“The man-machine will crucify any conscious man who tries to help him; and convert his wisdom into an empty, mechanical dogma that suits his own understanding.”

As quoted in "Literary Censorship in England" in Current Opinion, Vol. 55, No. 5 (November 1913), p. 378; this has sometimes appeared on the internet in paraphrased form as "Censorship ends in logical completeness when nobody is allowed to read any books except the books that nobody reads"
1910s
Context: Any public committee man who tries to pack the moral cards in the interest of his own notions is guilty of corruption and impertinence. The business of a public library is not to supply the public with the books the committee thinks good for the public, but to supply the public with the books the public wants. … Censorship ends in logical completeness when nobody is allowed to read any books except the books that nobody can read. But as the ratepayer is mostly a coward and a fool in these difficult matters, and the committee is quite sure that it can succeed where the Roman Catholic Church has made its index expurgatorius the laughing-stock of the world, censorship will rage until it reduces itself to absurdity; and even then the best books will be in danger still.

Variant translation: One of the strongest motives that lead men to art and science is escape from everyday life with its painful crudity and hopeless dreariness, from the fetters of one's own ever-shifting desires. A finely tempered nature longs to escape from the personal life into the world of objective perception and thought. With this negative motive goes a positive one. Man seeks to form for himself, in whatever manner is suitable for him, a simplified and lucid image of the world, and so to overcome the world of experience by striving to replace it to some extent by this image. This is what the painter does, and the poet, the speculative philosopher, the natural scientist, each in his own way. Into this image and its formation, he places the center of gravity of his emotional life, in order to attain the peace and serenity that he cannot find within the narrow confines of swirling personal experience.
As quoted in The Professor, the Institute, and DNA (1976) by Rene Dubos; also in The Great Influenza (2004) by John M. Barry
1910s, Principles of Research (1918)
Context: Man tries to make for himself in the fashion that suits him best a simplified and intelligible picture of the world; he then tries to some extent to substitute this cosmos of his for the world of experience, and thus to overcome it. This is what the painter, the poet, the speculative philosopher, and the natural scientist do, each in his own fashion. Each makes this cosmos and its construction the pivot of his emotional life, in order to find in this way the peace and security which he cannot find in the narrow whirlpool of personal experience.

Propaganda: The Formation of Men's Attitudes (1965)
Context: Propaganda tries to surround man by all possible routes in the realm of feelings as well as ideas, by playing on his will or on his needs, through his conscious and his unconscious, assailing him in both his private and his public life. It furnishes him with a complete system for explaining the world, and provides immediate incentives to action. We are here in the presence of an organized myth that tries to take hold of the entire person. Through the myth it creates, propaganda imposes a complete range of intuitive knowledge, susceptible of only one interpretation, unique and one-sided, and precluding any divergence. This myth becomes so powerful that it invades every arena of consciousness, leaving no faculty or motivation intact. It stimulates in the individual a feeling of exclusiveness, and produces a biased attitude.

Bion, 3.
The Lives and Opinions of Eminent Philosophers (c. 200 A.D.), Book 4: The Academy

Source: The Persians (472 BC), line 742 (tr. Janet Lembke and C. J. Herington)

Political, Moral, and Miscellaneous Reflections (1750), Miscellaneous Thoughts and Reflections

Source: The Time Traders (1958), p. 198

Reflections (1981)