing as a river.

So long as a man remains a gregarious and sociable being, he cannot cut himself off from the gratification of the instinct of imparting what he is learning, of propagating through others the ideas and impressions seething in his own brain, without stunting and atrophying his moral nature and drying up the surest sources of his future intellectual replenishment.

The theory of ramification is one of pure colligation, for it takes no account of magnitude or position; geometrical lines are used, but these have no more real bearing on the matter than those employed in genealogical tables have in explaining the laws of procreation.

If I were asked to name, in one word, the pole star round which the mathematical firmament revolves, the central idea which pervades the whole corpus of mathematical doctrine, I should point to Continuity as contained in our notions of space, and say, it is this, it is this!

[Mathematics] unceasingly calls forth the faculties of observation and comparison; one of its principal weapons is induction: it has frequent recourse to trial and verification; and it affords a boundless scope for the exercise of the highest efforts of imagination and invention.

Chemistry has the same quickening and suggestive influence upon the algebraist as a visit to the Royal Academy, or the old masters may be supposed to have on a Browning or a Tennyson. Indeed it seems to me that an exact homology exists between painting and poetry on the one hand and modem chemistry and modem algebra on the other. In poetry and algebra we have the pure idea elaborated and expressed through the vehicle of language, in painting and chemistry the idea enveloped in matter, depending in part on manual processes and the resources of art for its due manifestation.