“I met the New Passion, then, as democracy, as political enlightenment and the humanitarianism of happiness. I understood its efforts to be toward the politicization of everything ethos; its aggressiveness and doctrinary intolerance consisted – I experienced them personally – in its denial and slander of every nonpolitical ethos. “Mankind” as humanitarian internationalism; “reason” and “virtue” as the radical republic; intellect as a thing between a Jacobin club and Freemasonry; art as social literature and maliciously seductive rhetoric in the service of social “desirability”; here we have the New Passion in its purest political form as I saw it close up. I admit that this is a special, extremely romanticized form of it.”

Source: Christianity in European History (1951), pp. 40-41

Source: One-Dimensional Man (1964), p. 13

Source: Postscript to the Outsider (1967), p. 2
Context: I was aggressively nonpolitical. I believed that people who make a fuss about politics do so because their heads are too empty to think about more important things. So I felt nothing but impatient contempt for Osborne's Jimmy Porter and the rest of the heroes of social protest.

Ibid., p. 55
The Book of Disquiet
Original: Creio que dizer uma coisa é conservar-lhe a virtude e tirar-lhe o terror.

"Political Correctness: Robert Bly and Philip Larkin" (1997)
Context: The reaction against Larkin has been unprecedentedly violent as well as unprecedentedly hypocritical, tendentious and smug. Its energy does not, could not derive from literature — it derives from ideology, or from the vaguer promptings of a new ethos. … This is critical revisionism in an eye-catching new outfit. The reaction, like most reactions, is just an overreaction, and to get an overreaction you need plenty of overreactors — somebody has to do it. … I remember thinking when I saw the fiery Tom Paulin's opening shot, We're not really going to do this, are we? But the new ethos was already in place, and yes, we really were going to do this — on Paulin's terms, too. His language set the tone for the final assault and mop-up, which came with the publication of Andrew Motion's, Philip Larkin: A Writer's Life. Revolting. Sewer. Such language is essentially unstable. It calls for a contest of the passions and hopes that the fight will get dirty.

Act I.
Dantons Tod (Danton's Death) (1835)

And the Weak Suffer What They Must? : Europe's Crisis and America's Economic Future (2016), Ch. 4, Trojan Horse

pg 136.
Science in a Free Society (1978)

As quoted in “Escape Artist: Recalling a YAF hero—the unlikely, liberating journey of Phillip Abbott Luce”, Shawn Steel, California Political Review, July-August (2000) pp. 23-28