Herbert Read quotes:

To realize that new world we must prefer the values of freedom and equality above all other values - above personal wealth, technical power and nationalism.

A man of personality can formulate ideals, but only a man of character can achieve them.

I am not going to claim that modern anarchism has any direct relation to Roman jurisprudence; but I do claim that it has its basis in the laws of nature rather than in the state of nature.

The worth of a civilization or a culture is not valued in the terms of its material wealth or military power, but by the quality and achievements of its representative individuals - its philosophers, its poets and its artists.

The principle of equity first came into evidence in Roman jurisprudence and was derived by analogy from the physical meaning of the word.

The most general law in nature is equity-the principle of balance and symmetry which guides the growth of forms along the lines of the greatest structural efficiency.

There are a few people, but a diminishing number, who still believe that Marxism, as an economic system, off era a coherent alternative to capitalism, and socialism has, indeed, triumphed in one country.

Progress is measured by richness and intensity of experience - by a wider and deeper apprehension of the significance and scope of human existence.

The assumption is that the right kind of society is an organic being not merely analogous to an organic being, but actually a living structure with appetites and digestions, instincts and passions, intelligence and reason.

It is already clear, after twenty years of socialism in Russia, that if you do not provide your society with a new religion, it will gradually revert to the old one.

But the further step, by means of which a civilization is given its quality or culture, is only attained by a process of cellular division, in the course of which the individual is differentiated, made distinct from and independent of the parent group.

That is why I believe that art is so much more significant than either economics or philosophy. It is the direct measure of man's spiritual vision.

Progress is measured by the degree of differentiation within a society.

Freud has shown one thing very clearly: that we only forget our infancy by burying it in the unconscious; and that the problems of this difficult period find their solution under a disguised form in adult life.

It was Nietzsche who first made us conscious of the significance of the individual as a term in the evolutionary process-in that part of the evolutionary process which has still to take place.

The farther a society progresses, the more clearly the individual becomes the antithesis of the group.

We may be sure that out of the ruins of our capitalist civilization a new religion will emerge, just as Christianity emerged from the ruins of the Roman civilization.

Perhaps it is this theory of all work and no play that has made the Marxist such a very dull boy.

I know of no better name than Anarchism.

I can imagine no society which does not embody some method of arbitration.

The characteristic political attitude of today is not one of positive belief, but of despair.

Modern man has been in search of a new language of form to satisfy new longings and aspirations - longings for mental appeasement, aspirations to unity, harmony, serenity - an end to his alienation from nature. All these arts of remote times or strange cultures either give or suggest to the modern artist forms which he can adapt to his needs, the elements of a new iconography.

In the evolution of mankind there has always been a certain degree of social coherence.

My own early experiences in war led me to suspect the value of discipline, even in that sphere where it is so often regarded as the first essential for success.

The only sin is ugliness, and if we believed this with all our being, all other activities of the human spirit could be left to take care of themselves.

The sensitive artist knows that a bitter wind is blowing.

Once we become conscious of a feeling and attempt to make a corresponding form, we are engaged in an activity which, far from being sincere, is prepared (as any artist if he is sincere will tell you) to moderate feelings to fit the form. The artist's feeling for form is stronger than a formless feeling.

Poetry is creative expression; Prose is constructive expression. ... by creative I mean original. In Poetry the words are born or reborn in the act of thinking. ... There is no time interval between the words and the thought when a real poet writes, both of them happen together, and both the thought and the word are Poetry.

Nobody seriously believes in the social philosophies of the immediate past.

You might think that it would he the natural desire of every man to develop as an independent personality, but this does not seem to be true.

If the individual is a unit in a corporate mass, his life is not merely brutish and short, but dull and mechanical.

What I do deny is that you can build any enduring society without some such mystical ethos.

The depths modern art has been exploring are mysterious depths, full of strange fish...

Art is always the index of social vitality, the moving finger that records the destiny of a civilization. A wise statesman should keep an anxious eye on this graph, for it is more significant than a decline in exports or a fall in the value of a nation's currency.

But all categories of art, idealistic or realistic, surrealistic or constructivist (a new form of idealism) must satisfy a simple test (or they are in no sense works of art): they must persist as objects of contemplation.

I have not the slightest doubt that this form of individuation represents a higher stage in the evolution of mankind.

The modern poet has no essential alliance with regular schemes of any sorts.He reserves the right to adapt his rhythm to his mood, to modulate his metre as he progresses. Far from seeking freedom and irresponsibility (implied by the unfortunate term free verse) he seeks a stricter discipline of exact concord of thought and feeling.

It is not my purpose as a poet to condemn war (or to be exact, modern warfare). I only wish to present the universal aspects of a particular event

Art is not and never has been subordinate to moral values. Moral values are social values; aesthetic values are human values. Morality seeks to restrain the feelings; art seeks to define them by externalizing them, by giving them significant form. Morality has only one aim - the ideal good; art has quite another aim - the objective truth... art never changes.

Art is pattern informed by sensibility.

The sense of historical continuity, and a feeling for philosophical rectitude cannot, however, be compromised.

Morality, as has often been pointed out, is antecedent to religion-it even exists in a rudimentary form among animals.

Spontaneity is not enough - or, to be more exact, spontaneity is not possible until there is an unconscious coordination of form, space and vision.

In History, stagnant waters, whether they be the stagnant waters of custom or those of despotism, harbour no life; life is dependent on the ripples created by a few eccentric individuals. In homage to that life & vitality, the community has to brave certain perils and must countenance a measure of heresy. One must live dangerously if one wants to live at all.

If modern art has produced symbols that are unfamiliar, that was only to be expected.

If we persist in our restless desire to know everything about the universe and ourselves, then we must not be afraid of what the artist brings back from his voyage of discovery.

It does not seem that the contradiction which exists between the aristocratic function of art and the democratic structure of modern society can ever be resolved.

The modern work of art, as I have said, is a symbol.

These groups within a society can he distinguished according as to whether, like an army or an orchestra, they function as a single body; or whether they are united merely to defend their common interests and otherwise function as separate individuals.

Creeds and castes, and all forms of intellectual and emotional grouping, belong to the past.

An enormous amount of art and literature is erotic in the sense that it stimulates vague sexual emotions, but it has no pornographic intention or effect because "it leaves everything to the imagination." The consumer has to invent his own images, and it is felt, I do not know with what justification, that there is no harm in this.

An entertainment is something which distracts us or diverts us from the routine of daily life. It makes us for the time being forget our cares and worries; it interrupts our conscious thoughts and habits, rests our nerves and minds, though it may incidentally exhaust our bodies. Art, on the other hand, though it may divert us from the normal routine of our existence, causes us in some way or other to become conscious of that existence.

Art in its widest sense is the extension of the personality: a host of artificial limbs.

Art is an indecent exposure of the consciousness.

Fantasy is a product of thought, Imagination of sensibility. If the thinking, discursive mind turns to speculation, the result isFantasy; if, however, the sensitive, intuitive mind turns to speculation, the result is Imagination. Fantasy may be visionary, but it is cold and logical. Imagination is sensuous and instinctive. Both have form, but the form of Fantasy is analogous to Exposition, that of Imagination to Narrative.

Great changes in the destiny of mankind can be effected only in the minds of little children.

I call religion a natural authority, but it has usually been conceived as a supernatural authority.

In a sense, every tool is a machine--the hammer, the ax, and the chisel. And every machine is a tool. The real distinction is between one man using a tool with his hands and producing an object that shows at every stage the direction of his will and the impression of his personality; and a machine which is producing, without the intervention of a particular man, objects of a uniformity and precision that show no individual variation and have no personal charm. The problem is to decide whether the objects of machine production can possess the essential qualities of art.

In general, modern art... has been inspired by a natural desire to chart the uncharted.

In order to create it is necessary to destroy; and the agent of destruction in society is the poet. I believe that the poet is necessarily an anarchist, and that he must oppose all organized conceptions of the State, not only those which we inherit from the past, but equally those which are imposed on people in the name of the future.

It was play rather than work which enabled man to evolve his higher faculties - everything we mean by the word 'culture'.

It will be a gay world. There will be lights everywhere except in the minds of men, and the fall of the last civilization will not be heard above the din.

Love works miracles in stillness.

Man is everywhere still in chains.

Only a people serving an apprenticeship to nature can be trusted with machines. Only such people will so contrive and control those machines that their products are an enhancement of biological needs, and not a denial of them.

Revolt, it will be said, implies violence; but this is an outmoded, an incompetent conception of revolt. The most effective form of revolt in this violent world we live in is non-violence.

Sensibility... is a direct and particular reaction to the separate and individual nature of things. It begins and ends with the sensuous apprehension of colour, texture and formal relations; and if we strive to organize these elements, it is not with the idea of increasing the knowledge of the mind, but rather in order to intensify the pleasure of the senses.

Simplicity is not a goal, but one arrives at simplicity in spite of oneself, as one approaches the real meaning of things.

The classicist, and the naturalist who has much in common with him, refuse to see in the highest works of art anything but the exercise of judgement, sensibility, and skill. The romanticist cannot be satisfied with such a normal standard; for him art is essentially irrational - an experience beyond normality, sometimes destructive of normality, and at the very least evocative of that state of wonder which is the state of mind induced by the immediately inexplicable.

The fundamental purpose of the artist is the same as that of a scientist: to state a fact.

The great modern heresy in poetry is to confuse the use we make of words in a poem with modalities of speech...For true poetry is never speech but always a song.

The greatest intensification of the horrors of war is a direct result of the democratisation of the State. So long as the army was a professional unit, the specialist function of a limited number of men, war remained a relatively harmless contest for power. But once it became everyman's duty to defend his home (or his political "rights") warfare was free to range wherever that home might be, and to attack every form of life and property associated with that home.

The modern artist, by nature and destiny, is always an individualist.

The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.

The point I am making is that in the more primitive forms of society the individual is merely a unit; in more developed forms of society he is an independent personality.

The slave may be happy, but happiness is not enough.

The work of art ... is an instrument for tilling the human psyche, that it may continue to yield a harvest of vital beauty.

These are the sensations and feelings that are gradually blunted by education, staled by custom, rejected in favor of social conformity.

This is the essential distinction--even opposition--between the painting and the film: the painting is composed subjectively, thefilm objectively. However highly we rate the function of the scenario writer--in actual practice it is rated very low--we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.

Works of art must persist as objects of contemplation.