Every soul is vast and wants to express itself fully. If it’s denied an adequate instrument (and we’re all denied that, at birth, some more than others), out comes…poetry, i.e., truth forced out through a restricted opening.

The previously described principles are the inputs to building a great organization. But what are the outputs that define a great organization? What are the criteria of greatness? There are three tests: (1) superior results, (2) distinctive impact, (3) lasting endurance.

The criteria that determine artistic success are ultimately determined by artists, not critics, and great art itself changes what these criteria are. Stalin attempted to define artistic merit in terms of socialist realism. The Nazis denounced art that was not directly representational as decadent. The attempt to define the quality of artistic endeavour by predetermined rules had the effect— and the intentions— of freezing creative innovation. In consequence, little work of enduring merit emerged.

What is true of art is also true of other areas of human endeavour. What made Henry Ford or Walt Disney or Steve Jobs great businessmen was that they modified the rules by which their success, and the success of others in their industry, were measured. They changed our appreciation of what is good and bad in personal transport, in children’s entertainment and in computing. They sold us products we had not imagined. What we mean today by a good means of personal transport is very different from what we would have meant by the same phrase a hundred and fifty years ago, as a result of people who conceived vehicles so different from those that had already existed. The criteria of achievement are constantly redefined by great achievers.

The job of the artist or the poet or the educator or the business person is not just to paint what we want to see, write what we want to read and hear, teach what we want to learn or produce what we want to buy. Their role is to interpret the underlying high-level objectives that we seek from art, poetry, education, or goods and services more fully than we could ourselves articulate them. Success in recasting problems to achieve our objectives more effectively than we had conceived distinguishes the great from the merely competent and demonstrates why the direct approach is so often banal.

The superiority of one writer over another is not just in the quality of language; but also in the quality of the story and the storytelling; the quality of enchantment; and the timelessness of that enchantment. It is therefore futile to speak of superiorities. There is only that which lives, and which keeps on living.