“My guess is that well over eighty per cent of the human race goes through life without ever having a single original thought. That is to say, they never think anything that has not been thought before, and by thousands.
A society made up of individuals who were all capable of original thought would probably be unendurable. The pressure of ideas would simply drive it frantic. The normal human society is very little troubled by them. Whenever a new one appears the average man displays signs of dismay and resentment. The only way he can take in such a new idea is by translating it crudely into terms of more familiar ideas. That translation is one of the chief functions of politicians, not to mention journalists. They devote themselves largely to debasing the ideas launched by their betters. This debasement is intellectually reprehensible, but probably necessary to carry on the business of the world.”

On Truth and Lie in an Extra-Moral Sense (1873)
Context: The drive toward the formation of metaphors is the fundamental human drive, which one cannot for a single instant dispense with in thought, for one would thereby dispense with man himself. This drive is not truly vanquished and scarcely subdued by the fact that a regular and rigid new world is constructed as its prison from its own ephemeral products, the concepts. It seeks a new realm and another channel for its activity, and it finds this in myth and in art generally. This drive continually confuses the conceptual categories and cells by bringing forward new transferences, metaphors, and metonymies. It continually manifests an ardent desire to refashion the world which presents itself to waking man, so that it will be as colorful, irregular, lacking in results and coherence, charming, and eternally new as the world of dreams. Indeed, it is only by means of the rigid and regular web of concepts that the waking man clearly sees that he is awake; and it is precisely because of this that he sometimes thinks that he must be dreaming when this web of concepts is torn by art.

Dreams http://www.gutenberg.org/dirs/etext97/jjdrm10.txt

Man in the Modern Age (1933)
Context: The general fellowship of our human situation has been rendered even more dubious than before, inasmuch as, though the old ties of caste have been loosened, a new restriction of the individual to some prescribed status in society is manifest. Less than ever, perhaps, is it possible for a man to transcend the limitations imposed by his social origins.<!-- p. 29

Writings, The New Racism (1980)

Winston Churchill, in "The Defence of Freedom and Peace (The Lights are Going Out)", radio broadcast to the United States and to London (16 October 1938).
The 1930s
Context: People say we ought not to allow ourselves to be drawn into a theoretical antagonism between Nazidom and democracy; but the antagonism is here now. It is this very conflict of spiritual and moral ideas which gives the free countries a great part of their strength. You see these dictators on their pedestals, surrounded by the bayonets of their soldiers and the truncheons of their police. On all sides they are guarded by masses of armed men, cannons, aeroplanes, fortifications, and the like — they boast and vaunt themselves before the world, yet in their hearts there is unspoken fear. They are afraid of words and thoughts; words spoken abroad, thoughts stirring at home — all the more powerful because forbidden — terrify them. A little mouse of thought appears in the room, and even the mightiest potentates are thrown into panic. They make frantic efforts to bar our thoughts and words; they are afraid of the workings of the human mind. Cannons, airplanes, they can manufacture in large quantities; but how are they to quell the natural promptings of human nature, which after all these centuries of trial and progress has inherited a whole armoury of potent and indestructible knowledge?

Torvalds to his mother, about his sister
2000s, (2001)

Source: The New Ethics (1907), The Nature of Opinion, pp. 13–14

Source: I'd Tell You I Love You, But Then I'd Have to Kill You