We are rag dolls made out of many ages and skins, changelings who have slept in wood nests, and hissed in the uncouth guise of waddling amphibians. We have played such roles for infinitely longer ages than we have been human. Our identity is a dream. We are process, not reality.

The creative element in the mind of man . . . emerges in as mysterious a fashion as those elementary particles which leap into momentary existence in great cyclotrons, only to vanish again like infinitesimal ghosts.

A man who has once looked with the archaeological eye will never see quite normally. He will be wounded by what other men call trifles. It is possible to refine the sense of time until an old shoe in the bunch grass or a pile of nineteenth century beer bottles in an abandoned mining town tolls in one's head like a hall clock.

It is frequently the tragedy of the great artist for example Vincent Van Gogh, as it is of the great scientist, that he frightens the ordinary man. If he is more than a popular story-teller it may take humanity a generation to absorb and grow accustomed to the new geography with which the scientist or artist presents us. Even then, perhaps only the more imaginative and literate may accept him. Subconsciously the genius is feared as an image breaker; frequently he does not accept the opinions of the mass, or man's opinion of himself.

It has been said that great art is the night thought of man. It may emerge without warning from the soundless depths of the unconscious, just as supernovas may blaze up suddenly in the farther reaches of void space.

After chiding the theologian for his reliance on myth and miracle, science found itself in the unenviable position of having to create mythology of its own: namely, the assumption that what, after long effort, could not be proved to take place today had, in truth, taken place in the primeval past.

I am older now, and sleep less, and have seen most of what there is to see and am not very much impressed any more, I suppose, by anything.