Aspiring to these wide generalizations, the analysis of quadratic functions soars to a pitch from whence it may look proudly down on the feeble and vain attempts of geometry proper to rise to its level or to emulate it in its flights.

What a glorious title, Nature, a veritable stroke of genius to have hit upon. It is more than a cosmos, more than a universe. It includes the seen as well as the unseen, the possible as well as the actual, Nature and Nature's God, mind and matter. I am lost in admiration of the effulgent blaze of ideas it calls forth.

There is no study in the world which brings into more harmonious action all the faculties of the mind than [mathematics], ... or, like this, seems to raise them, by successive steps of initiation, to higher and higher states of conscious intellectual being.

It seems to be expected of every pilgrim up the slopes of the mathematical Parnassus, that he will at some point or other of his journey sit down and invent a definite integral or two towards the increase of the common stock.

May not music be described as the mathematics of the sense, mathematics as music of the reason? The musician feels mathematics, the mathematician thinks music: music the dream, mathematics the working life.

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.

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