
Part VIII
The City of Dreadful Night (1870–74)
A Mathematician's Apology (1941)
Part VIII
The City of Dreadful Night (1870–74)
Source: "Encountering Sorrow" (trans. David Hawkes), Line 127
Referring to Luke 17:33, 'Whosoever will save his life shall lose it, and whosoever will lose his life shall find it' (the wording used by Housman).
Zuvörderst nämlich wird eine Regierung nicht Leute besolden, um Dem, was sie durch tausend von ihr angestellte Priester, oder Religionslehrer, von allen Kanzeln verkünden läßt, direkt, oder auch nur indirekt, zu widersprechen. … Daher der Grundsatz improbant secus docentes.
Sämtliche Werke, Bd. 5, pp. 152–153, E. Payne, trans. (1974) Vol. 1, p. 139
Parerga and Paralipomena (1851), On Philosophy in the Universities
God is Dead, Now Zen is the Only Living Truth (1989) YouTube video of the lecture http://www.youtube.com/watch?v=PBEIeRSLb8k
Context: It was good of Friedrich Nietzsche to declare God dead — I declare that he has never been born. It is a created fiction, an invention, not a discovery. Do you understand the difference between invention and discovery? A discovery is about truth, an invention is manufactured by you. It is man-manufactured fiction. Certainly it has given consolation, but consolation is not the right thing! Consolation is opium. It keeps you unaware of the reality, and life is flowing past you so quickly — seventy years will be gone soon. Anybody who gives you a belief system is your enemy, because the belief system becomes the barrier for your eyes, you cannot see the truth. The very desire to find the truth disappears. But in the beginning it is bitter if all your belief systems are taken away from you. The fear and anxiety which you have been suppressing for millennia, which is there, very alive, will surface immediately. No God can destroy it, only the search for truth and the experience of truth — not a belief — is capable of healing all your wounds, of making you a whole being. And the whole person is the holy person to me.
“The imagination has made more discoveries than the eye.”
The Kasîdah of Hâjî Abdû El-Yezdî (1870)
"Why I Write," Gangrel (Summer 1946)
Context: The Spanish war and other events in 1936-7 turned the scale and thereafter I knew where I stood. Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic Socialism, as I understand it. It seems to me nonsense, in a period like our own, to think that one can avoid writing of such subjects.