“Bernard undoubtedly was truly concerned with the well-being of the poor ... but the approach here is again largely from a monastic standpoint. It is not just a question of art or the care of the poor. It is also a question of debunking the traditional social justification of excessive art — that it was somehow similar to almsgiving ... In the same way that art for the honor of God is not the business of the monk since the monk has already offered the most precious gift one can to God, so there is no need for a rationale which sees these lesser gifts as a worthy form of honor for a monk to convey, a form of honor which as a spiritual undertaking is ultimately contradictory to the dictates of charity.”

“[Medieval] Art was not just a static element in society, or even one which interacted with the various social groups. It was not simply something which was made to decorate or to instruct — or even to overawe and dominate. Rather, it was that and more. It was potentially controversial in ways both similar and dissimilar to its couterpart today. It was something which could by its force of attraction not only form the basis for the economy of a particular way of life, it could also come to change that way of life in ways counter to the original intent. Along with this and because of this, art carried a host of implications, both social and moral, which had to be justified. Indeed, it is from the two related and basic elements of justification and function — claim and reality — that Bernard approaches the question of art in the Apologia.”

“In Japan, a number of time-honored everyday activities (such as making tea, arranging flowers, and writing) have traditionally been deeply examined by their proponents. Students study how to make tea, perform martial arts, or write with a brush in the most skillful way possible to express themselves with maximum efficiency and minimum strain. Through this efficient, adroit, and creative performance, they arrive at art. But if they continue to delve even more deeply into their art, they discover principles that are truly universal, principles relating to life itself. Then, the art of brush writing becomes shodo—the “Way of the brush”—while the art of arranging flowers is elevated to the status of kado—the “Way of flowers.” Through these Ways or Do forms, the Japanese have sought to realize the Way of living itself. They have approached the universal through the particular.”

“It is recorded in the monastic rules that a monk once performed an abortion on a girl; the Buddha judged his action seriously wrong, which incurred him the highest offense in the monastic rule. A monk committing this kind of wrongful deed must be expelled from the monastic community. The Buddha considered the embryo to be a person like an adult, so the monk who killed the embryo through abortion was judged by Buddhist monastic rules as having committed a crime equal in gravity to killing an adult. In the commentary on the rule stated above, it is stated clearly that killing a human being means destroying human life from the first moment of fertilization to human life outside the womb. So, even though the Buddha himself did not give a clear-cut pronouncement about when personhood occurs, the Buddhist tradition, especially the Theravada tradition, clearly states that personhood starts when the process of fertilization takes place.”

“I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.”

“When a woman submits to a man, it's the most precious gift she can give. Herself. Unreservedly. The man has to respect and honor that gift above all else. Even if he respects nothing else in the world, he must respect the woman in his care. It's his sworn duty to protect, honor and cherish his submissive. To take care of her and provide a safe haven. Someone who would put his own needs above his woman's is no man.”