"In his effort toward revivification of this sense , the modern artist has not infrequently retired into himself; he has accepted isolation or even alienation. … Sometimes the good has to go underground. … The “revolutionary” artist … has had the aim of saving himself from the surrounding forces of sentimentality and vulgarity. … It is impossible to make a deal with these forces, and we should not be surprised if in striking back the artist has done so in ways even intended to be offensive. He has sometimes shown defiance and contempt toward those who would deny his level of seriousness."

“Cultural freedom is in special danger today because so much of our life has been politicized. … With governments which are popular and free, but which allow political sanction to pressures building up against certain types of cultural expression, … the pressure … moves to condemn on grounds which are social and political, and its desire is for uniformity, standardization, consolidation, and all the other features of Gleichschaltung, as it moves to protect from criticism and even from realistic depiction something over which people have become politically excited. In our American experience, these pressures have been largely social.”

“One of the most important revelations about a period comes in its theory of language, for that informs us whether language is viewed as a bridge to the noumenal or as a body of fictions convenient for grappling with transitory phenomena.”

“The modern Communist, looking upon this world with its interesting distinctions and its prolific rewards and pleasures, may be compared to Satan peering into the Garden.”

“For modern man, … pride reveals itself in impatience, which is an unwillingness to bear the pain of discipline. … In effect his becomes a deification of his own will; man is not making himself like a god but is taking himself as he is and putting himself in the place of God.”

“From the viewpoint of my general purpose, I had come to believe that one way to achieve the education which leads to understanding and compassion is to take some period of the past and to immerse oneself in it so thoroughly that one could think its thoughts and speak its language. The object would be to take this chapter of vanished experience and learn to know it in three if not four dimensions. That would mean coming to understand why certain actions which in the light of retrospect appear madly irrational appeared at that time the indisputable mandate of reason; why things which had been created with pain and care were cast quickly on the gaming table of war; why men who had sat in the senate chamber and debated with syllogism and enthymeme stepped out of it to buckle on the sword against one another. Almost any book of history will give you the form of such a time, but what will give you the pressure of it? That is what I particularly wished to discover.”

“The young come to us creatures of imagination and strong affection; they want to feel, but they don’t know how—that is to say, they do not know the right objects and the right measures. And it is entirely certain that if we leave them to the sort of education obtainable today for extra-scholastic sources, the great majority will be schooled in the two vices of sentimentality and brutality. Now great poetry, rightly interpreted, is the surest antidote to both of these. In contrast with journalists and others, the great poets relate the events of history to a pure or noble metaphysical dream, which our students will have all their lives as a protecting arch over their system of values.”