The World Motivation
love make us poets, and the approach of death should make us philosophers.
“With you a part of me hath passed away;”
“Beauty as we feel it is something indescribable; what it is or what it means can never be said.”
“The muffled syllables that Nature speaks”
“Wisdom lies in voluntary finitude and a timely change of heart: until maturity, multiplying the inclusions, up to the limit of natural faculty and moral harmony; afterwards, gladly relinquishing zone after zone of vegetation, and letting the snow-peak of integrity rise to what height it may.”
“The worship of power is an old religion.”
“The fact of having been born is a bad augury for immortality.”
“We feel most alive when we are closest to death.”
“All things one has forgotten scream for help in dreams.”
“Liberty lies in the hearts of men and women; when it dies there, no constitution, no law, no court can save it; no constitution, no law, no court can even do much to help it. The spirit of liberty is the spirit which is not too sure that it is right; the spirit of liberty is the spirit which seeks to understand the minds of other men and women; the spirit of liberty is the spirit which weighs their interests alongside its own without bias.”
“I have often noticed that these things, which obsess me, neither bother nor impress other people even slightly. I am horribly apt to approach some innocent at a gathering, and like the ancient mariner, fix him with a wild, glitt’ring eye and say, “Do you know that in the head of the caterpillar of the ordinary goat moth there are two hundred twenty-eight separate muscles?” The poor wretch flees. I am not making chatter; I mean to change his life.”
“Our knowledge of circumstances has increased, but our uncertainty, instead of having diminished, has only increased. The reason of this is, that we do not gain all our experience at once, but by degrees; so our determinations continue to be assailed incessantly by fresh experience; and the mind, if we may use the expression, must always be under arms.”
“The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement.”