Source: The Outsider (1956), Chapter one, The Country of the Blind, referencing a quote by Desiderius Erasmus.
Context: He alone is aware of the truth, and if all men were aware of it, there would be an end of life. In the country of the blind, the one-eyed man is king. But his kingship is kingship over nothing. It brings no powers and privileges, only loss of faith and exhaustion of the power to act. Its world is a world without values.
Colin Wilson: Man
Colin Wilson was author. Explore interesting quotes on man.
Source: The Strength To Dream (1961), p. 197
Context: No artist can develop without increasing his self-knowledge; but self-knowledge supposes a certain preoccupation with the meaning of human life and the destiny of man. A definite set of beliefs — Methodist Christianity, for example — may only be a hindrance to development; but it is not more so than Beckett's refusal to think at all. Shaw says somewhere that all intelligent men must be preoccupied with either religion, politics, or sex. (He seems to attribute T. E. Lawrence's tragedy to his refusal to come to grips with any of them.) It is hard to see how an artist could hope to achieve any degree of self-knowledge without being deeply concerned with at least one of the three.
that is to say, intentional.
Source: Introduction to the New Existentialism (1966), p. 54
Source: The Philosopher's Stone (1969), p. 317-318
Context: Man should possess an infinite appetite for life. It should be self-evident to him, all the time, that life is superb, glorious, endlessly rich, infinitely desirable. At present, because he is in a midway position between the brute and the truly human, he is always getting bored, depressed, weary of life. He has become so top-heavy with civilisation that he cannot contact the springs of pure vitality. Control of the prefrontal cortex will change all of this. He will cease to cast nostalgic glances towards the womb, for he will realise that death is no escape. Man is a creature of life and the daylight; his destiny lies in total objectivity.
“Its founder may have not been a great occultist, but he was a great man.”
Source: The Occult: A History (1971), p. 280
Context: The real importance of Swedenborg lies in the doctrines he taught, which are the reverse of the gloom and hell-fire of other breakaway sects. He rejects the notion that Jesus died on the cross to atone for the sin of Adam, declaring that God is neither vindictive nor petty-minded, and that since he is God, he doesn't need atonement. It is remarkable that this common-sense view had never struck earlier theologians. God is Divine Goodness, and Jesus is Divine Wisdom, and Goodness has to be approached through Wisdom. Whatever one thinks about the extraordinary claims of its founder, it must be acknowledged that there is something very beautiful and healthy about the Swedenborgian religion. Its founder may have not been a great occultist, but he was a great man.
Source: Introduction to the New Existentialism (1966), p. 96
Context: Now the basic impulse behind existentialism is optimistic, very much like the impulse behind all science. Existentialism is romanticism, and romanticism is the feeling that man is not the mere he has always taken himself for. Romanticism began as a tremendous surge of optimism about the stature of man. Its aim — like that of science — was to raise man above the muddled feelings and impulses of his everyday humanity, and to make him a god-like observer of human existence.
“Art is naturally concerned with man in his existential aspect, not in his scientific aspect.”
Source: The Strength To Dream (1961), p. 214
Context: Art is naturally concerned with man in his existential aspect, not in his scientific aspect. For the scientist, questions about man's stature and significance, suffering and power, are not really scientific questions; consequently he is inclined to regard art as an inferior recreation. Unfortunately, the artist has come to accept the scientist's view of himself. The result, I contend, is that art in the twentieth century — literary art in particular — has ceased to take itself seriously as the primary instrument of existential philosophy. It has ceased to regard itself as an instrument for probing questions of human significance. Art is the science of human destiny. Science is the attempt to discern the order that underlies the chaos of nature; art is the attempt to discern the order that underlies the chaos of man. At its best, it evokes unifying emotions; it makes the reader see the world momentarily as a unity.
Source: The God of the Labyrinth (1970), p. 252
Source: The Outsider (1956), Chapter Six, The Question of Identity
Source: The Misfits: A Study of Sexual Outsiders (1988), pp. 45-46
Source: G. I. Gurdjieff: The War Against Sleep (1980), p. 23
Source: Aleister Crowley: The Nature of the Beast (1987), p. 127-128
Source: The Mind Parasites (1967), p. 38
Source: Religion and the Rebel (1957), p. 289
Source: The Outsider (1956), Chapter one, The Country of the Blind
Source: From Atlantis to the Sphinx (1996), p. 346-347
Source: Rudolf Steiner: The Man and His Vision (1985), p. 166
Source: Alien Dawn (1998), p. 344
Source: The Black Room (1975), p. 75
Source: C. G. Jung: Lord of the Underworld (1984), p. 72