So it's back once more, back up the slope. Why do they always ruin my rope with their cuts? I felt so ready the other day, Had a real foretaste of eternity In my guts. Spoonfeeding me yet another sip from life's cup. I don't want it, won't take any more of it. Let me throw up. Life is medium rare and good, I see, And the world full of soup and bread, But it won't pass into the blood for me, Just goes to my head. It makes me ill, though others it feeds; Do see that I must deny it! For a thousand years from now at least I'm keeping a diet.

One had to take some action against fear when once it laid hold of one.

Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his reflective processes, and incomprehensibly to himself, all his progress should enter so swiftly into the work that he is unable to recognize them in the moment of transition. Alas, the artist who waits in ambush there, watching, detaining them, will find them transformed like the beautiful gold in the fairy tale which cannot remain gold because some small detail was not taken care of.

Now for some heartwork.

Take your well-disciplined strengths, stretch them between the two great opposing poles, because inside human beings is where God learns.

It is true that these mysteries are dreadful, and people have always drawn away from them. But where can we find anything sweet and glorious that would never wear this mask, the mask of the dreadful? Whoever does not, sometimes or other, give his full consent, his full and joyous consent to the dreadfulness of life, can never take possession of the unutterable abundance and power of our existence; can only walk on its edge, and one day, when the judgment is given, will have been neither alive nor dead.

Look: the trees exist; the houses we dwell in stand there stalwartly. Only we pass by it all, like a rush of air. And everything conspires to keep quiet about us, half out of shame perhaps, half out of some secret hope.