Surely knowledge of the natural world, knowledge of the human condition, knowledge of the nature and dynamics of society, knowledge of the past so that one may use it in experiencing the present and aspiring to the future--all of these, it would seem reasonable to suppose, are essential to an educated man. To these must be added another--knowledge of the products of our artistic heritage that mark the history of our esthetic wonder and delight.

We cannot, even given our most imaginative efforts, construct a concept of Self that does not impute some causal influence of prior mental states on later ones.

Good teaching is forever being on the cutting edge of a child's competence.

Passion, like discriminating taste, grows on its use. You more likely act yourself into feeling than feel yourself into action.

Stimuli, however, do not act upon an indifferent organism.

We begin with the hypothesis that any subject can be taught effectively in some intellectually honest form to any child at any stage of development.

There is a deep question whether the possible meanings that emerge from an effort to explain the experience of art may not mask the real meanings of a work of art.