Medusa from A Naturalist’s Rambles on the Devonshire Coast by Philip Henry Gosse, 1853.
Philip Henry Gosse’s Stunning 19th-Century Illustrations of Coastal Creatures and Reflections on the Delicate Kinship of Life
“These objects are, it is true, among the humblest of creatures that are endowed with organic life… Here we catch the first kindling of that spark, which glows into so noble a flame in the Aristotles, the Newtons, and the Miltons of our heaven-gazing race.”
The poetry of music, Copland intimates, is composed both by the musician, in the creation of music and its interpretation in performance, and by the listener, in the act of listening that is itself the work of reflective interpretation. This makes listening as much a creative act as composition and performance — not a passive receptivity to the object that is music, but an active practice that confers upon the object its meaning: an art to be mastered, a talent to be honed.
Good design can copy. Attitudes to copying often make a round trip. A novice imitates without knowing it; next he tries consciously to be original; finally, he decides it's more important to be right than original.
I think the greatest masters go on to achieve a kind of selflessness. They just want to get the right answer, and if part of the right answer has already been discovered by someone else, that's no reason not to use it. They're confident enough to take from anyone without feeling that their own vision will be lost in the process.