“He who despises himself esteems himself as a self-despiser.”

Hovstad, Act II
An Enemy of the People (1882)

Source: The False Principle of our Education (1842), p. 23

Source: Journey to the End of the Night

Source: A Dictionary of Thoughts, 1891, p. 236.

The Golden Man (1954)
Context: In one dim scene he saw himself lying charred and dead; he had tried to run through the line, out the exit.
But that scene was vague. One wavering, indistinct still out of many. The inflexible path along which he moved would not deviate in that direction. It would not turn him that way. The golden figure in that scene, the miniature doll in that room, was only distantly related to him. It was himself, but a far-away self. A self he would never meet. He forgot it and went on to examine the other tableau.
The myriad of tableaux that surrounded him were an elaborate maze, a web which he now considered bit by bit. He was looking down into a doll's house of infinite rooms, rooms without number, each with its furniture, its dolls, all rigid and unmoving. <!-- The same dolls and furniture were repeated in many. He, himself, appeared often. The two men on the platform. The woman. Again and again the same combinations turned up; the play was redone frequently, the same actors and props moved around in all possible ways.
Before it was time to leave the supply closet, Cris Johnson had examined each of the rooms tangent to the one he now occupied. He had consulted each, considered its contents thoroughly.
He pushed the door open and stepped calmly out into the hall. He knew exactly where he was going. And what he had to do. Crouched in the stuffy closet, he had quietly and expertly examined each miniature of himself, observed which clearly-etched configuration lay along his inflexible path, the one room of the doll house, the one set out of legions, toward which he was moving.

Source: Tao Te Ching, Ch. 7

Source: Love in the Time of Cholera