Magic, then, is not a method, but a language; it is part and parcel of that greater phenomenon, ritual, which is the language of religion. Ritual is a symbolic transformation of experiences that no other medium can adequately express.

If we would have new knowledge, we must get a whole world of new questions.

If a work of art is a projection of feeling, its kinship with organic nature will emerge, no matter through how many transformations, logically and inevitably.

Feeling, in the broad sense of whatever is felt in any way, as sensory stimulus or inward tension, pain, emotion or intent, is the mark of mentality.

Cinema is like dream.

The power of magic has no known limits. A person knows, in a fair way, his own physical capacities, the weight of the blows he can deal, the furthest range of his arrows, the strength of his voice, the speed and endurance of his running; but the reaches of his mind are indefinite and, to his feeling, infinite.

Nature, as man has always known it, he knows no more. Since he has learned to esteem signs above symbols, to suppress his emotional reactions in favor of practical ones and make use of nature instead of holding so much of it sacred, he has altered the face, if not the heart, of reality.