“Who is there who has not felt a sudden startled pang at reliving an old experience or feeling an old emotion?”

Source: The Stand (1978), p. 810

Peter Quince at the Clavier (1915)

Source: Zen in the Art of Writing

Section 3 : Work Democracy versus Politics. The Natural Social Forces for the Mastery of the Emotional Plague
The Mass Psychology of Fascism (1933), Ch. 10 : Work Democracy
Context: Rulers and generals muster their troops. Magnates muster the sums of money which give them power. The fascist dictators muster the irrational human reactions which make it possible for them to attain and maintain their power over the masses. The scientists muster knowledge and means of research. But, thus far, no organization fighting for freedom has ever mustered the biological arsenal where the weapons are to be found for the establishment and the maintenance of human freedom. All precision of our social existence notwithstanding, there is as yet no definition of the word freedom which would be in keeping with natural science. No word is more misused and misunderstood.
To define freedom is the same as to define sexual health. But nobody will openly admit this. The advocacy of personal and social freedom is connected with anxiety and guilt feelings. As if to be free were a sin or at least not quite as it should be. Sex-economy makes this guilt feeling comprehensible: freedom without sexual self-determination is in itself a contradiction. But to be sexual means — according to the prevailing human structure — to be sinful or guilty. There are very few people who experience sexual love without guilt feeling. "Free love" has acquired a degrading meaning: it lost the meaning given it by the old fighters for freedom. In films and in books, to be genital and to be criminal are presented as the same thing.

Source: The Subtle Art of Not Giving a F*ck (2016), Chapter 2, “Happiness Is a Problem” (p. 35)

Nobel lecture http://nobelprize.org/nobel_prizes/literature/laureates/1980/milosz-lecture-en.html (8 December 1980)

Part 5: "The World of One Physicist", "But Is It Art?", p. 261
Surely You're Joking, Mr. Feynman! (1985)
Context: I wanted very much to learn to draw, for a reason that I kept to myself: I wanted to convey an emotion I have about the beauty of the world. It's difficult to describe because it's an emotion. It's analogous to the feeling one has in religion that has to do with a god that controls everything in the whole universe: there's a generality aspect that you feel when you think about how things that appear so different and behave so differently are all run "behind the scenes" by the same organization, the same physical laws. It's an appreciation of the mathematical beauty of nature, of how she works inside; a realization that the phenomena we see result from the complexity of the inner workings between atoms; a feeling of how dramatic and wonderful it is. It's a feeling of awe — of scientific awe — which I felt could be communicated through a drawing to someone who had also had this emotion. It could remind him, for a moment, of this feeling about the glories of the universe.

(1980's)as quoted in 'A painter's testament: De Kooning in the Eighties', Robert Storr, Moma-website http://www.moma.org/interactives/exhibitions/1997/dekooning/essay.html, reprinted in 1997
1980's

"About ninety."
Source: Drenai series, The King Beyond the Gate, Ch. 15