5
" ...[A]ll the elements which belong to the notion of happiness are altogether empirical, that is, they must be borrowed from experience, and nevertheless the idea of happiness requires an absolute whole, a maximum of welfare in my present and all future circumstances. Now it is impossible that the most clear-sighted and at the same time most powerful being (supposed finite) should frame to himself a definite conception of what he really wills in this. Does he will riches, how much anxiety, envy, and snares might he not thereby draw upon his shoulders? Does he will knowledge and discernment, perhaps it might prove to be only an eye so much the sharper to show him so much the more fearfully the evils that are now concealed from him and that cannot be avoided, or to impose more wants on his desires, which already give him concern enough. Would he have long life? Who guarantees to him that it would not be a long misery? Would he at least have health? How often has uneasiness of the body restrained from excesses into which perfect health would have allowed one to fall, and so on? In short, he is unable, on any principle, to determine with certainty what would make him truly happy; because to do so he would need to be omniscient. "
― Immanuel Kant , Groundwork of the Metaphysics of Morals
8
" The following year the house was substantially remodeled, and the conservatory removed. As the walls of the now crumbling wall were being torn down, one of the workmen chanced upon a small leatherbound book that had apparently been concealed behind a loose brick or in a crevice in the wall. By this time Emily Dickinson was a household name in Amherst. It happened that this carpenter was a lover of poetry- and hers in particular- and when he opened the little book and realized that that he had found her diary, he was “seized with a violent trembling,” as he later told his grandson. Both electrified and terrified by the discovery, he hid the book in his lunch bucket until the workday ended and then took it home. He told himself that after he had read and savored every page, he would turn the diary over to someone who would know how to best share it with the public. But as he read, he fell more and more deeply under the poet’s spell and began to imagine that he was her confidant. He convinced himself that in his new role he was no longer obliged to give up the diary. Finally, having brushed away the light taps of conscience, he hid the book at the back of an oak chest in his bedroom, from which he would draw it out periodically over the course of the next sixty-four years until he had virtually memorized its contents. Even his family never knew of its existence.
Shortly before his death in 1980 at the age of eighty-nine, the old man finally showed his most prized possession to his grandson (his only son having preceded him in death), confessing that his delight in it had always been tempered by a nagging guilt and asking that the young man now attempt to atone for his grandfather’s sin. The grandson, however, having inherited both the old man’s passion for poetry and his tendency towards paralysis of conscience, and he readily succumbed to the temptation to hold onto the diary indefinitely while trying to decide what ought to be done with it. "
― Jamie Fuller, , The Diary of Emily Dickinson
10
" Too much faith is the worst ally. When you believe in something literally, through your faith you'll turn it into something absurd. One who is a genuine adherent, if you like, of some political outlook, never takes its sophistries seriously, but only its practical aims, which are concealed beneath these sophistries. Political rhetoric and sophistries do not exist, after all, in order that they be believed; rather, they have to serve as a common and agreed upon alibi. Foolish people who take them in earnest sooner or later discover inconsistencies in them, begin to protest, and finish finally and infamously as heretics and apostates. No, too much faith never brings anything good... "
― Milan Kundera
20
" So they were pen pals now, Emma composing long, intense letters crammed with jokes and underlining, forced banter and barely concealed longing; two-thousand-word acts of love on air-mail paper. Letters, like compilation tapes, were really vehicles for unexpressed emotions and she was clearly putting far too much time and energy into them. In return, Dexter sent her postcards with insufficient postage: ‘Amsterdam is MAD’, ‘Barcelona INSANE’, ‘Dublin ROCKS. Sick as DOG this morning.’ As a travel writer, he was no Bruce Chatwin, but still she would slip the postcards in the pocket of a heavy coat on long soulful walks on Ilkley Moor, searching for some hidden meaning in ‘VENICE COMPLETELY FLOODED!!!! "
― David Nicholls