“It is vain to recount further the catalogue of miseries. In earlier ages such horrors remain unknown because unrecorded. Just enough flickering light plays upon this infernal scene to give us the sense of its utter desolation and hopeless wretchedness and cruelty.”

Source: Simone Weil : An Anthology (1986), The Self (1947), p. 83

The Historical Illuminatus as spoken by Sigismundo Celine
Context: The creative faculty, the god-power, is not used here with anything less than literalness. When beauty was created by a godly mind, beauty existed, as surely as the paintings of Botticelli or the concerti of Vivaldi exist. When mercy was created, mercy existed. When guilt was created, guilt existed. Out of a meaningless and pointless existence, we have made meaning and purpose; but since this creative act happens only when we relax after great strain, we feel it as 'pouring into us' from elsewhere. Thus, we do not know our own godhood and we are perpetually swindled by those who assure us that it is indeed elsewhere, but they can give us access to it, for a reasonable fee. And when we as a species were ignorant enough to be duped in that way, the swindlers went one step further, invented original sin and other horrors of that sort, and made us even more 'dependent' upon them.

The Woman in White -
The Woman in White (1859)

Notes on the Next War (1935)
Context: Hit in the head you will die quickly and cleanly even sweetly and fittingly except for the white blinding flash that never stops, unless perhaps it is only the frontal bone or your optic nerve that is smashed, or your jaw carried away, or your nose and cheek bones gone so you can still think but you have no face to talk with. But if you are not hit in the head you will be hit in the chest, and choke in it, or in the lower belly, and feel it all slip and slide loosely as you open, to spill out when you try to get up, it's not supposed to be so painful but they always scream with it, it's the idea I suppose, or have the flash, the slamming clang of high explosive on a hard road and find your legs are gone above the knee, or maybe just a foot gone and watch the white bone sticking through your puttee, or watch them take a boot off with your foot a mush inside it, or feel an arm flop and learn how a bone feels grating, or you will burn, choke and vomit, or be blown to hell a dozen ways, without sweetness or fittingness: but none of this means anything. No catalogue of horrors ever kept men from war. Before the war you always think that it's not you that dies. But you will die, brother, if you go to it long enough.

"Autumn Landscape", line 2
Spring Essence (2000)

The Notebooks of Leonardo da Vinci (1883), XIX Philosophical Maxims. Morals. Polemics and Speculations.

The New Marvel in Photography (1896)
Context: I was working with a Crookes tube covered by a shield of black cardboard. A piece of barium platino-cyanide paper lay on the bench there. I had been passing a current through the tube, and I noticed a peculiar black line across the paper. … The effect was one which could only be produced, in ordinary parlance, by the passage of light. No light could come from the tube, because the shield which covered it was impervious to any light known, even that of the electric arc. … I did not think; I investigated. I assumed that the effect must have come from the tube, since its character indicated that it could come from nowhere else. I tested it. In a few minutes there was no doubt about it. Rays were coming from the tube which had a luminescent effect upon the paper. I tried it successfully at greater and greater distances, even at two metres. It seemed at first a new kind of invisible light. It was clearly something new, something unrecorded.

Source: The Long Winter