The dancer, or dancers, must transform the stage for the audience as well as for themselves into an autonomous, complete, virtual realm, and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirely in the dance illusion.

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.

Every artistic form reflects the dynamism that is constantly building up the life of feeling.

The historian does not locate known facts in a hypothetical, general pattern of processes; his aim is to link fact to fact, one unique knowable event to another individual one that begot it.

Fire is a natural symbol of life and passion, though it is the one element in which nothing can actually live.

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.

The world of physics is essentially the real world construed by mathematical abstractions, and the world of sense is the real world construed by the abstractions which the sense-organs immediately furnish. To suppose that the "material mode" is a primitive and groping attempt at physical conception is a fatal error in epistemology.