Source: Walden
Speech to the House of Commons, Wed 30 Oct 2013; reported in Evening Standard, Wed 30 Oct 2013, p. 4.
Source: Trout Fishing in America / The Pill vs. the Springhill Mine Disaster / In Watermelon Sugar
Preface, Sec. 3 (dedication to Imperator Caesar)
De architectura (The Ten Books On Architecture) (~ 15BC), Book I
“That is what Castle's work needed: a beginner's eye”
Flicker (1991)
Context: That is what Castle's work needed: a beginner's eye—my eye, before it became too schooled and guarded, while it was still in touch with the vulgar foundations of the art, still vulnerably naive enough to receive that faint and flickering revelation of the dark god whose scriptures are the secret history of the movies.
From Critique of Everyday Life: Volume 1 (1947/1991)
Context: Everything great and splendid is founded on power and wealth. They are the basis of beauty. This is why the rebel and the anarchic protester who decries all of history and all the works of past centuries because he sees in them only the skills and the threat of domination is making a mistake. He sees alienated forms, but not the greatness within. The rebel can only see to the end of his own ‘private’ consciousness, which he levels against everything human, confusing the oppressors with the oppressed masses, who were nevertheless the basis and the meaning of history and past works. Castles, palaces, cathedrals, fortresses, all speak in their various ways of the greatness and the strength of the people who built them and against whom they were built. This real greatness shines through the fake grandeur of rulers and endows these buildings with a lasting ‘beauty’. The bourgeoisie is alone in having given its buildings a single, over-obvious meaning, impoverished, deprived of reality: that meaning is abstract wealth and brutal domination; that is why it has succeeded in producing perfect ugliness and perfect vulgarity. The man who denigrates the past, and who nearly always denigrates the present and the future as well, cannot understand this dialectic of art, this dual character of works and of history. He does not even sense it. Protesting against bourgeois stupidity and oppression, the anarchic individualist is enclosed in ‘private’ consciousness, itself a product of the bourgeois era, and no longer understands human power and the community upon which that power is founded. The historical forms of this community, from the village to the nation, escape him. He is, and only wants to be, a human atom (in the scientifically archaic sense of the word, where ‘atom’ meant the lowest isolatable reality). By following alienation to its very extremes he is merely playing into the hands of the bourgeoisie. Embryonic and unconscious, this kind of anarchism is very widespread. There is a kind of revolt, a kind of criticism of life, that implies and results in the acceptance of this life as the only one possible. As a direct consequence this attitude precludes any understanding of what is humanly possible.
“The foundation is in place, and now we have to get to work.”
" Profile: Luiz Inacio Lula da Silva http://news.bbc.co.uk/1/hi/world/americas/5346744.stm" in news.bbc.co.uk, October 29, 2006: About his second term as president
“Can build castles in the air.”
Section 2, member 1, subsection 3.
The Anatomy of Melancholy (1621), Part I
