Hardy's "Apology"

I've had it laying about and been meaning to get to it, and tiny little thin wisp of a book (not much more than an essay) called "A Mathematician's Apology" by G.H Hardy. Written 70 years ago, in a British style that sometimes takes my American eyes a second glance to adjust to, there's all sorts of nuggets that I latch onto as an expression of something similar to what I was trying to say, sometime, in some conversation, to someone, at some point or other.

Hardy regards the comparison between the nature of chess (or puzzles) as problems/questions of mathematics, and the proofs of mathematical theorems:

In the first place, the superiority of the mathematical theorems in seriousness is obvious and overwhelming. The chess problem is the product of an ingenious but very limited complex of ideas, which do not differ from one another very fundamentally and have no external repercussions.

This, I like. Specifically, on seriousness. It's one thing to think an idea important, or fundamental to a topic of study. But is it serious? Not how stern it is, nor whether it lacks whimsy, but the scope of "external repercussions".

How art or poetry are patterns, like mathematics, but constructed of colors and words rather than ideas and that it is ideas that have permanence greater than objects or languages or colors or sounds. That a prime number is always a prime number - across generations, eons, cultures, and (at the risk of sounding too poufy) across space and time.

A painting may embody an 'idea', but the idea is usually commonplace and unimportant. In poetry, ideas count for a good deal more; but as Housman insisted, the importance of ideas in poetry is habitually exaggerated: 'I cannot satisfy myself that there are any such things as poetical ideas... Poetry is not the thing said but a way of saying it.'

And as this sudden sleepless morning draws on for me, I leave off with this little bit that I keep touching back to:

There are many highly respectable motives which may lead men [sic] to prosecute research, but three which are much more important than the rest. The first (without which the rest must come to nothing) is intellectual curiosity, desire to know the truth. Then, professional pride, anxiety to be satisfied with one's performance, the shame that overcomes any self-respecting craftsman when his work is unworthy of his talent. Finally, ambition, desire for reputation, and the position, even the power or the money, which it brings. It may be fine to feel, when you have done your work, that you have added to the happiness or alleviated the sufferings of others, but that will not be why you did it.