
Article 23
"Declaration of Rights" http://knarf.english.upenn.edu/PShelley/declarat.html (1812)
1840s, Heroes and Hero-Worship (1840), The Hero as Divinity
Article 23
"Declaration of Rights" http://knarf.english.upenn.edu/PShelley/declarat.html (1812)
Visions of Politics (2002), "Interpretation, rationality and truth"
“The cause of anger is the belief that we are injured; this belief, therefore, should not be lightly entertained. We ought not to fly into a rage even when the injury appears to be open and distinct: for some false things bear the semblance of truth. We should always allow some time to elapse, for time discloses the truth.”
Contra primus itaque causas pugnare debemus; causa autem iracundiae opinio iniuriae est, cui non facile credendum est. Ne apertis quidem manifestisque statim accedendum; quaedam enim falsa ueri speciem ferunt. Dandum semper est tempus: ueritatem dies aperit.
De Ira (On Anger): Book 2, cap. 22, line 2
Alternate translation: Time discovers truth. (translator unknown).
Moral Essays
Real Conservative Vision http://www.washingtontimes.com/news/2009/aug/01/a-real-conservative-vision/A,Washington Times, 2009-8-9.
Source: Propaganda & The Ethics Of Persuasion (2002), Chapter Three, Propaganda Technique, p. 99
“Blind belief in authority is the greatest enemy of truth.”
Letter to Jost Winteler (1901), quoted in The Private Lives of Albert Einstein by Roger Highfield and Paul Carter (1993), p. 79 http://books.google.com/books?id=zY7FE9ZyDO0C&lpg=PP1&pg=PA79#v=onepage&q&f=false. Einstein had been annoyed that Paul Drude, editor of Annalen der Physik, had dismissed out of hand some criticisms Einstein made of Drude's electron theory of metals.
1900s
Variant: A foolish faith in authority is the worst enemy of truth.
The Principles of Success in Literature (1865)
Context: A man must be himself convinced if he is to convince others. The prophet must be his own disciple, or he will make none. Enthusiasm is contagious: belief creates belief. There is no influence issuing from unbelief or from languid acquiescence. This is peculiarly noticeable in Art, because Art depends on sympathy for its influence, and unless the artist has felt the emotions he depicts we remain unmoved: in proportion to the depth of his feeling is our sympathetic response; in proportion to the shallowness or falsehood of his presentation is our coldness or indifference.