“Nothing can be added to the rest, to the past. We always begin afresh.
One nail drives out another. But four nails make a cross.”

#5
The Meditations of Guigo I, Prior of the Charterhouse

Pt. V, ch. 1, sec. 1.
1920s, Process and Reality: An Essay in Cosmology (1929)
Context: There is a greatness in the lives of those who build up religious systems, a greatness in action, in idea and in self-subordination, embodied in instance after instance through centuries of growth. There is a greatness in the rebels who destroy such systems: they are the Titans who storm heaven, armed with passionate sincerity. It may be that the revolt is the mere assertion by youth of its right to its proper brilliance, to that final good of immediate joy. Philosophy may not neglect the multifariousness of the world — the fairies dance, and Christ is nailed to the cross.

Algot Frövik (Allan Edwall) in Winter Light (1962).
Films
Context: When Jesus was nailed to the cross — and hung there in torment - he cried out — "God, my God! Why hast thou forsaken me?" He cried out as loud as he could. He thought that his heavenly father had abandoned him. He believed everything he'd ever preached was a lie. The moments before he died, Christ was seized by doubt. Surely that must have been his greatest hardship? God's silence.

Source: Demian (1919), p. 9. Prologue
Context: Novelists when they write novels tend to take an almost godlike attitude toward their subject, pretending to a total comprehension of the story, a man's life, which they can therefore recount as God Himself might, nothing standing between them and the naked truth, the entire story meaningful in every detail. I am as little able to do this as the novelist is, even though my story is more important to me than any novelist's is to him — for this is my story; it is the story of a man, not of an invented, or possible, or idealized, or otherwise absent figure, but of a unique being of flesh and blood. Yet, what a real living human being is made of seems to be less understood today than at any time before, and men — each one of whom represents a unique and valuable experiment on the part of nature — are therefore shot wholesale nowadays. If we were not something more than unique human beings, if each one of us could really be done away with once and for all by a single bullet, story telling would lose all purpose. But every man is more than just himself; he also represents the unique, the very special and always significant and remarkable point at which the world's phenomena intersect, only once in this way and never again. That is why every man's story is important, eternal, sacred; that is why every man, as long as he lives and fulfills the will of nature, is wondrous, and worthy of every consideration. In each individual the spirit has become flesh, in each man the creation suffers, within each one a redeemer is nailed to the cross.
Few people nowadays know what man is. Many sense this ignorance and die the more easily because of it, the same way that I will die more easily once I have completed this story.

Letter to William Roscoe Thayer (2 July 1915)
1910s

Christus ist das Genie der Liebe, als solches der diametralste Gegenpol zum Judentum, das die Inkarnation des Hasses darstellt. … Christus ist der erste Judengegner von Format. … Der Jude ist die menschgewordene Lüge. In Christus hat er zum erstenmal vor der Geschichte die ewige Wahrheit ans Kreuz geschlagen.
Michael: a German fate in diary notes (1926)

"Here It Is"
Ten New Songs (2001)

As quoted in TIME magazine (9 September 1985)
Context: Certain people in the United States are driving nails into this structure of our relationship, then cutting off the heads. So the Soviets must use their teeth to pull them out.

Source: Shadow Games (1989), Chapter 38, “Invaders of the Shadowlands” (p. 194)