“If you say that this is absurd, that we cannot be in love with everyone at once, I merely point out to you that, as a matter of fact, certain persons do exist with an enormous capacity for friendship and for taking delight in other people's lives; and that such person know more of truth than if their hearts were not so big. The vice of ordinary Jack and Jill affection is not its intensity, but its exclusions and its jealousies. Leave those out, and you see that the ideal I am holding up before you, however impracticable to-day, yet contains nothing intrinsically absurd.”

— William James

"What Makes a Life Significant?"
1910s, Talks to Teachers on Psychology and to Students on Some of Life's Ideals (1911)

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William James 246

American philosopher, psychologist, and pragmatist 1842–1910

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“Concerning the truth at hand he (Socrates) was saying, yes, surely, it is a truth a reason or a truth of fact, but before I offer it I must discover whether it is a personal truth and a part of myself, for otherwise I must leave its enunciation to others.”

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“Game over," you say, and I don't know which I take more exception to-- the fact that you say its over, or the fact that you say it's a game.”

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“Every Jack sees in his own particular Jill charms and perfections to the enchantment of which we stolid onlookers are stone-cold. And which has the superior view of the absolute truth, he or we? Which has the more vital insight into the nature of Jill's existence, as a fact? Is he in excess, being in this matter a maniac? or are we in defect, being victims of a pathological anesthesia as regards Jill's magical importance? Surely the latter; surely to Jack are the profounder truths revealed; surely poor Jill's palpitating little life-throbs are among the wonders of creation, are worthy of this sympathetic interest; and it is to our shame that the rest of us cannot feel like Jack. For Jack realizes Jill concretely, and we do not. He struggles toward a union with her inner life, divining her feelings, anticipating her desires, understanding her limits as manfully as he can, and yet inadequately, too; for he also is afflicted with some blindness, even here. Whilst we, dead clods that we are, do not even seek after these things, but are contented that that portion of eternal fact named Jill should be for us as if it were not. Jill, who knows her inner life, knows that Jack's way of taking it - so importantly - is the true and serious way; and she responds to the truth in him by taking him truly and seriously, too. May the ancient blindness never wrap its clouds about either of them again! Where would any of us be, were there no one willing to know us as we really are or ready to repay us for our insight by making recognizant return? We ought, all of us, to realize each other in this intense, pathetic, and important way.”

William James (1842–1910) American philosopher, psychologist, and pragmatist

"What Makes a Life Significant?"
1910s, Talks to Teachers on Psychology and to Students on Some of Life's Ideals (1911)

“He who is infatuated with Man leaves persons out of account so far as that infatuation extends, and floats in an ideal, sacred interest. Man, you see, is not a person, but an ideal, a spook.”

Max Stirner book The Ego and Its Own

Dover 2005, p. 79
The Ego and Its Own (1845)

“In a book called Symbolism, Its Meaning and Effect, Whitehead points out that perception is usually a matter of symbols, just like language; I say I see a book when I actually see a red oblong. The Transactionists (who have been influenced by Whitehead rather than Husserl) take this one stage further, and point out that when I 'perceive' something, I am actually making a bet with myself that what I perceive is what I think it is. In order to act and live at all, I have to make these bets; I cannot afford to make absolutely certain that things are what I think they are. But this means that we should not take our perceptions at face value, any more than Nietzsche was willing to take philosophy at its face value; we must allow for prejudice and distortion.”

Colin Wilson (1931–2013) author

Source: Introduction to the New Existentialism (1966), p. 66

“In love, at one of its poles you find the personal, and at the other the impersonal. At one you have the positive assertion — Here I am; at the other the equally strong denial — I am not.”

Rabindranath Tagore (1861–1941) Bengali polymath

Sādhanā : The Realisation of Life http://www.spiritualbee.com/spiritual-book-by-tagore/ (1916)
Context: In love, at one of its poles you find the personal, and at the other the impersonal. At one you have the positive assertion — Here I am; at the other the equally strong denial — I am not. Without this ego what is love? And again, with only this ego how can love be possible?
Bondage and liberation are not antagonistic in love. For love is most free and at the same time most bound. If God were absolutely free there would be no creation. The infinite being has assumed unto himself the mystery of finitude. And in him who is love the finite and the infinite are made one.

“If I stopped at this point, I would be merely stating a fact, and not telling the truth. You see, a fact is merely the absence of contradiction, but truth is the presence of coherence. Truth is the relatedness of facts. Now it is a fact that we’ve come a long, long way, but it isn’t the whole truth. In order to tell the truth, it would be necessary to add the other part, and I’m afraid that if I stopped at this point, I would leave you the victims of a dangerous optimism. If I stopped here, I would leave you the victims of an illusion wrapped in superficialities. So in order to tell the truth, it is necessary to move on and not only say that we’ve come a long, long way, but that we’ve a long, long way to go before the American dream is a reality, before this problem is solved.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1960s, Address to Cornell College (1962)

“I gave up the Old Testament on account of its mistakes, its absurdities, its ignorance and its cruelty. I gave up the New because it vouched for the truth of the Old. I gave it up on account of its miracles, its contradictions, because Christ and his disciples believed in the existence of devils—talked and made bargains with them, expelled them from people and animals. This, of itself, is enough. We know, if we know anything, that devils do not exist—that Christ never cast them out, and that if he pretended to, he was either ignorant, dishonest or insane. These stories about devils demonstrate the human, the ignorant origin of the New Testament.”

Robert G. Ingersoll (1833–1899) Union United States Army officer

Why I Am an Agnostic (1896)

“I always fall in love with someone while I'm working in a film. It's a joy to get up in the morning. Sometimes when I'm not infatuated, I just make things up in my mind. Making a film is such an intense thing. You're eliminating everything in your life and you're absorbed into the world of the movie. It's exciting. It's like somebody saying you have an illness and you only have this short time to live. Then you live it that life is over with. Good-bye. You never see any of the people again. But meanwhile you have this short life in which you can do and feel and fantasize about all kinds of things because you know it will soon be over. So I always fall in love. Then you slip out of it, like a skin you take off, and you're naked and you're cold but it's exciting because there is going to be something new. My relationships are as intense and as giving and as short as my parts are. I would pump everything into a person. I would give my left arm that it was for life, but it dies so shortly. And when it dies, it doesn't even leave traces. The relationship vanishes into space. When I finish a part, it's the same feeling. I leave people and people leave me, I leave parts and parts leave me. I say it is 'the flow of life,' but it affects me terribly. Every once in a while I have such a breakdown, question every move.”

Nastassja Kinski (1961) German actress

As quoted in Denise Worrell (1989), Icons: Intimate Portraits.

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